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The giant murder hornet story is fading from the public conscience and maybe that is for the best.  I was saddened to hear all sorts of stories of people going berserk and wiping out hives of honeybees and suchlike overreactions (although if anyone attacked any yellowjackets, I maybe wouldn’t shed too many tears over such an outcome–not that yellowjackets are apt to be phased by anyone coming after them with anything less than a flamethrower anyway). But the bigger point here is that bees are our lovable friends and we need to cherish them!

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To underline this, here is an annex story to go with all of the little watercolor pictures I painted in the flower garden during quarantine.  This is a carpenter bee, one of 500 difficult-to-tell-apart species in the genus Xylocopa.  Carpenter bees are gentle bees: Male bees have no stinger and female bees rarely sting anyone unless they are severely provoked.   They are called carpenter bees because they like to raise their families within little chambers inside bamboo or timber (which means you may want to watch poorly stored stacks of lumber to keep these guys from boring perfectly round holes in the boards).

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Anyway, as I was painting there was a sad buzz and a little thud.  A furry black bee fell out of the sky and was lying on one of the bricks in my garden! He lay there dazed for a bit and then tried to take off,  but only emitted an arrhythmic hum before keeling over on his side like The Dying Gaul (albeit with far more appendages and eyes). I don’t know how to resuscitate bees, but they are famously needy of energy (and strongly affiliated with a certain sugary natural source of metabolic energy) so I went inside and put some honey on a little stick and put it next to him. The bee weakly crawled over to the honey and eagerly lapped at the sweet amber like an addict, but then after a few more timorous buzzes he just sat there in the sunshine.

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I sort of expected to see a brown creeper fly down and eat the tired carpenter bee like a socialite gobbling up a fig wrapped in bacon, however it seems like my scheme worked:  an hour later there was a more substantial buzz from the brick and then moments later I saw a pair of carpenter bees slaloming off into the crabapple blossoms overhead! Of course the bee didn’t really do anything for me in this story (aside from pollinating my crops, holding up the ecosystem, and not stinging me) yet the whole incident gave me a sort of happy glow.  Here is a blurry picture I took of the little guy.  I hope he is ok out there in Brooklyn these days.  Maybe I need to get one of those little carpenter bee houses.

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My neighbor, the carpenter bee

 

As you can imagine, this year, my garden has been a particular source of solace and inspiration!  Alas, spring’s explosion of flowers is already fading away for another year.  As always, I tried desperately to hold onto the beauty through the magic of art, but (also as always) the ineffable beauty slipped away as I tried to capture it with paint. In fairness, the true thrust of my artwork lately concerns the crisis of life in the modern oceans (which is a rather different subject than pretty pleasure gardens).

A few weeks ago I posted the watercolor paintings which I made of the garden’s cherry blossom phase.  Here are some little sketches I made during the tulip florescence which followed.

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Leen Van Der Mark Tulips in Brooklyn (Wayne Ferrebee, 2020) Watercolor on paper

These tulips are called Leen Van der Mark, and they are my favorite (since they look even more Dutch than they sound).  Initially there were even more tulips than this, but the squirrels beheaded quite a lot of them.  The strange metal mushroom is some sort of industrial vent/fan thing. Probably best not to think about it too much.

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The Broken Pot with Crabapple Blossoms (Wayne Ferrebee, 2020) Watercolor on Paper

Here is a melancholic picture of the non-flower part of the garden.  The neighbor’s cypress wall fell down in a spring gale revealing the wire, garbage, and urban chaos on the other side. I tried to capture the madness (along with the poignant broken pot and withered elephant ear), but I feel like I only managed to draw a blue halo around the fake plastic urn.

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Bleeding Heart Sphinx (Wayne Ferrebee, 2020) Watercolor on Paper

There are some small casts of classical sculptures in my garden.  This little sphinx always topples over unless it is secured to a brick or a paver.  The strange taupe “hands” are meant to be hellebore flowers–which are actually that color but which possess a winsome troubling beauty wholly absent here (although I guess they are a bit troubling). Once again we can see bits of the detritus in the neighbor’s exposed yard.

