Tuesday, July 12, 2011

Edinburgh the gloomy

Continuing my travels up North, I also visited Edinburgh, the Scottish capital where I have not set my feet yet.  During the visit itself I started to dimly recollect talking about the city, its history, and sights, in our English classes in high school, long time ago.  A very interesting city indeed that generously provided for a surprisingly rich visit despite the unpredictable uncontrollably rainy weather and limited time available for sightseeing.  One has to be warned directly and honestly - visiting Edinburgh without rain is possibly impossible in summer.  But it has some ways to keep the tourist happy - such as numerous museums, shops, or coffee houses (such as this one, the Elephant House, where for instance Harry Porter was born among other novels, scribblings, and journal entries by the tea, coffee, and elephant lovers).  At the first sight, it appears a gloomy city indeed:

Greyfriars Churchyard

One of the sights I did have a chance to visit was the Holyroodhouse, the Edinburgh residence of the Queen. Rich in history, it was home to many Kings and Queens, most memorable probably being Mary Stuart, that saw her lover killed in one of the rooms here by her husband (yes, many gloomy stories in Edinburgh)...

Inside court of the Holyroodhouse
Outside the palace, actually alongside behind it, lie the ruins of the abandoned abbey that inspired Mendelssohn's Scottish symphony among others.  Roofless and open to the sky, defenseless in Scottish weather, the walls still proudly stand, a symbol to both the permanence, and impermanence of things.  It also made me think of the speech by Deirdre McCloskey I heard just a couple of days before about the Victorian travel writer and skeptic Alexander Kinglake, who suggested that every church should bear on its front door a large sign, "Important If True..."

Romantic remains of Holyrood Abbey

Although the rain managed to spoil several of the walks in the city during the two days I spent there, the compensation came in the most ephemeral form - the clouds.  Incredible clouds, almost as if painted by Constable himself kept changing, moving in, moving out, all day long. Although often bringing the rain with them, they kept the sky so beautiful, so curiously different at every moment, that it became a delight for me trying to spot the blue quadrant somewhere in the middle of the stormy surroundings.

Clouds over Edinburgh

Oh, and not to forget Bobby.  As Copenhagen has its Little Mermaid as a symbol, Edinburgh has Bobby.  He is the celebrated dog that spent 14 years mourning on the tomb of his master, John Gray, in the 19th century.  I heard that story in some context before, it was funny to come across the statue of the hero in Edinburgh:



To finish with art, the National Gallery impressed me with this portrait of Lady Agnew of Lochnar, by the talented American John Sargent that kept me standing there, apparently it made his fame in the UK, and I am not surprised.  It left more impression on me than Rafael (he could not paint hands, could he?), Titian, or Gainsborough downstairs (maybe Botticelli's Virgin adoring the child also left an impression).

Tuesday, July 05, 2011

Copenhagen, the bike city


Nyhavn, where Hans Andersen used to live for many years

Lately I have been, among other things, visiting Copenhagen, a city that has been on my travel list for at least 10 years now.  Before, I have only been to Oslo, of all Scandinavian cities, although closely acquainted with Sweden during my early days, while learning to read with a book about Karlsson and his travels on the roofs of Stockholm through the incredible imagination of Astrid Lindgren and my father's efforts.

First impression - a city very similar to Belgium, especially the Flemish part, as well as to Amsterdam.  Another strong impression - bikes. They are everywhere!  There are more bicycles in this city than I have ever seen before, probably more than cars, impressive.  It looks interesting, although maybe not exactly always beautiful to see loads of bikes left unattended in all possible places and positions.



