A year ago I expanded the Writing Salon by opening a site in Berkeley. The Berkeley classroom has high, exposed-beam ceilings, big white walls and good light. I thought, "What a great room for displaying art! Why not try to feature different art shows on the walls every session?"
Why not, indeed? Of course, implementing one's ideas can be a tad more difficult than the mere having of those ideas. I had no connections in the art community. Once I started (blindly) trying to find an artist to exhibit for the first show (looking around on Craig's List and other Internet leads, asking friends and teachers), I realized that this was going to be — four times a year — a time and energy-consuming project: Find artists whose work I liked (how? when?). Talk to them. Meet with them. Show them the space. Figure out which pieces would be hung, and where. Meet again to actually hang the show, which would include first repairing the nail holes,etc., from the last show. Get equipment for hanging the show: a tall ladder, a level and nails and hammers. Etc. Etc. Haul the stuff over there.
I would need to become the curater from start to finish - that, or take the time to work out how to share and coordinate the curating duties with each of the artists. And what about organizing a reception for the artist? A nice little event to publicize the show? More work. Publicity. Invitations. Announcements. More time.
I don't mind doing ANY of this work. I love the whole process, in fact. It's just that I'm usually bogged down in doing the basic, day-to-day duties of keeping the Writing Salon afloat. I rarely have the time or energy to devote to "extra" projects, such as creating an Writing Salon anthology of student writings, or featuring student and teacher writings on the website. Or adding cool podcast to the website. Or creating Writing Salon "weekend or weeklong retreats," separate from the regular Writing Salon classes, say, in Napa or Mendocino or Italy or France. Or having a regular Writing Salon reading series. Or throwing "end-of-session" parties like I used to do before I got so burned out that I had to take a break (which has now been for about a year and a half).
I have a mile-long list of "creative visions" re how I'd like to improve the Writing Salon. Bringing those visions to fruition, however, is the challenge. Sometimes people volunteer to help or to do trades for classes, but they tend to want to do the fun stuff, not the daily grind stuff, which leaves ME still stuck with doing the grind stuff.
Anyway, right before I went to Chicago, I realized that I'd been so distracted by the breast cancer stuff, I hadn't organized a new art show to replace the one that was about to be taken down. No artist. No plan. No nothing. Classes were starting in a week, and the Berkeley classroom walls were going to be blank, bare, empty. I was depressed that I hadn't been able to get it together.
In a last ditch attempt to find an artist and get a show up within six days, I asked my wonderful temporary "helper," Dietlind (who has been giving me five hours of "grind" help each week for six weeks, in exchange for a class) if she by any chance knew of an artist who could throw up a show, fast.
Much to my surprise, Dietlind said that she did collages made from photo images taken from The Sun Magazine, combined with text (inspirational quotes also taken from The Sun Magazine). I've been a fan of The Sun for years, have subscribed to it off and on, and have had two personal essays published in it. I thought, This feels serendipitous. I'm going to take a chance and do a show of Dietlind's collages, even though I haven't even seen them.
But then Dietlind told me that her collages were: a) Black and white, and b) Very small. Uh-oh. What I needed was just the opposite; big, colorful pieces. Nevertheless, I decided to go with the collages, and try to somehow fill in the upper portions of the walls with a few big, colorful pieces of arty handmade paper from Flax's. (This was an idea I'd had a long time ago but never had time to act on. I thought it might be a good stop gap measure if I couldn't find an artist in time for a new session.)
So. . . last Thursday I went to Flax's to look for beautiful paper. Did I have time for this? NO! But I went anyway because, since the breast cancer diagnosis, I've vowed to spend more time on the visionary (fun and creative) aspects of running and expanding the Writing Salon, and less time on the grueling, draining, daily grind stuff. Did I have fun at Flax's? YES! I pulled open every single flat file, and picked out a great assortment of handmade papers, in a mix of colors and textures and sizes, that I hoped would somehow look good on the walls, along with Dietlind's collages.
On Friday evening after Dietlind got off work, she and Jack and I drove over to the Berkeley classroom and spent over four hours shuffling pieces of paper and collages around on the floor, holding them up on the walls, combining and recombining until we finally came up with what we thought looked pretty darn good.
We worked with what we had, in the time that we had (only that evening; classes started the next morning).
I had such a good and CREATIVE time. When we were done, we had transformed the classroom, and I felt such a sense of gratification and satisfaction. I see this as part of the healing "protocol" I'm putting together, along with my upcoming new fitness regimen (walking, Pilates and yoga), new semi-vegetarian, wildly healthy diet (today thus far: OJ with whey powder, and brown rice and soy milk sweetened with raisins and Stevia, for breakfast), nutritional supplements (too many to list here), Chinese herbs, acupuncture, and stress/workload reduction.
As a result of taking the time to do this "extra but fun" project, I'm now behind on getting out the 1099 forms to two dozen teachers. The forms should have gone out in the mail yesterday. But you know what? I really doubt that anyone is going to notice. Who the heck does their taxes on Feb. 1st?
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