VoicesBeyond

theCanvas

Ekphrastic Expressions:Poetry Inspired By Art

Suzanne Bruce, poetJanet Manalo, artist

Cover Art:The cover is a small section from “Abstract Landscape,” a composition of two painted canvases, woven together as one; finished dimensions are 58”x39”. Artist: Janet Manalo.

Copyright©2007 by Suzanne Bruce and Janet Manalo

All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of quotes for personal use and brief quotations embodied in critical articles or reviews.

ISBN 978-1-59872-789-0Instant PublisherCollierville, Tennessee, USA

1.Contemporary Poetry, inspired by Art. 2. Art-Ekphrastic Expressions.

Layout and Design: JEHM Publications; jehmpublications.com

VoicesBeyond

theCanvas

Ekphrastic Expressions: Poetry Inspired by Art

Suzanne Bruce, poetJanet Manalo, artist

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This book is dedicated to everyone whose voicesand imaginations soar beyond the limits

of pen or canvas.

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Acknowledgements

We are sincerely grateful to our families, friends and community for their support and encouragement of our collaborative work, as well as our individual pursuits of artistic expressions.

We would also like to thank the City of Fairfield and the Cultural Arts Award Committee for providing us with a Grant for our Ekphrastic Expressions endeavors.

With Special Thanks

To Rebecca who taught me that my voice is worth hearing and encouraged me to write poetry. And for George’s writing class which provides the critiques and feedback that has helped me through my writing journeys. To Victor for being such a wonderful friend and sounding board. To Marjean and Jennifer, each with their busy schedules, who still took time to encourage me to pursue my dreams of publication. Lastly, but not least, to my husband Ed for his massive support of my endeavors and patience through many hours of reading, rewrites and revisions. --- Suzanne

With Special Thanks

To Rod, my husband and wood-working wizard, for his love and unwavering enthusiasm of all my projects and dreams. To my daughter Sotara and son Daniel for their love, creative input and encouragement to just “have fun with it.” And to Suzanne, for her friendship, great sense of humor, and the opportunity to meld my artistic visions with her poetic voice. --- Janet

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Contents

What Is Ekphrastic ? 10

A Contemporary Twist to Ekphrastic Expressions 11

Discovering our Collaborative Voices 12-14 Art in the Park: Feelings

Ekphrastic Work Art Poetry Patwin’s Grove Strength 18-19 October’s Carpet October’s Carpet 20-21 Drowning Drowning 22-23

Morro Bay Beyond Belonging 26-27 Elusive Dreams Elusive Connections 28-29 Woven Elements Woven Puzzle 30-33

Hidden Garden Bird of Paradise 36-37 Spring Recital Spring Recital 38-39 Chemistry of Music Musical Reaction 40-41

Limitations Invisible 44-45 Still LoveYou Affirmation 46-47 The Rose Winter Rose 48-49

SkyRibbon Sky Ribbon 52-53 Pearls of Wisdom Pearls of Wisdom 56-57 Faded Memories Toy Box 58-59 Warrior 1 Release 62-63 Backbend Asana Metamorphosis 64-65 Meditation Meditation 66-67

Ekphrastic Work Art Poetry

Homage to Chocolate Magic of Chocolate 70-71 Happy Hour Endless Loop 72-73

Mural Dancer Mural Dancer 76-77 Flights of Fantasy Cosmo’s Voice 78-79

Glossary Poetry Forms 82-83 Art Mediums 84-85 Awards, Events and Exhibitions 86-87

About the Poet and Artist 88-89

What is Ekphrastic?

James Heffernan explains Ekphrastic in a straightforward way. Ekphrastic derives its meaning from the Greek words ek (out) and phrazein (tell). Ekphrastic (also called Ekphrasis) denotes, “telling in full.” It is most often associated with poetry concerning itself with visual art.

In the Second Century A.D., Ekphrasis was used as a rhetorical term for a vivid description. In the Third Century it began to designate the description of a specific visual art piece or painting. During the Fourth and Fifth Centuries, Ekphrasis also followed the idea of poetry describing visual art. It first appeared in the English language in 1715.

William Blake’s poetry of Dante’s “Divine Comedy,” or John Keat’s well known “Ode on a Grecian Urn,” are prime examples of Ekphrastic work.1

Besides the literal definition as demonstrated with many works, Ekphrasis can also be used as a term to describe what we see in our imaginations. Images that our minds create through dreams and fantasies can be stirred through observation of the art and expressed in various word forms.

1Heffernan, James A.W. Museum of Words: The Poetic of Ekphrasis from Homer to Ashbery.

Chicago and London: University of Chicago Press, 1993. 191.

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A Contemporary Twist to Ekphrastic Expressions

There are many ways in which poetry can be considered Ekphrastic. It can simply describe the art, voice a particular feeling, or evoke a memory. Traditionally, Ekphrastic poetry is written to a specific piece of art after the art has been completed.

We are taking a different approach and are enjoying the freedom of our contemporary definition of Ekphrastic Expressions!

The majority of poems in this book were written by Suzanne after each piece of artwork was completed. In a few instances, the poetry took shape while the art was being created (i.e., Patwin’s Grove, Strength and Meditation) with both of us sharing our stages of creativity with each other. Once, we even reversed roles - Suzanne painted Drowning and Janet wrote the corresponding haiku. A few poems, like Affi rmation, Invisible, Toy Box and Winter Rose, inspired Janet to create specific pieces of art because of the intense emotions or vivid imagery described in the poetry.