Otherwise the city has more space than other European capitals - big streets, unexciting food, and a lot of Anglo-Saxon influence, for the good or for the bad.  Sure, they all speak perfect English here, 7-11 shops litter every street corner, and eating a steak or a burger is the most usual thing.  Maybe Copenhagen is not architecturally very appealing, but one comes to appreciate the harbour, the small houses, and especially the museums.  Danish culture is carefully presented in the National Museum, with expositions including mummies from 1300 BC, originally buried in oak trunks. Strange to see so much interest in home culture - I am more used to French, English, or Spanish museums proudly exposing things stolen from other parts of the world.  Here Danish have done a great work to expose details of their own, warrior Viking roots.  As interesting as Egyptian culture, a good learning moment, especially given that Vikings were also my own forefathers, engendering Ukrainians together with the Mongols that came all the way from the East.

So much available water also afforded us a pleasant boat tour, visiting the city symbol, Andersen's unhappy little mermaid. Despite the happy-end interpretation by Disney, the original fable is rather depressing. The statue has not been very lucky either.  It is actually famous in Denmark because it has lost its head several times since its installation in 1913 by the Carlsberg brewer, Jacobssen, in fame of his lover.  First, the mermaid was decapitated in 1964, and again in 1998, as a protest against consumerism, and as an act by feminists to show that women are valued mainly in the society without heads, body alone.  The statue is still there, with a copy to replace the head that was never found.


To stay with the mood, we also visited the freetown of Cristiania, ideallist town or dirty squat in the middle of Copenhagen.  The sad free town, declared independent in the 1970s, remains just that...sad but supposedly free...



We finished with a visit to National Gallery and happened to see a very nice exposition of "French" art 1900-1930, especially fauvists such as this Anita by Kees van Dongen:



And Derrain's Woman in Chemise



Travels to be continued...

Thursday, June 23, 2011

MacLeod on Longhope


(picture from Hot Arches Production) 


Incredible climbing and images from Dave completing one of the hardest trad lines free, in a day, 500 meters of Scottish sea cliffs at Orkney.  Amazing, looking forward to climbing with Dave in 2 weeks as part of the Gore-Tex Experience tour, can't believe I'm going to meet the guy...remember watching his E11 movie in 2006 and thinking crazy, just crazy...maybe this could be a definite treatment for my lead head issues? Live and see.

Monday, June 20, 2011

Be water, my friend...



Waiting for the season to come...impatiently waiting...always waiting...



While old good (?) friends refuse to speak to me, new friends are not taking much more care, dropping me on belay, going on with their lives, while me, I'm waiting, wondering at the world, wet and cold, waiting for Godo...


Pictures by Delphine...

Wednesday, June 08, 2011

Mysterious Montserrat


The mysterious Montserrat, the misty, rainy, and full-blown mountain.  It has given me a lot, it probably still has a lot to give.  One just has to be willing to come, to listen, to quietly wait.  Following the Guilleumes descent down, once again, totally wet, slipping with each step, creating friction with my sandals, with my hands, with my hips, feeling intensely the wet vegetation slapping on my face, wet and cold hair getting into my eyes, not thinking, just going down, calculating each step, taking my time and going down.

In the bottomless pit there is a wall.  The one and only dry wall of the day.  Although rain is pouring steadily around us, one white imposing wall is dry.  Obsessed, going up, trying another line, solving another puzzle.  This one is different, this one is the same.  This time it´s a boulder problem that resists me with all its will.  Only 4 moves: first a long reach with the right hand, that is hard, needs some dynamism and decision, but possible.  Then a VERY long reach straight up with the left hand, to a small two-finger pocket, incredibly far away.  The hardest move for me - from down below it just looks impossible, i never reach, i slip with my feet, i struggle with my equilibrium, i change shoes, the new Miuras do not help - the wall pushes me away, the partner somewhere far down below in the mist rushes me to go quickly, we only have a few hours of daylight left, he wants to have his try too.  That reach looks impossible.  I try again.  I figure out the footwork, but the reach is still too far.  Maybe next time.  Then cross with the right hand a couple of centimeters above to another, even smaller, two-finger pocket, if i try hard i fit three fingers there, close the crimp, and pull.  Equilibrium, footwork, believe it, position, and go left again.  Only four moves, but what moves.  The key to the route, the magic key to start dealing with the second part, the remaining hard slabby traverse, again far-away moves, but already more understandable, closer, things i can deal with, slapping on small but definite holds, already having the anchor in sight.

