Paris Stories: Unlearn What You've Learned (Part IV)

Unlearn What You've Learned (Part IV):

(Paris) Along with differences in age, language, size, and demeanor; between us walked our constant companion, his art. Training alongside the verbal, linear logic of legal precedence, my companion spun mathematical formulas out of his mind into symmetrical circles of exacting care, drawn softly with pencil and later illuminated with black & white acrylic paint.

As the practical, grounded, first-born daughter of an accountant and a classroom English teacher, my style epitomized the ascending power of the American Female Lawyer. It is true that women still struggle in the workplace for equality, but my experience was like a clear, fortunate passage into a profitable career.  At the same time, Gabriel showed me how an unorganized giant, uncomfortable in his own skin, could give his art the hyper-focus it demanded; producing large scale paintings that drew your eye into a tunnel of precision, a mystical maze of fastidious circles.

His art bloomed out of more than a mere triquetra (trinity knot), it subtly revealed the sacred artistic geometry of life; exact, mathematical, but more than just slide rules and protractors. Exhibiting the formulas of Fibonacci and the ancient truths of a sunflower’s pattern of seeds, the paintings communicated the consistent, repeatable thread of life going back to the beginning—the historic symmetry of the human struggle.

[artist and author]

Drawing by hand, sequences appearing to have come from a CAD drawing and a laser printer, Gabriel believed the complete, ancient flower of life formed an inter-dimensional tool, like a portal. Meditation showed him a mental window into what some call the inter-space plane. Not only therapeutic, his mind now had a factory in which to process traumatic stress that had once destroyed and dismantled his natural genius. He patiently waited, unbridled the yoke of mental illness, practicing his art with hope, and what Cameron calls our true nature:

"No matter what your age or your life path, whether making art is your career or your hobby or your dream, it is not too late or too egotistical or too selfish or too silly to work on your creativity. . . . I have come to believe that creativity is our true nature, that blocks are an unnatural thwarting of a process at once as normal and as miraculous as the blossoming of a flower at the end of a slender green stem." (end quote) by Julia Cameron 

Gabriel created two series of curves winding in opposite directions, drawing with a fine mechanical pencil. Beginning at the center, they stretched out to the widest part of his canvas like petals. With each seed-shaped unit sitting at a certain angle from the neighboring seeds, he demonstrated the precision of a spiral, which exists everywhere in the physical universe. The angle found in the “flower-of-life” is the universal “juste-milieu”; yet, it is the most irrational number imaginable for such a drawing, a feeble approximation of a fraction. This number is sometimes called the golden mean, or the golden angle, which is 137.5⁰.

Aristotle thought the angle was the middle point between extremes, e.g., if courage is a virtue, its excess could manifest in one extreme as recklessness, and in deficiency, cowardice. The Greeks thought the golden mean was artistically beautiful but at the same time closely associated with mathematics, being both beautiful and true. Because the best known group of American artists are usually said to be the abstract expressionists of the “New York” style, my artistic palate wasn’t typically exposed to this degree of exactness, but I guess the lawyer in me liked it? Gabriel helped me realize that the artist often must "unlearn" what she has learned, in order to know her path. ##

Fiction ©Mark H. Pillsbury

The Burst of Bloom

The Burst of Bloom (Part III)

[Paris]

“Like the soil, mind is fertilized while it lies fallow, until a new burst of bloom ensues.” (John Dewey)

Without being an adept guitarist, still I joyfully practiced chords and songs in my Paris flat. With a cool breeze coming through the window, the street noise soothed my anxiety about learning. For hours we’d try songs we both knew; singing and reminiscing about each one’s importance; forging the kind of connection that led to a greater one, later. Music’s power moved us to experience different feelings, its primitive elements combined to reflect our own artistic predilections. These times playing guitar together fostered concord in our relationship, although we were hardly aware of it.

We also read together and discussed the state of our interests. By the hidden interface of fellowship through art’s revelation, we shared our personality struggles and became closer to each other’s quest for a new kind of beauty. 

Eventually it became possible to articulate how and where each of us sought validation. My gut told me that God sanctified mathematics through Gabriel, using his imagination as a soul-force. He would humbly remind me that a poem is not a legal argument, and that I could grow beyond my American biases and idols.

Once I read a passage that struck for us a note of truth: 

“Art celebrates with peculiar intensity the moments in which the past reinforces the present, and in which the future is a quickening of what now is;” Dewey continued, calling art’s qualities: “commemorative, expectant, insinuating, and premonitory.” 

This resonated between us, with a fervently mutual hope that the art would be such things, as our intensity grew. 

The Law Student in Paris (Part II)

Part II from Paris:

Cafe Society ©Mark H. Pillsbury (2015)

I’ve often remembered how complicated this relationship appeared on its face; but at that age, at that time, it fit like a glove. Without similar backgrounds or cultures, common-ground came from far more intrinsic personality patterns, where they fell on the arc of our lives. 

His English proficiency allowed us to communicate, but our rapport grew slowly, partly because of our separate styles. Gabriel leaned shyly toward introversion, but his eyes sparkled, connecting with mine when we met.

My strong, gregarious “American” persona, smooth as my tanned legs, pressured his French manhood, yet as artists we were noncompetitive; drawn together by his earnest skillfulness, far more interesting than mine. 

He loved to debate politics, or the legal system. I assumed my sophisticated, cerebral “aura” caught his fancy, but he told me later that he first noticed me wearing a simple red Hermes scarf tying up my long, wavy brown hair.

Even though both of us were “breaking-out” of entrenched patterns; we went about it differently. Trading my logical conformity and linear thinking with sublimity, artistry, and creativity, became more art than science. On the other hand, Gabriel escaped deep-rooted archetypes of chaos and disorder through focus and concentration on life’s blueprint, which he found in nature’s precise mathematical models. As representatives of yin and yang, I believe we came together at the starting point of these changes; like two halves chasing each other, seeking balance. ##

[*This is a work of fiction, all references are coincidental and photographs are used under the "Fair Use" doctrine]