There is as much diversity in poetry styles as there is in art mediums. Our work reflects that variety; however, great consideration was given to melding poetic styles and art forms. This is another step we have taken beyond the traditional Ekphrastic pairing of poetry and art.

Each art piece has its own voice, as does each individual poem. Ekphrastic Expressions simply gives them an opportunity to perform as a duet. Why then include a poem with the art piece if they each have their own voice? We hope this book gives you a pleasant starting point to explore art and poetry without feeling intimidated about “understanding” the message or “interpreting” the visual. We invite you to take in the visual and the verbal to reach your own conclusions and experience your own unique reactions.

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Discovering Our Collaborative Voices

We became acquainted in 2002 through Linda Schrupp’s yoga classes in Fairfield, CA. Our initial work occurred in October 2005 when Janet participated in the Vacaville Art Gallery’s plein air competition. Painting while being observed by curious people at Andrews Park proved to be both challenging and stimulating. Suzanne attended the event, took in the atmosphere and sensed Janet’s energy levels. At the conclusion of that long day, Suzanne asked Janet to share her feelings. She emailed her the following list of adjectives: Inspired, Carefree, Challenged, Hot, Hungry, Drained, Raw, Worri-less. Concurrently, Suzanne was taking classes in creative writing classes, so she used these words and composed the following poem:

Art in the Park: Feelings

One morning the world began as itusually does, dark lifted its shadedscreen to pink and yellow smears that stretchas far as you can see.

Amazed at the colors, inspired tomeet its carefree appearance, youchallenged your brushes to dance on anaked canvas of white.

Paints revealed images from your soulwhich were actually transformed fromwhat you really saw. Or was it thatit was all a mirage?

Hot, hungry and drained, your body couldno longer sustain what it needed tocontinue. Creativity turnedinto raw exhaustion.

Now, worri-less energy subsides,like the merciless ache leaving a sore heel,you find peace with your experience,and savor some great wine.

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Three weeks later on October 29th, we attended a plein air and poetry workshop, organized by writer Aleta George and hosted by poet Sherry Sheehan and artist Robert Chapla. It was held at Rush Ranch.

About a dozen people attended and enjoyed the natural beauty of Rush Ranch Open Space and Reserve in Suisun. The moody skies and autumn colors were a perfect backdrop for the artists and poets. Most everyone worked independently, except for Suzanne and Janet.

We set up ‘camp’ in a grove of trees. Janet had canvases, wood planks, brushes, pens, paints, and chalks. Suzanne had her journal, favorite pen and a comfy mat. During the course of the day, we each focused on the grove of trees. At times we shared our progress, but most of the time, we worked in silence, took in the environment and the process. Once we even switched roles: Suzanne painted spontaneously and Janet penned a poem.

Near the end of the day, Janet experimented with an abstract composition on canvas that she painted with rich browns, yellows and grays. She placed the wet side of the canvas directly on the earth under her feet, embedding twigs, leaves, dirt, dust and pebbles.

The workshop concluded with a symbolic circle of hands after the poets and artists had shared their work from the day’s experiences.

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The first three poems and art pieces in this book are a result of that workshop at Rush Ranch. Patwin’s Grove and Strength were almost entirely finished by the end of that day. October’s Carpet, both collage and poem, were completed later in November. The haiku which accompanies Drowning was finished later in November, as well.

Both of us have vibrant enthusiasm about ekphrastic poetry and art. New ideas come to each of us through various activities, events and personal growth. It is our way of embracing history and this ancient art form, taking it beyond the traditional and into contemporary forms of expression. So it is here that we invite you to experience each duet of our selected collections and allow your feelings about them to speak through your own voice.

Enjoy!

Rush Ranch from Janet’s sketchbook

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“Painting is silent poetry, and poetry is paintingwith the gift of speech.”

Simonides (Greek lyric poet, 556-468 B.C.)

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Patwin’s Grove

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Strength

Leaf garnished trail of muddled browns lies atop sleeping souls, inhales, exhales, awakens my slumbering spirit.

Hands of eucalyptus reach to infinite air, display the strength of the Patwin life, hold the brilliance of their ways.

Today is about the light, their light, mirrors to my core reflections of wisdom ignoring ears have failed to greet.

Open silence to noises of the past.

Listen, Breathe, Trust, Live.

To embrace their lessons as a gift, learn from naked bark time sheds layered wounds,

like the stripped lone tree, I too can weather, and still stand.

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October’s Carpet

There flows a special kind of warmas brisk air lands and leavesits mark on my skin. Fallarrives and builds a carpet on the groundof golds and browns, piles of comforton top of paths that have been treaded by many souls.

I listen to the images that speak for those souls.The Salt Marsh Mouse creates her nest in the pickle weed, warmsher body amid nature’s carpet, caresses comfort.Twirling and twirling the array of dried leaves, she protects herself from predators above the ground,prepares for another season of Fall.

While the coyote is present during more than Fall,his airborne howl alerts all soulsto the changes occurring on the ground,the full moon spotlights, even in the dark, the warmcolors magically transformed by the changing leaves, and even with coyote’s call, there’s still a sense of comfort.

October is a time when I look for comfort,a time when I begin to fallinto the blues of seeing skeletons (trees with no leaves),becomes a time of reaching to soulsto teach me ways of history, like the Patwin’s warmtribal unity and respect for the sky and ground.

The Red Tail Hawk radars the groundin search of food for his own comfort.Cattails and tule reeds sway in the sun, warmrays reflect maturing signs of Fall.Green plants and grasses succumb their soulsto browns and dull yellows, as their lushness leaves.