Is this the one? Could i do this one too? Maybe, maybe not.  It depends if the mountain is still with me, if it lets me taste further its deep secrets, if it gives me the right of way for another line, for another moment of hormones, of achievement, or if it leaves me be, lets me fail and stare blankly at an impossible wall.  The mountain does not care, it is concentrated on its trees, its rocks, its mosquitoes and birds, its eternal soul.  Now it is busy overflowing with water, with life.  The humans dangling powerlessly on its walls leave it indifferent, they are insects in the mirror of time.  Let them struggle in their search, in their dire attempts at making sense of their lives, at finding the treasure, at sharing the mystery with another.



when the clouds turn immobile
when the air stands still
when the storm does not appear
and no expectations remain
with spoiled taste in the mouth
time to forget time to remember
time to give up time to smile
time
is
nothing
without you
in the corridors of my mind
wrapped in cushions of red
hanging heels over head
on one rope
swinging in crazy rhythm
another circle
colored in gray
disappearing forever
in the misty night

Tuesday, June 07, 2011

Cathy on Climbing

Another look on the climbing life from Cathy, in a way similar to what Eva Lopez kept talking about this w/end in Panxa del Bou - at some point you have to answer that why question for yourself.

Friday, May 27, 2011

Poetry minute

By the master, Mr. Prévert

Le chat et l'oiseau


un village écoute désolé
le chant d'un oiseau blessé
c'est le seul oiseau du village
et c'est le seul chat du village
qui l'a à moitié dévoré
et l'oiseau cesse de chanter
le chat cesse de ronronner
et de se lécher le museau
et le village fait à l'oiseau
de merveilleuses funérailles
et le chat qui est invité
marche derrière le petit cercueil de paille
où l'oiseau mort est allongé
porté par une petite fille
qui n'arrête pas de pleurer
si j'avais su que cela te fasse tant de peine
lui dit le chat
je l'aurais mangé tout entier
et puis je t'aurais raconté
que je l'avais vu s'envoler
s'envoler jusqu'au bout du monde
là-bas où c'est tellement loin
que jamais on n'en revient
tu aurais eu moins de chagrin
simplement de la tristesse et des regrets
il ne faut jamais faire les choses à moitié

Sunday, May 22, 2011

The fall

Picture by Jaume Clua


So many reflections lately.  But as Weick says clearly in his Sense-making book: "People discover what they think by looking at what they say, how they feel, and where they walked.  The talk makes sense of walking, which means those best able to walk the talk are the ones who actually talk the walking they find themselves doing most often, with most intensity, and with most satisfaction.  How can I know what I value until I see where I walk?"  I do the talk through writing, the walk through climbing, hoping that both substitute quite well.  And if not, oh well, I will remain my only faithful reader, with the added benefit of first-hand understanding.


The fall is a big part of climbing, maybe also of life.  A strong symbol, not only physical, it is also part of such English expressions as "fall from grace", "fall in love", "fall flat on your face", or "fall on deaf ears".  It is also a mythological word, deeply part of Christian, Jewish, but also Muslim and Hindu stories, told and retold to generations of bewildered, open-mouthed children or much more bored and indifferent adults.  In climbing at least, one prepares for it, one faces it, one screams, one bites one's lip, one falls.  The fall can be short, abrupt, and surprising, - like falling in love.  It can be long, painful, even infinite, - like falling from grace.

Falling is a pretty intriguing concept, action-based but oh so mental as well.  When i started climbing, i was unconscious enough for the fall not to matter much.  It was not a possibility deeply considered or analyzed, it was just a consequence, a price to pay for a mistake, something i knew was objectively there, but not close enough to evaluate, to experiment with, to make up my mind about.  Climbing long routes, high up in the mountains, the fall became a far-away reality, a myth, a symbol of something climbers do, but not something i assumed or struggled with personally.  It took some time, but falling came to me, and stayed with a vengeance, waging a total war against my established climbing personality, my self-esteem, my most dearest, - the desire to climb and surpass myself.

