tide: regain

Tideregain

Spirit guides. Robin L. Chandler, 2017.

Early Sunday morning I walked the desert, my destination, four miles away and some two thousand feet above in the granite-mountains. I am on a pilgrimage of sorts, my feet drifting on the sands of an ancient lakebed, once home to mammoths, mastodons, and short-faced bears. Walking, hoping to reach stasis, seeking to regain what has been lost.

Reaching the hand built stone structure, an ashram, built by Franklin Merrell-Wolff, philosopher and mystic, almost a century ago, high in the Eastern Sierras between two forks of Tuttle Creek, I sat down to refresh and ponder. Below, I could see the valley and the steep trail now ascended, a metaphor for my journey. Yesterday, I knew little about the pinyon pine’s importance to the people who have called this valley home for thousands of years. My time at the Paiute Shoshone Cultural Center in Bishop opened my mind and my heart. Yesterday, they were pinyon pines a part of the ecosystem. Today, I knew the pinyons, scattered throughout the landscape, were foundational to the preservation of a people and a culture. Looking closely at the precious nuts growing within the cones – a vital source of protein – I understood what stewardship meant, to ensure a good fall harvest for a long cold winter.

On your journey, be present, with an open mind and an open heart. It is never too late to learn and it is never too late to teach. It is never too late to love and it is never too late to forgive.

How can I reach you?

Mammoth Mountain

Mammoth Mountain from Minaret Summit. Robin L. Chandler, 2017.

The Tang Dynasty’s Wang Wei is revered in China as a poet, painter, and practitioner of Ch’an (Zen) Buddhism. And for good reason when you read and savor Wang Wei’s work. Wei is considered to be the first Chinese painter to capture the inner spirit of the landscape, originating the mountains-and-rivers tradition beloved by the Buddhist poet Gary Snyder. In his book Mountain Home, David Hinton writes “Wang Wei’s poetry is especially celebrated for the way he could make himself disappear into a landscape, and so dwell as belonging utterly to China’s wilderness cosmology. In Ch’an practice, the self and the constructions of the world dissolve until nothing remains but empty mind or “no-mind.”

A few weeks ago, I travelled with the best companions, reaching the Eastern Sierra and our campground at Convict Lake, after many hours of driving. During our respite, we visited Hot Creek, Long Valley Caldera, Mammoth Mountain, Minaret Summit, and Mono Lake. Walking or sitting amongst the beauty, we were emptied and replenished reaching an awakening, if not the hoped for enlightenment. Wang Wei’s poetry came to mind as I reached for and drank deeply from the cup of friendship and nature. In the Mountains, Sent to Ch’an Brothers and Sisters Wei wrote:

“Dharma companions filling mountains,

a sangha forms of itself: chanting, sitting

Ch’an stillness. Looking out from distant

City walls, people see only white clouds.”

Looking out from distant city walls, people see only white clouds. In Buddhist meditative dharma practice, random thoughts are often seen as clouds passing by. As I meditate I try to reach emptiness, see the clouds evaporate, but often “my thoughts float like clouds and I meander among them until. I remember. Stop meandering. Remember. Concentrate on each breath. Mindfulness.” If most people see only clouds, and I can attest how difficult it is to clear the mind of clouds, how can I reach and expect them to be mindful of our impact upon the earth?

“Anthropocene is the voguish and not yet officially adopted term to describe the first geologic epoch in Earth’s history to be characterized primarily by the impacts of human activity, global warming foremost among them,” writes Glen Martin in the article Hell or High Water: How Will California Adapt to the Anthropocene?

How can I reach others and help them see that for the first time in humankind’s existence – a time now considered the Anthropocene – our actions are raising the temperature of the heavens, the oceans, and the land and thereby changing the fate of all creatures inhabiting these spheres. We must understand the actions we take today impact future generations. And we must understand that human consciousness is formed by our relationship to the sky, the seas and the land: the sky our infinite possibilities, the sea our mystery and the earth our enduring home. What will our consciousness become if the heavens, the oceans and the land are irrevocably changed? What if the air is too dirty to breathe? What if water is a scarce commodity? What if the land is stripped bare and emptied of the creatures with which we currently share this planet? What will it all mean? “We simply need wild country available to us, even if we never do more than drive to it’s edge and look in. For it can be a means of reassuring ourselves, of our sanity as creatures, a part of the geography of hope.”[1]

[1] Stegner, Wallace. Wilderness Letter. December 3, 1960.