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Rhododendron in Spring Flower Bed (Wayne Ferrebee, 2020) Watercolor on Paper

Here is the opposite side of the garden,with some summer impatiens popping up.  I have forgotten what these orange and yellow tulips are called, but they remind me forcefully of my childhood (when I gave one to my schoolbus driver in kindergarten). The extreme right of the composition features a very beautiful and robust fern (although we can only see one of the surviving fronds from winter). In front of the frond is a species tulip, Tulipa clusiana, which is native to Afghanistan, Iran, Iraq, Pakistan and the western Himalayas.  Those places are usually much scarier than Brooklyn, so perhaps it will naturalize and take over.

Thanks for looking at these pictures.  I am a flounderist rather than a garden painter, but it was good to have a pretext to just sit in the sunny garden and stare at the flowers for hours.  I will see if I can take the watercolor set out to the stoop and do a street scene as summer gets closer.  The police have been scuffling with quarantine scofflaws out front, so that painting might actually be an exciting picture (if I can watercolor fast enough to paint a near-riot).  Speaking of which, stay safe out there and best wishes for continuing health and some floral joy of your own.

 

20190425_081423[1].jpgIt is blossom season in the garden, and I have been out there sitting beneath the petals and stars rather than in here writing about it (although you can read posts from years gone by, like my favorite post about the larger meaning of blossom aesthetics).  Fortunately I managed to take my camera outside before the squirrels beheaded all of my tulips (although they certainly got a lot already).

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The tree with the white blossoms is a flowering dogwood.  The tree with the fuchsia blossoms is an ornamental crabapple, and the tree with the pink blossoms is of course a Kwanzan flowering cherry…how I love it.   I will try to take some more pictures, but right now I think I am going to go out and sit under the tree and reflect on life.

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Look! A garden visitor!

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Here is a link to a project by my long-time friend Josh Hoisington.  Josh has been working in the music industry for years and he has always been on the edge of blowing up (in the sense of succeeding enormously, not of exploding: although sometimes it is hard to tell the difference with popular musicians).  His newest musical project takes on the task of the English metaphysical poets: to explore our relationship with God and morality through the intensely personal language of romance and the sensual and trancelike electronic music of dance clubs (this is not as quixotic a task as it may sound…just ask the Sufis who believe that dreamlike music, otherworldly dancing, and exploration of our relationship with Allah all go together like a single calligraphic symbol).

The refrain “My dialogue may not with God, but it’s with myself…” certainly reflects a theme which Ferrebeekeeper has been meaning to return to: that deities are the ultimate metaphor for self.  Let me know your impressions and I will pass them on the musicians.

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For many years I studied at the Art Students League of New York, a storied yet inexpensive atelier-style art school/collective which accounts about half to ¾ of all eminent American artists as members, pupils, or instructors at one point or another.  I would work all day as a stupid flunky at a bank and then go to the League and paint for three and a half hours every night.  At the Art Students League, one could find every sort of artist from around the world, from international art superstars to first time hobbyists. I mostly studied with the great portrait painter Ron Scherr who drew young luminaries of contemporary realism to him like a man casting loafs of bread in Union Square park draws pigeons.  There were many gifted Scherr students whose works and careers I need to highlight, but arguably the most gifted draftsperson was my friend Mark Kevin Gonzales, a chess player who grew up in Brooklyn (the rest of us just moved here to make it in the arts) and went to the famous Brooklyn Technical high School.

Since Mark is a native New Yorker, his artwork highlights life in the city, and these particular artworks highlight the animal life of the city, our famous rock pigeons (Columba livia) which throng the city’s parks and statues.  Indeed they are famous urbanites around the world.  The watercolor painting at the top highlights Mark’s mastery of  form shading and color.  The pigeon has been rendered in swift staccato strokes of watercolor (a famously unforgiving media) yet because of his masterful brushwork, the piece has an illusion of three dimensional form and conveys the impression of details which aren’t actually there.  A master’s secret is that if you can get the first few lines exactly right, you don’t have to agonize over a bunch of fussy little lines (but…oh let’s not talk about the years and years of practice necessary to get those big flat shapes to come out exactly right with the flick of a wrist).   The pigeons feathers seem to glisten with shimmering iridescence which is upon close inspection revealed to be a simple wash of viridian.  Its lively eye and cocked head makes the viewer think that the bird is observing the observer from beyond this little square of paper.  I suspect the bird really was observing Mark closely in whatever park he painted this (the poor pigeon probably though he was being sized up by a big weird cat as Mark crouched at his traveling easel).