I remember clearly my first serious fall - leading the hardest pitch on Whitney-Gilman route on Cannon mountain in New Hampshire, after having done it already at least twice (once in February during a memorable winter ascent with my Russian friends), I clipped the piton, and started traversing.  I got pumped.  I tried to go back to the piton, tried to go directly up.  My arms started to give up.  My partner was too far to hear me.  At some point i just could not hold on anymore and let go.  I have no memory of the fall itself, only of the soft landing on top of my backpack, the surprise at being whole and not aching much anywhere, of the piton still sticking up there its ugly head and holding all my weight, proudly showing off its strength despite the years of corrosion and withstanding all possible weather affronts.  I did not get overly scared - but I haven't done many falls on gear since either.

I remember my other fall, THE FALL, in Callanques, same partner, different route.  Bolted all the way, how much better could it be?  I was too confident, I was that young bold alpinist from the joke, I urgently needed a lesson.  After an epic on the Eiger, an epic in Cham, the third w/end was to be in Callanques, it was time for me to really learn my lesson - not even in my beloved high mountains, but on warm white limestone that first lulled me back to confidence, just to strike better at the right target.  Strong as i felt, i did not manage to clip the bolt from the ledge.  I went for the move anyway, without clipping.  I failed, i fell.  Only a couple of meters, but a nasty, side-ways, painful affair, slashing my foot open and disabling me for the season.  Again, i do not remember the fall, only the strange amazement from looking at my bleeding foot slowly growing in size to a small pumpkin, the adrenaline going down, and the pain kicking in.  The long way up the remaining pitches with one foot and Alex pulling me up the rope, already in the dark, the light of the headlamp so far away, the painful last meters of the supposedly gorgeous ultimate 6a pitch, sitting and waiting for the rescue on top of Devenson in the cigales-filled night.

I thought this one did not matter either - but when i went back on the rock afterward, my brain switched.  It switched automatically and for real.  The switch was on for self-preservation.  The brain does not forget, that switch was genetically programmed and sealed for the years to come.  There was no more risk-taking.  Any fall with any kind of unhappy potential made me give up.  I gave up on 6bs, on 6cs, on 6as, I followed.  I cried.  I raged.  I dreamed of leading and could only go second.  I went higher, on harder routes, but I went second.  I subconsciously blamed my climbing partners, blamed Alex, blamed the world, those were some unhappy years of my climbing.  The reconstruction took some time.  It took a rather long time indeed.  Two years following, a year leading easy multipitch, another year of projecting with slings as long as one could tie together short of toproping.

Now I can almost face the fall - I still use many slings, but i can face the fall, i can count to three, close my eyes, do a stupid Sharma-cry, and let go.  Whatever happens - take it, assume it, believe in your partner, in the rope, the gri-gri.  And fall.  That is an integral part of sport climbing.  Falling is possible, falling can be accepted, never completely controlled.  Time, and a lot of effort.  Maybe, one day, my dream would be to do one of my projects without the slings, opening myself to the fall, taking the risk, enjoying only the move, the freedom, the air below, accepting the possibility of a fall, and moving on with it.  Maybe that is a good next step.  Maybe not.

I do not have recipes, but with a lot of effort, practice, and pushing your body, one can find the gift, the freedom, the courage to look the fall into its scary eyes and let go.  Some people will be able to do it much easier, some will go solo, and not care about gravity or anything else at all.  Most humans will be scared - scared as we are in so many moments of life, scared of failing, scared of climbing pumped, climbing at the limit, scared of giving it all, all the best there is in us, all the best we can give.  The good thing about adrenaline though is that while on the project, when knowing all the moves, the fear is transformed, it changes its colors, it switches its crazy face to a tone of white, not grey anymore.  It is about putting one foot in front of the other, of fighting the pump, of doing the mechanics of the moves - it is not only about the fall anymore.  Coming full circle, the fall becomes secondary, just a consequence of messing up, but not an ultimate punishment, not the scarecrow it used to be, not the unknown grey shadow, but a normal possibility that is accepted, faced, and assumed. 