Fire, Wind, Water, and Stone

forest fire

Fire in the hills. Robin L. Chandler, 2017.

Now a week old, the Detwiler Fire has consumed 76,000 acres and is only forty percent contained. The windswept fire rages in the foothills, feeding on dry brush that grew intensely during our rainy winter. The fire has devastated a section of California State Route Forty-nine and threatens two historic Gold-Country towns Coulterville and Mariposa, the gateway to Yosemite. These places names trigger sweet memories of friends and shared adventures along the Don Pedro Reservoir, the Merced River, Yosemite Valley and the Eastern Sierras.

Fire, is a natural part of ecosystems. For many trees, such as the Coastal Redwood or the Giant Sequoia, fire opens seed cones required for germination. Simultaneously, fire helps clear-out dead wood and thus provides nutrients necessary for new plant growth. As towns and cities grow, encroaching upon once remote wilderness, human homes and livelihoods are increasingly threatened during fire season. But, when a wildfire rages, threatening your community, it is difficult to ponder the benefits to the natural ecosystem. You only pray the firefighters working night and day can save your home from advancing flames. The work of generations, the evidence of a lifetime’s progress, can be lost within seconds to fire. The poet Robinson Jeffers wrote in his poem Fire on the Hills

“The deer were bounding like blown leaves

Under the smoke in front of the roaring wave of the brushfire;

I thought of the smaller lives that were caught.

Beauty is not always lovely.”

Dust to dust: when catastrophe strikes we experience the harsh reality of how quickly life can change; we begin to comprehend that humility as a means of survival; and we ask ourselves the question what really endures?

Friday, my dear friend and I visited the Carmel home of Robinson Jeffers and his beloved wife Una. Apprenticed to a stonemason, Jeffers built his house, Tor House, and then later, working solo, built Hawk Tower. Jeffers personally chose and hauled each stone up from the beach to craft these dwellings. Jeffers understood ancient stones – when listened to – share the song cycle of wind, water and fire tirelessly grinding granite to sand over the eons. The stone circles at Callinish and Achmore on the Isle of Lewis, placed by Neolithic peoples, have stood for some four thousand years, surviving wind, water and fire as well as the follies of mankind. These stones have survived, and are now artifacts, surviving evidence of a people’s existence. Jeffers wrote in his poem Tor House

“If you should look for this place after a handful of lifetimes:

Perhaps of my planted forest a few

May stand yet, dark-leaved Australians or the coast cypress, haggard

With storm-drift; but fire and the axe are devils.

Look for foundations of sea-worn granite, my fingers had the art

To make stone love stone, you will find some remnant.”

Mt. Ste. Helena

Mt. Ste. Helena in Spring. Robin L. Chandler, 2017.

Since my March 2017 artist residency, I have returned many times to the vineyard at Chalk Hill to gaze and make some oil sketches and watercolors of Mt. Ste. Helena, the defining mountain of the Napa-Sonoma region. It captivates my imagination. In the last few months winter has become spring has become summer; the weekly changes subtle, the seasonal changes dramatic. Green has become gold. Gray has become blue. And with my art I have tried to render this transformation.

In Cezanne: A Study of his Development, the art historian Roger Fry described the artist’s attachment to the landscape of Aix, France: “Cezanne devoted himself so constantly to interpreting that part of the countryside….that is dominated by the great buttressed ridge of Mt. Ste. Victoire. It is a mountain that impresses one rather by the strangeness of it’s ‘personality’ than by it’s height or it’s precipitousness…..no mountain has ever been explored by an artist so persistently, so incessantly as this…..his interpretation is extremely personal…..it is characteristic of Cezanne’s method of interpreting form, thus to seize on a few clearly related, almost geometrical elements, and then on top of this clearly held framework, to give to every part of the contour the utmost subtlety of variation which his visual sensibility could discover…..”

My great friend and teacher, the artist Anthony Dubovsky, writes about the importance of place, time and memory to an artist’s work; the artist’s challenge to find the right balance between story and form and; through the artist’s work bring some understanding to the meaning of life. In his book Jerusalem: To Know By Living, Tony writes “and yet the rhythm of the life here – the dailiness of it, the meaning of the dailiness, where making one’s way up Rehov Ba’al ha-Tanya at dawn is already to be a part of it. To know it. And to know it is to know life, slowly, day by day…..to know by living, to know by living.” Slowly, day by day, I am coming to know my Mt. Ste Helena, as other artist’s in other times and places have come to know their mountains.