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The second painting is even more of a quick sketch…but it is also more of a celebration (and a political piece).  This pigeon is strutting his stuff as joyous 4th of July fireworks go off in the background.  Notice how the pyrotechnics have colored the urban bird red white and blue.  Rock Pigeons are not originally from the new world (neither are Mark’s black and Philippine ancestors, come to think of it) but they have moved here to New York and lived here successfully for generations and they have a greater claim to being native New Yorkers than just about anybody.  It is good to see the patriotic national colors fitted out for an existence which is completely urbanized and it is so good to see some of Mark’s playful small works (he usually works in exquisitely rendered large format portrait painting).  You should check out his amazing work in Drawing Magazine or at his website, or just take a gander at his astonishingly lovely drawings and paintings on Instagram…Oh and tell him what a gifted artist he is: he certainly already knows, but it is always still good to hear.

 

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Today (June 21st 2018) is a sacred day.  In the northern hemisphere it is the first day of summer, the longest day of the year. I love each season a great deal…but I unabashedly love summer the most. At evening the sky is alive with fireflies and bats.  The garden is filled with roses, lilies, and hydrangeas which gleam like particolored stars in the long fluorescent twilight. As the weather warms the oceans, New York City is revealed to be a beach paradise. I live in a West Indian neighborhood and for a season it is like I live on a Caribbean island: everywhere there are stalls filled with tropical fruits, women in bright sarongs, bike rides to the coast and the dulcet songs of the islands lingering in the air as children laugh and cicadas chirp. Summer!

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But there is a sadness to the solstice too, which I guess is part of life.  The first day of summer is the longest, and from there, the days get shorter and shorter.  If the winter solstice is the effective beginning of the year, the summer solstice is an end too.  Things have peaked.  Even as the nights get hotter they get longer.  Before you know it, it will be autumn and then winter again.  And all of our days are getting shorter too.

Lately I have felt sad.  Year by year my dreams slip further away from the tips of my fingers, and there is no going back to rectify anything, even if I wanted to (and I don’t want to: what else would I be? Some crooked banker who is ruining the world? An ignored ichthyologist discovering minute differences in triggerfish peduncles? The least popular literature professor in a miniscule liberal arts college somewhere?)  I have always felt a deep affinity for my nation, but lately I feel like a foreigner…even in Brooklyn, to say nothing of West Virginia! I have always felt that art was important…a guidepost to the numinous in our world of unfeeling stone, but lately it just seems like another empty battle for status.

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The summer solstice is a day when you can see the past…and the future too, shimmering like Fata Morgana above the pink ocean waves.  It is possible for a second to hear the horse carriages and trolleys passing up old Flatbush…or even to imagine Brooklyn as a patchwork of farms, or a forest with a few hunter-gatherers…or as the terminal moraine of the Wisconsin Ice sheet.  Think of it! a wall of ice taller than the skyscrapers was here. Or you can look the other direction and imagine the sun setting beyond cities of tumbled down towers and ruined concrete cenotaphs.

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The solstice reminds us of oceans of time all around us.  Cronus is standing at our elbow with his scythe and hourglass (or is that bearded old man a druid? Or is it the mirror on my dresser?) We have to catch this fleeting moment as the years wheel away. We have to do something important!  But what?