Tuesday, May 17, 2011

Klaas making Geyık bayıri rock

Latest awesome video by Klaas about the season in Turkey. You have it all, girls, a Western, a highline, snowboarding, hamam, a Sportiva commercial, drilling, and even a cause. Check it out...!


Raki on the rocks - Climbing in Turkey from klaas willems on Vimeo.

Go Klaas, you're the best, go Ruben (boys are growing up)!!! I wonder how Ruth is doing...

Monday, May 16, 2011

The climbing life

Climbing life is a choice - not an easy choice, but a clear choice it is. Some might call it an irresponsible life, a selfish life, a wasted life. All of that might be true. But it is also a life, and as life goes, it has its own ups and downs, its evolution and learning, maturing, illnesses, fears, depressions, sorrows, and joys. You talk about it, you do it, you plan it, you regret it, you assume it. Like any life, better or worse - I am none to judge. I think a life dedicated to something is already a more interesting life than just passing the hours, working, partying, sleeping, eating, and defecating.

I have tried to live my life setting goals, striving for something, at least giving myself the illusion of moving in a direction. Although less clear in my professional life, it has always been like that with my climbing. Longer routes, harder grades, more engagement, more exposure. When I first started climbing, leading what seemed to me then the "free" climbing life, passing months in Yosemite, in Squamish, going on expeditions to big mountains, appeared like a good goal, like something very hard but achievable. When looking at photos of treks in Nepas, when listening to stories every good old mountaineer is so good at telling the youngsters, I not only listened - i believed, i ruminated. It took me some years, some effort, a lot of convincing and family compromises, but I took the step towards my dream, I spent my time in Squamish, in Yosemite, in Cordiliera Blanca. I looked death into the eyes. Those eyes were not scary, they were cold and indifferent. That place was uncomfortable, humid, and inhumanly sad.  There was nothing beyond, it just all ended, even without a scream.  I did not like the image i saw in that mirror. I did not want to be that person - I was not fit enough, i was not strong enough, i was not ready to give it all up. I wanted down, I wanted to live, I had so much more to see and to do, I had enough energy to step by step go up, set up the tent another time, rub the feet against each other, spend 2 hours warming up the hands, suck on the snow, cooperate, and go down. I could move forever, for hours, i was going to survive.

Since, my climbing life changed. It took me a long time to realize the impact, the weight of the experience, the pain of the encounter, the fear of this lonely encounter I did not want to make again soon. Pressured to stop climbing by family, I decided against it, i took it easy, i moved again on the rock, in the sun, in warm rock shoes over easy vertical terrain. I took up the lead rope, i decided i wanted to climb, point. I did not want to be a super-hero, i did not want to be that mountain woman that died young, i did not even care about long routes anymore, i could live without snow-covered bell-shaped peaks that helped one look god into the eye.  But not without a goal. I learned all i needed could be had in just 20 or 30 meters of a vertical playground. The same challenge, the same need for metal will, for grinding teeth, for faith, planning, and determination.

Setting goals is an interesting challenge and it uses up our consciousness to the fullest, the capacity of the brain to focus, to understand, and to coordinate the body for the purpose at hand. In climbing this is enhanced because you set goals about your own body, your mental power, you control (or not) your fear, and you build your strength, step by step. Only you can do it, only you might fail.

After a year and a half of hard training I am consuming the fruits, floating up the old projects, figuring out the moves on the new ones. Climbing is a tough maiden - she requires months of dedication, years of prayer and offerings, and decades of practice. She gives little in return: a vague smile here, a sparkle of an eye there. She spirits away the imprudent soul, the inattentive by-stander; the fleeting relationships, the weak do not withstand her continuous test. Always mysterious, always on the verge of escaping, of letting go your confidence, of betraying your faith.

