the new rules are old again / / cigar-tin stories number sixty three

According to Harper’s Index, 92% of Americans spend 90% of their time indoors or in vehicles. The part of that which makes me stop is the in vehicles part, how commuting in a large city must be a constant fugue state of displaced helplessness and rage.


I am not doing well at work; all information systems and cognitive relays seem permanently compromised. I send things out and they keep bouncing back. Nothing is ever finished. Clients desperate for Solution A, clients in some last-minute bind, will not be satisfied when I actually supply them with Solution A, on time –– when I solve their stated problem. Suddenly they want Solution AB, or maybe even B would look better, don’t you think?  Plus the logo needs to be bigger. BIGGER, PLEASE. ASAP. Most days it seems pointless to do anything, especially if the work is going to be reviewed at any kind of meeting.


So I make some NEW RULES. They’re mostly old rules, mostly just underlining the idea of using up the entirety of my limited brain power to doing my own work first. Then the rest of the day, with its continuous debasement of my coherence as a human being (this imagined entity embued with stained dignity and a dangerously compromised soul) seems less egregious, as I stumble through in a robotic haze.


Snacking and naps are also integral. Walking and reading next on the list. Also: being strategically disagreeable. It has to be possible, and easily imagined, that you will wreck any dinner, walk out any front door, or exit any vehicle, if people talk to you or otherwise treat you like an asshole.


I read Personal Days by Ed Park. It’s a book about an office in decline, in its death throes, a last-days sort of thing, with the usual quirky-and-clever-but-flawed characters. Everyone has a tic, every moment is existential. It’s smart, probably too smart by half, because only the villain has any blood in him.


A double-page spread in The New York Times Style Magazine shows off a Louis Vuitton handbag decorated with Claude Monet’s Water Lillies. Also, just in case you don’t get it, there is a gold, embossed MONET on the side. This is what the Impressionists are now –– art so accepted, so colonized and consumerized, that it no longer works as anything but merchandise. Like the Beatles.


Because my office mates never, *ever* leave the office at lunch, and because they close the door at twelve o’clock sharp (even though 90% of the building has fled by 11:30), and because my idea of fun is *not* to sit in a closed room with two people and their chewing sounds, against a background of mouse clicks, I almost always leave at lunch. I run errands, I do some dry-goods grocery shopping, I visit the library, I drop by the studio. It feels like fleeing and the idea is half accurate.


The fourth floor smells like wetness and death but I know it’s just industrial grade mold. I can recognize that smell of degeneration anywhere –– the last office I worked at flooded all the time, because Winnipeg is hell’s black box of bad weather, and because somebody had poured concrete down all the drains. Eventually, all the floors and walls needed to be completely re-done. Anyway, at least I work on the second floor, and probably have a good three or four years before major pulminary issues.


Of course the Wi-Fi doesn’t work.


Lots of talk about how the political project is dead. I can’t say I’ll miss it; my adult entry into the world was to find myself wading into a sea of unemployment, debt and malaise. We still have the debt but at least everything’s constantly on sale.


Oona has a Halloween party at school, a Halloween night at Brownies, a Halloween day at daycare (another PA day, quel surprise). Never mind the actual Halloween. Every holiday is a week now. Christmas is a month. Does anyone wonder why? All I see are stooped hordes of hapless parents, playing seamstress/purchaser/chauffer/partyplanner. Being harangued by five year-olds for stupid choices. BIGGER, PLEASE. ASAP.


I used to love Halloween. It was greater than Christmas. In fact, Christmas was really for the little kids. Once you hit 12 or 13, Christmas was just a bit play-acting in the thank-you department followed by a highly awkward meal with not nearly enough stuffing. But Halloween in a small town in Saskatchewan in the early eighties, a town with no resident police presence … well, it was pure, unbridled anarchy, and more than once some middle-aged man came tearing out of a front door, trying to catch one of us so he could kick someone’s ass. Which only incited us to egg him and his house more.

Have a good week, everyone,
djb

Draw things, paint things, write things, make things.

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june is no summer at all

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Or at least it hasn’t been –– just gloom and humidity, with intermissions of wind and rain. An impression of weak sun, here and there. WAKE UP.

Summer is hard on the artist. Rounding the corner into July, which announces itself as SUMMER in the same way that Godzilla enters a room –– no matter what the weather, YOU WILL HAVE FUN, YOU MUST BE HAVING FUN –– one can almost feel the psychic descent that takes place, as all plans go out the window, and the notion of work becomes a mannequin heaved to the sidewalk. All around you, all the time, nothing is getting done.

But art doesn’t like to be picked up and discarded at one’s convenience. Certainly, there are ebbs and flows, but ‘breaks’ have a certain price tag attached –– muscles not used, imagination in decay.

For me, the fact that I have a studio that I pay for exclusively with proceeds from my visual art and writing demands that I use it consistently and effectively. It means discipline. It means going in there regularly and making something from nothing.

I have two weeks coming up where I should get to do a lot of work in a hurry. Wish me luck.

cigar-tin story – “Draycott”

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cigar-tin story – Draycott  / /  an original painting on a dessert cigar tin which contains an accordion booklet of an original short story

Draycott is the story of bus ride out to the edges. You can hear it here.

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I used to number my cigar-tin stories but at some point (around the 180 mark, I think?), between selling online and in-person, I lost track and couldn’t keep them straight. So now I just label them by the story, even though some stories might appear in two or three different tins over time (I probably have about 60 published stories and another 100 unpublished stories to choose from).

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I find it easier to sell these in person, when I can put the cigar-tin story into someone’s hands and explain to them that they’re holding a one-of-a-kind, original art object, something priced to work as a highly unique collectible or gift.

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The online aspect is still a real struggle. I keep thinking that I’m going to reach some magical point where I’ve put in enough hustle and I’ve reached a large enough audience and I’ve won enough customers (or even patrons) that it will all go on autopilot and I’ll only have to worry about producing enough work … but that never happens. And all I can do is keep working.

set up to go

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The best way to come into the studio in the morning is to find it already set up for work. If you take the time to do this before you leave the previous evening, then the next day you can just walk in, take off your jacket, open your coffee, and start to work. For an artist, this is like sitting down to dinner.

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The aftermath of three cigar-tin stories. I don’t paint the covers with any idea in mind; I just find three reference pictures that are compelling in some way. That’s it. To proceed in any other fashion is to be self-conscious (once you start thinking too much about what you’re doing, you’re in trouble). It’s only afterwards that I try to match the image with a story –– which isn’t that difficult since I literally have hundreds of stories, writing something new every week for my Ban Righ writer’s group.