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It is May Day! This weekend I was thinking about whether to celebrate the ancient pagan festivals and rituals associated with this holiday of seasonal rebirth or whether to instead write about the international day honoring workers. This latter manifestation of May Day came about in the nineteenth and early twentieth century as a response to the excesses of the industrial revolution and the undemocratic forms of power manifested by the cartels and monopolies which sprang up with the railroad, the mills, the mines, and the oilfields. I was sitting in my yard looking at the spring blossoms when the issue was decided for me. Sirens and chants of “The only SOLUTION is COMMUNIST revolution!” filled up the garden. I ran out to the street and a parade of communists was marching up Flatbush in Brooklyn. They were waving blood red flags and waving placards. Most were wearing red shirts and some were riding in a huge old flatbed lorry which looked like it came out of 1960s Cuba.
Although I can respect the socialism of Jaures and I am fascinated by the social democracy of modern forward-thinking northern European countries like Holland and Denmark, I have trouble uncoupling communism per se from the ghastly totalitarian abuses of Lenin, Mao, Pol Pot et al. (plus I grew up in the shadow of the Cold War) so I stared at the communists in shock—as though medieval monks or Sumerian charioteers were riding through. A number of people in the crowd joined them or eagerly grabbed their manifestos though. Evidently the communist message was not as outside of time as I thought.

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A lot of these recherche movements have been springing up lately. There are communists, confederates, tea partiers, celibate terrorists (?), and syndicalists popping up all over the place. There are even confused ultramontanists angry that they can’t understand the current pope sufficiently to treat him as an emperor.

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The oligarchs who reap the greatest benefits of globalized capitalism have not been sharing the benefits of global commerce, nor reinvesting in next generation technology, nor even buying epochal flounder-themed art (although there is always time, great masters!) Moneyed interests are not even hiding the extent to which they are manipulating the American political system, except maybe with some awkward metaphors about how the financial system is like blood. They are breaking the system to exploit it and weirdness, old and new, is seeping into the cracks.
Our democracy and our fundamental economic system are having serious troubles. It is unclear if these are growing pains, or if they are the onset of the sort of changes which felled Athens or undid the Roman Republic. The ossification of our system has combined with rapid social and economic change to completely undo one political party (albeit through mechanisms which would look more familiar to Tiberius & Gaius Gracchus and Huey Long, than to Ayn Rand or William Buckley Junior).

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But back to the communists in Brooklyn—who were, after all, surrounded by police (to a disquieting degree, actually) and drew far more chuckles and eye rolls from the Flatbush crowds than they got converts. It is a reminder that we all need to laugh less at the dysfunction in Washington. Fascist totalitarians are cropping up on the left as well as the right. We need to have some serious conversations about democratic reforms and how to reestablish useful and helpful mechanisms and norms to deal with the changes in the world. Otherwise unexpected weirdos will make those choices for us and instead of a comic stunted Mussolini with porn stars and Russian business ties we might end up with a high theocrat or a tribunal of the people. Things are moving fast: let’s talk more and think more clearly!

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This past Friday/Saturday was the annual Pratt Drawathon, a 12 hour event which is one of the highlights of the New York City art year. I should clarify:  the event is not a highlight of the New York art world year. The drawathon is not a place where elite moguls drink wine from airport cups and buy multi-million dollar status-items to embellish their hegemony.  The drawathon is, instead, a draftsperson’s event where Pratt students and other people who love to draw get together and draw all night. Mostly the artists are young fashionable 18-20 year olds with fluorescent hair and strange stylish raiment who struggle away at capturing the likeness of the models within the media rubric of whatever undergraduate project they are currently working on.  Yet the greater New York art ecosystem knows about it too; so you also find peculiar outsiders dressed like janitors who draw like Raphael.

This year, I worked for 9 hours at my spreadsheet-themed dayjob and showed up to squeeze in among the miscellaneous artists and do some pencil sketches to stay limber as an artist (it is also nice to draw naked people sometimes instead of allegorical flatfish).  After midnight the event also features pizza, caffeinated beverages, and live drummers to keep everyone’s energy up. But alas, this year my energy was flagging and my back was sore as I squirmed on the drafting stool. I was feeling sorry for working all day and drawing all night. That’s when I a model I hadn’t seen before came in and gave me a new jolt of energy…not because they were a 19 year old beauty unstained by time’s cruel tutelage (although such models indeed participate in the drawathon), but for the opposite reason.   A man older than John McCain came in and then held stock-still for heroic long poses.  Holding perfectly still sounds easy in theory, but as anyone who has been to Methodist church can tell you, it is exceedingly difficult in practice. Yet the heroic model easily stood like a statue in the airless room.  At one point the man jumped up on a teetering bar stool and stood with his feet close together balanced and motionless for twenty minutes as the assembly gasped and begged him to be careful and not to fall and break something.  “You better draw fast then!” is all he said.