Lost Dog

Mount Saint Helena after the rain. Robin L. Chandler 2017.

This morning brought another glorious day of painting here at my Chalk Hill Artist’s Residency. For the last three weeks, I have walked acres of vineyards cradled between the Russian River and Mount Saint Helena here in beautiful Sonoma County. During this time, I’ve forged deep connections with this beautiful landscape and the people, animals and birds that call this place home, and I’ve tried my best to put those feelings into my paintings.

The morning also brought a couple of “lost” dogs: Okie and Shadow. Out in my yard, I found these two out and about. They weren’t really lost, they were just not where they were supposed to be. But that said, I was happy they graced my porch and gave me their joy and friendship on such a beautiful day. Dogs and people soon all fell in to place, and they were on the next stage of their journey, and I was off to my studio to paint and paint some more!

Recently, my good friend Pam introduced me to a very talented musician Sarah Jarosz who is also a gifted songwriter.  I can’t get this beautiful song Sarah wrote out of my head: Lost Dog. Maybe it sticks with me because all of us, bury old bones and find new ones, and all of us lose ourselves, and with determination, talent, good friends, and a wee bit of luck, find ourselves, again.

“ Lost Dog.

Where did you sleep last night?

Under the cold street light.

Who last called you by your name?

 

Where did you leave your peace?

Other half of your broken leash.

Why did you run so far away?

 

Lost Dog.

Something ‘bout you breaks my heart.

Why you burying bones out in the yard?”

Open (guide)

Cottonwood near Bishop, California. Robin L. Chandler, 2016.

Cottonwood near Bishop, California. Robin L. Chandler, 2016.

The snow, fondant-like, blanketed the mountains. Rushing down the canyons, the rain wrote creeks on the landscape, like icing, on a cake. October brought me to the big empty, the Owens Valley, the tectonic, volcanic landscape, now a desert, once a vast ocean. The thirsty cottonwoods grow alongside the Zen-like creek, waiting months, sometimes years, for the river they know will come. In the big empty, I sang a prayer for this land. Staring deeply, intently at the mountains and the rivers, imagining the ocean that once was, I sang this blessing by Nanno Sakaki[1] for what was and what can be:

“One day from the ocean, from yesterday, I’m sure

A lost hump-back whale will swim up this river.

And someday, from the ocean, from tomorrow,

Countless whales will swim up the river

To revisit the ancient beech forest,

Whales swimming up the river, up the river.”

A few weeks later, I stand before a Marsden Hartley work, painted in 1918, entitled The Last of New England – the Beginning of New Mexico hanging in the Chicago Art Institute. Writing to his friend, Alfred Stieglitz, Hartley described the Southwest: “I like the country very well for it is big and clean and true, and there is nothing dirty standing between one and the sunlight.” Standing before this work, I absorbed the intensity of the landscape realized in the painter’s forms and colors. Like Proust and his tea and madeleines, the painting roused my memory of the Eastern Sierra desert, big and clean and true. Now more than ever, we need people to stand up and speak out like the Sioux tribal leaders now singing their prayers in protest of the pipeline at Standing Rock. We do not need anything dirty, like an unnecessary pipeline, standing between us and the sunlight on the land.

A great shadow threatens the land. Lies and abuse, dressed as truth and normalcy, threaten our democracy, so tenuous, so often taken for granted. To heal our selves, we must take our song to the streets and valleys and together loudly sing our prayers for our land, our peoples, and our democracy. It will be a tough fight, but we must continue to urge national investment in clean and renewable energies and demand the cessation of investments in projects like the pipeline perpetuating fossil fuel dependence. Here at home, the LA Times reports that California leads the nation in energy productivity, electricity from renewable resources, and reductions in carbon intensity. Like the Shaman, we will raise our voice in song to heal ourselves, each other, and our community. Together, open, guiding, we will sing our love of the land we hold so dear.

Because the whales will swim up river, only when they hear our song.

 

[1] Sakaki, Nanno. “Mountains and Rivers and Japan.” A Sense of the Whole: Reading Gary Snyder’s Mountains and Rivers Without End. Counterpoint. Berkeley, 2015. p.128.