But then there is the whole process of learning - and i think this is something that surprised me and made me so addicted to sport climbing. Starting a project with hardly being able to move bolt to bolt, looking at the life-line, the rope, and wondering how ever will i be able to lead this - to not only doing all the moves free, but to also getting to the top unaided, floating into the sky unstopped by gravity, by the heavy body, by the obtuse mind. And then, with time, with study, with careful examination, with a lot of self-persuasion, some daring and confidence, moving up, progressing, from doggying the route to starting to make progress, to climbing with a couple of falls, to redpointing.

The process is always the same, the routes are different. Moves change, names differ, weather becomes capricious, belayers come and go. But the rock stays - the pleasure of moving up, of not fearing the draws, of weightlessly moving up and away, the total concentration of being here and now, of living the present moment. Of having invested time, committed oneself to this, and the body responding, doing incredible things one thought impossible, one believed made for gods, not mortals. The magic continues, the magic persists. Maybe it is a stupid magic, a surreal magic that will evaporate one day with the mist of Montserrat, that will leave me be, leave me empty and exhausted, unfulfilled and remorseful, that - one day, staring death into the eyes again.  Or maybe I will continue enjoying every day, every moment of the movement, staying young in spirit if not body, motivated as ever, the head above water.


People come, people go, they hurt you, they are unreliable, they are selfish, they are boring, they are cowards and liars. The rock stays. People come, people go, they surprise you, they teach you, they inspire you. The rock does not change, does not speak, but it does not betray you either.  It shows you who you are immediately, it makes you tell the truth quickly and honestly, sticks your nose into the mud of your reality, but also makes your day happy and worthwhile.  Let the people go, let them choose other lives, let them give up climbing, cheat on the mistress or the wife, leave the goddess in tears, let them give up their dreams and ambitions. Let them believe in prophets, duties, and other mirages. Me - I will go for a climb, I will go search for the mirror to look myself again into the eyes and see my worth, see my courage, see my fear, keeping balance on the edge of the void.

Friday, May 06, 2011

For Maluta

 We all wish you a lot of courage, Maluta...


Have no fear
For when I'm alone
I'll be better off than I was before

I've got this light
I'll be around to grow
Who I was before
I cannot recall

Long nights allow me to feel...
I'm falling...I am falling
The lights go out
Let me feel
I'm falling
I am falling safely to the ground
Ah...

I'll take this soul that's inside me now
Like a brand new friend
I'll forever know

I've got this light
And the will to show
I will always be better than before

Long nights allow me to feel...
I'm falling...I am falling
The lights go out
Let me feel
I'm falling
I am falling safely to the ground

Friday, April 22, 2011

Another new guidebook


After the fabulously picturesque Lleida Climbs, the new Siurana, San Benet, and Rodellar guidebooks last year, 2011 seems to start as another promising year for Catalunya guidebooks - this time it is Joan Miquel Dalmau, the owner of Balco de la Luna shop in my home town of Monistrol de Montserrat, that has finished this superb 450-page guide, complete with photos and a very good map of the Agulles.  Even if you are used to navigating this complicated terrain, the guidebook is a gem to add to one's collection.  Moreover, it also includes the latest updated version of the sport climbing at Vermell de Xincarro and Desdentegada - so far no errors noticed during a quick inspection - Vianant remains at 7c+, Busca Brega at 7b+, Ultravox at 7c, Canela and Vox Populi lack their names, but proudly stand at 7b.  The Vermell part also includes (all?) the latest new routes opened by Piju n co' this winter-spring, such as Kurt Albert.  To be enjoyed and climbed without moderation!

It is also rumored that the latest Luichi guidebook, the new version of Cavallers happiness, is to be found in the shops very soon....!!! Let's see if the projects and routes climbed will keep their grades intact there - now that Smith Rock is downgraded to 7c+ in Lleida guidebook, I need some comforting or simply more training, protein, and campus-pills...