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Not only was this strange muse indefatigable and brave, he was also generous.  After the pizzas arrive the event loses its coherence until about one o’clock when the proctors dragoon it back into shape.  There are always some artists who wolf down their pizza and wait impatiently for things to get started.  The model (who was named Mike) came in and said, I’ll pose until things get started again, if anyone wants to draw.”

One has to be impressed by the fortitude and bravery of anyone who can pose nude in front of strangers at all (I am not sure I could).  To jump into such a career later in life is to truly overcome the prejudices of society and the indignant dictates of the aching spine. Mike seemed like he was having a great time.  He was friends with the models and the artists. Even more, he was a friend to art (though I am, naturally dissatisfied by my drawings…speaking of which,  I am sorry I cut off his feet on this last image–my scanner is only letter-sized).

So am I saying that my hero is a weird naked old man? I guess I am. The combination of strength, fortitude, generosity, and bravery are hard to gainsay.

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I am sorry that these pictures don’t do him justice, but my back was tired from sitting in a comfy office chair all day.   It’s a reminder that life is short, but opportunities are more diverse than you think.  And it is a reminder to get to work! If Mike can pose 12 hours straight, from dusk till dawn, all of us can get out of your comfortable ruts and accomplish anything.

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I have been excited to start blogging about my spring garden as it awakens from the uncharacteristically frigid Brooklyn winter of ’17/18…and although the tulips are starting to sprout up, we have had a nor’easter “bomb cyclone” EVERY week for as long as I can remember (admittedly, winter is robbing me of memories of warmth, light, and joy).  Anyway here is a picture of my garden on March 21st…the second day of spring.  Hmmm…it is pretty (surprisingly so: my point-and-click photos don’t do it justice), but it is not especially springlike yet.  We will revisit this vista soon, I hope, as the world comes back to life.  In the mean time I hope you at least enjoy the snow photos.

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Back when I first moved to New York, I didn’t know how to cook very well, so my roommates and I ended up ordering out almost every night.  The profusion of infinite restaurants featuring delicious cuisine from everywhere in the world seemed like one of the city’s great features back then.  My favorite sort of take-out cuisine is Chinese, so we would order Chinese from New Panda Garden or Szechuan Delight at least once a week (and sometimes more).

Then one day, my roommate came back with a menu for a new place: Uncle Liao.  We had immense fun saying the name (which you should try) and we started ordering their sour pork cabbage delight—which was magically delightful. Coincidentally, according to a Chinese-speaking friend, “Liao” means “old” in Chinese—so their name was something like “Uncle Old” or maybe “Venerable Courtesy Relative.”  We ordered Uncle Liao all the time and poor Panda Garden closed (and Szechuan Delight was relegated only for the occasions when we had to have sweet and sour chicken, which they did really well).  But then a funny thing happened: the novelty faded from Uncle Liao and the food stopped seeming so delicious.  After a while my roommate picked up a “Red Hot” menu and soon Uncle Liao dropped out of the rotation.

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It is possible, of course, that their food became less good over time (indeed the internet tells me they closed a decade ago for gross health code violations), however I believe the whole cycle was illustrative of the human need for novelty.  After a while the most delicious food loses its special savor, and the most gorgeous ornaments look stale next to newer baubles.  We have an insatiable appetite for novelty–and it is this taste (not the need for sour pork-cabbage delight) which drives more of human activity and purpose than I ever would have credited.  Lately I see Uncle Liao scenarios everywhere: in media, in politics, in relationships, especially in the arts (which are afflicted by a real weakness for novelty even if the new work is stupid or inane)…yet even science and academia are prone to the “good because it is new” phenomenon.  I suppose this itself is good, since it drives change and innovation, but it is alarming too…our collective hunger which can never be sated which draws us to new things even if they are stupid or tasteless (or kind of too salty with too much MSG).   I don’t propose not trying new things (far from it), but we should be aware that they tend to overperform on the curve and most of them are destined for the back of the folder…or the landfill…or the “CLOSED” tab on the menu finder.

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