coming out of hibernation. dreaming with first graders in portland, oregon. downloaded a city map of heritage trees and took the class to visit some of the ancestors (just blocks from school). wow! give each kid a map and the world changes. we came back to recently planted trees on the playground and they hung their beautiful messages (a little bit higher in the tree this year!) discovered that the old tags are starting to decompose and melt into the earth.

maps. scale. cycles. wishes are for the world.
become a tree dreamer www.tree-dreams.org

BILLIE HOLIDAY      On those last records her voicesounds almost gone—cracking, breaking—but hittingnotes wasn’t the point.She was after the bones of beautynot the flesh.  It was fartoo late for anything else.She sang what must happen,what has, the death of gardenias,the abyss that the abyssfalls into.  It all scraped alongher phrases, extracting the horriblemeat hiding inside simple words,in the space between eachword, between each note.And she broke our hearts untilthey could break no more,then broke them one more timejust to make sure we got the point.Art isn’t on the surface,not some decoration like frosting,like a flower in your hair—it’s like a silk bag of pulverizedcrystal, glinting, sharp,able to cut in any direction.Her voice filled every roomin our minds and showed how emptyeach was, how desolatethe wind blowing through themand yet with sticks and stones,castoffs, garage sale losersshe furnished each onewith a shattered gritty beautyjust before she took it all away. —   Vern Rutsala
Rest in peace, Vern.             

BILLIE HOLIDAY      
On those last records her voice
sounds almost gone—
cracking, breaking—but hitting
notes wasn’t the point.
She was after the bones of beauty
not the flesh.  It was far
too late for anything else.
She sang what must happen,
what has, the death of gardenias,
the abyss that the abyss
falls into.  It all scraped along
her phrases, extracting the horrible
meat hiding inside simple words,
in the space between each
word, between each note.
And she broke our hearts until
they could break no more,
then broke them one more time
just to make sure we got the point.
Art isn’t on the surface,
not some decoration like frosting,
like a flower in your hair—
it’s like a silk bag of pulverized
crystal, glinting, sharp,
able to cut in any direction.
Her voice filled every room
in our minds and showed how empty
each was, how desolate
the wind blowing through them
and yet with sticks and stones,
castoffs, garage sale losers
she furnished each one
with a shattered gritty beauty
just before she took it all away. 
   Vern Rutsala

Rest in peace, Vern.             

how do we make place? how does what we make, make Portland? great conversation in the studio with Dave Laubenthal — launch director for DESIGN MUSEUM PORTLAND.
looking forward to UNITE at the Plant (SE 9th and Alder) tonight at 6:30. like little birds in the trees, we’ll be listening and twittering our impressions during a conversation between local entrepreneurs.  @johnhenrytweets

how do we make place? how does what we make, make Portland? great conversation in the studio with Dave Laubenthal — launch director for DESIGN MUSEUM PORTLAND.

looking forward to UNITE at the Plant (SE 9th and Alder) tonight at 6:30. like little birds in the trees, we’ll be listening and twittering our impressions during a conversation between local entrepreneurs.  @johnhenrytweets

great, smart read by Namita Wiggers movingthings. http://brooklynrail.org/t/9565
 

great, smart read by Namita Wiggers movingthings. http://brooklynrail.org/t/9565

 

ILLAHEE LECTURE SERIES: Marina Zurkow spoke last night about her latest project in development “Sampan Super Chai,” which is a collaboration with Portland-based The Last Attempt at Greatness. The new project is an examination of Portland’s terroir: collecting, analyzing, and processing the substrate, waters, biota and anthropogenic artifacts of the Willamette and Columbia rivers. Dark Ecology refers to the intersection of human-made systems with other systems.

ILLAHEE LECTURE SERIES: Marina Zurkow spoke last night about her latest project in development “Sampan Super Chai,” which is a collaboration with Portland-based The Last Attempt at Greatness. The new project is an examination of Portland’s terroir: collecting, analyzing, and processing the substrate, waters, biota and anthropogenic artifacts of the Willamette and Columbia rivers. Dark Ecology refers to the intersection of human-made systems with other systems.

Why do you make things?
Peter Korn spoke about his book: “Why We Make Things and Why it Matters: The Education of a Craftsman” @craftmuseum. 

Why do you make things?

Peter Korn spoke about his book: “Why We Make Things and Why it Matters: The Education of a Craftsman” @craftmuseum. 

tweets from PAM

Friday night, John Henry set up at the Portland Art Museum alongside  ”Feast and Famine” , a show curated by Mary Weaver Chapin. Artist Michelle Swinehart created an event that brought together the show’s curator, Chef Cory Shreiber, and a group of artists to discuss food — particularly the potato — with a table full of museum visitors. We distilled a series of broadsides from the event  and had a chance to taste Cory’s delicious Potatoes Anna and Potato Salad.







wooden type, furniture, gamblin pnca watershed grey ink, brayer, apron, press…think we are ready to turn a corner at PAM into our studio for the evening. john henry is printing as part of Feast and Famine: An Eating Experience tonight only — we will be set up just outside of the sold out event. It is $5 after 5 tonight at the Museum, come by!

wooden type, furniture, gamblin pnca watershed grey ink, brayer, apron, press…think we are ready to turn a corner at PAM into our studio for the evening. john henry is printing as part of Feast and Famine: An Eating Experience tonight only — we will be set up just outside of the sold out event. It is $5 after 5 tonight at the Museum, come by!

violence meets beauty


My Tree Dreams pal has returned from a journey  to South Africa. She described violence meets beauty and her phrase has been rolling around in my head ever since.

A Portland-based print & design collective led by artists Daniel Duford & Tracy Schlapp, Cumbersome Multiples collaborates with artists, writers and other makers to create limited-edition multiples using a 1928 Chandler & Price letterpress, a cabinet of type, lino-block and whatever else happens to be in the studio. Cumbersome Multiples also produces small-batch paper ephemera such as cards, notes and stationery.

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