Thursday, April 21, 2011

Cavallers my love

 Opening the season, cold and wet





Philip  and myself on The project...
Jaume the photographer getting fit

Sunday, April 17, 2011

Miro, painter poet

"For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes." Miró

Moon Bird at Smithsonian Hirshhorn Museum, Washington DC

Visiting another exhibition on Miró, I am always enchanted to find his works more surprising, less simple than it might seem at the first sight, always more inspiring, but also more fleeting.  Miró, with his farmer or factory-worker face, looks almost as surreal as Magritte on the old black-and-white pictures.  Is he making fun of us, his audience, painting and talking about these images that find meaning as he paints them, that find their names when he is done throwing paint on the canvass, concentrated, hard-working, all day long?  Or does he know more than us, does he have a different sight, does he talk with Plato's shadows of the ideal?  It is always the woman and the bird that come back in his paintings - not ants like in Dali's nightmares, but constant inspirations for Miro's more poetic and mystic work.  Even during the dark years of WWII he paints women - in black this time. 

One of the discoveries for me during this exhibition in Brussels (where ING is copying Fundacion Caixa in Barcelona with a dedicated space for art in the city center) was a book Miro illustrated for Paul Eluard's poetry.  The illustrations reminded me of Shagal's more spiritual work for the Bible, where here Miro remained Miro - light, easy, un-understandable, full of himself - and full of meaning for the ones willing to accept him as he comes.  Sure, as he and Eluard come together.


Une prison découronnée
En plein ciel
Une fenêtre enflammée
Où la foudre montre ses seins
Une nuit toute verte
Nul ne sourit dans cette solitude
Ici le feu dort tout debout
À travers moi.


Mais ce sinistre est inutile
Je sais sourire
Tête absurbe
Dont la mort ne veut pas dessécher les désirs
Tête absolument libre
Qui gardera toujours et son regard et son sourire.


Si je vis aujourd’hui
Si je ne suis pas seul
Si quelqu’un vient à la fenêtre
Et si je suis cette fenêtre
Si quelqu’un vient
Ces yeux nouveaux ne me voient pas
Ne savent pas ce que je pense
Refusent d’être mes complices


Et pour aimer séparent.
(P. Eluard)

The last impression from the exhibition - this other quote from the artist: "Pour moi, conquérir ma liberté, c'est conquérir la simplicité. À la limite, une ligne, une couleur suffisent à faire le tableau". This made me think more of my thesis - I would wish so much for it to be simple, for me to finally see the light and make it simple, conquer liberty through simplicity...

Wednesday, April 13, 2011

Inspiration

I don't usually post videos, but this one left me drooling, over and over again.  Death to gravity, everything is possible.  Maybe one day, in the next 10 years?  Or maybe not, I will go dream my dream anyway!  Quizas, live and see...


KALÉA BORROKA 8B+ SIURANA Alizée Dufraisse from phil on Vimeo.

Tuesday, April 12, 2011

Strange times

Strange times between projects, looking for motivation, for color, finding reasons to suffer more, working, sleeping, not much more going on - so much more going on.  Moving on, from the South face to the North face, or going in circles.  Pushing people away, trying to keep them in, life goes on, in its own inexplicable way.  Dreams of granite keep me awake at night, nightmares put me to sleep.  Let the strange times roll...



Saturday, April 02, 2011

Melancolia

Hermano, tu que tienes la luz, dime la mía.
Soy como un ciego. Voy sin rumbo y ando a tientas.
Voy bajo tempestades y tormentas,
ciego de ensueño y loco de armonía.
Ese es mi mal. Soñar. La poesía
es la camisa férrea de mil puntas cruentas
que llevo sobre el alma. Las espinas sangrientas
dejan caer las gotas de mi melancolía.
Y así voy, ciego y loco, por este mundo amargo;
a veces me parece que el camino es muy largo,
y a veces que es muy corto...
Y en este titubeo de aliento y agonía,
cargo lleno de penas lo que apenas soporto.
¿ No oyes caer las gotas de mi melancolía ?

Ruben Dario, a leer escuchando Game Over, by Marcel Cranc