Will Convenience/Instant Gratification Be Our Undoing?

A City’s exorbitant cardboard trash got me thinking about our excessive consumption, and, in this Covid-19 reality, creating.

Author’s portrait of Amazon’s Jeff Bezos. Oil and x-acto knife on recycled cardboard. Covid-19 series. Cutting into cardboard give a 3-D effect.

I’ve longed to live in NYC for years, and when it became a reality this October, it didn’t disappoint in showing me a rich banquet of stimuli that could satisfy the senses of any appetite. But an interesting side effect, a slight indigestion, grew as my awareness sharpened and revealed some of the underbelly amidst the dazzle.


Sure, I expected to see skittering rats on the subway tracks and a cockroach or two. What I didn’t expect were mountains of trash, especially cardboard, left curbside most days. This begged the question why do we have to have so much? All you have to do is look at the growing trend of self storage units that have become a blight on the landscape anywhere in the U.S. We have so much damn stuff, we need additional space to house more damn stuff. And then there’s the environmental impact.

Back in October an average of 1.5 million packages a day were delivered to NYC. In addition to the congestion, add to that the growing concerns about carbon dioxide emissions and deteriorating infrastructure.

For most of us, myself included, these growing concerns flicker to a weak flame for a moment in our consciousness but then quickly get tamped out by our desire for convenience and instant gratification so easily attained with the tap of a finger.

But this pandemic is an opportunity to reevaluate, reflect, to go deeper.  By going deeper I mean calling on our higher nature to do the right thing instead of succumbing to our lower nature that always demands I want it now. Essential workers’ lives in this plague economy are on the line, and that includes people filling orders and delivering goods. We’ve got to be asking ourselves is this something I need or something I want? Is it an emergency? Then act accordingly.

Author’s painting: Fort Greene Park, Brooklyn, NY. Oil and x-acto knife on cardboard. Covid-19 series.

Like millions of others, I’m trying to exercise restraint and do the right thing. At the same time I’m looking for ways to be productive, creative, and entertained with what I already have as we social distance and self quarantine. 

As an artist, I’m continually looking for ways to be innovative while limiting my carbon footprint. Not able to find the right size canvas/wood block I wanted, and not wanting to place an order that required a delivery, I looked to recycled items.

In January, I joined the ranks of the bottle-pickers and began scavenging my Brooklyn neighborhood for large pieces of of unblemished cardboard (flat screen TV boxes are perfect). This resulted in a never-ending, free supply of discarded cardboard and the discovery of a medium that, when cut into, adds a 3-D effect to my paintings.

Author’s painting: Nostrand Ave., Brooklyn. Oil and x-acto knife on cardboard. Covidd-19 series.
Author’s painting: Lafayette Ave., Brooklyn, NY. Oil and x-acto knife of recycled cardboard. Covid-19 series.

Covid-19 has brought the world to a screeching halt. If it has done anything, it has, perhaps, forced us to take a ” searching and fearless inventory of ourselves.” Or it should.

I’d like to think there are many ways we can make a difference. Acts of kindness, thinking of others, being resourceful and creative can spread exponentially too.

The Spring/Break Art Show in NYC is a Riotous Affair of Small Galleries and Independent Curators Representing Unknown, Emerging, and Mid Career Artists. What a Blast!

Jeremy Olson/ To Scale: friends and neighbors. Oil on Panel. I met the artist!

It’s the season of Art Shows in NYC right now, and the title Spring/Break certainly heralds a dizzying collection of art including installation, interactive, and video work from about 130 international curators. The show is housed in unused, unusual, and sometimes historic buildings in the city at no cost to exhibitors.

In its ninth year to NYC, the show is located on the 11th and 12th floors (formerly leased to Ralph Lauren, I was told) at the Atlantic Production Center, 625 Madison Avenue. This year’s theme is “In Excess.”

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Two of artist David Frye’s acrylic paintings.

Chatting it up with the curators and artists is the best part. The Spring/Break show is new to me, so I asked lots of questions. For instance, What is an independent curator?  I arrived at booth 1036 on the 10th floor and spoke to Mary Gagler who was representing artist David Frye and his “Golden Calf” acrylic paintings in sculptural frames (above). They had painted their small space in a dramatic red color to look like paneling.

She explained that independent curators might own a gallery, work for a gallery or non profit, or free lance. Curators (many of them were also artists showing their work) act as a kind of jack-of all-trades marketing reps.

Many exhibitors got quite elaborate with the design of their space. Curator Lauren Hirshfield recreated a small dining room to showcase her artist’s porcelain ceramics, but the pieces were simply glazed, and though beautiful, got lost in the presentation.

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These ceramic pieces got lost in the presentation!

Curator and artist Jeila Gueramian had just one day to install her huge, plush, crochet/ sculptural pieces that overflowed beyond her space into the elevator hallway. Fortunately, she has her daughter to help during the week.

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Close up of one of Jelia’s huge installations. Lots of crochet.

On my way up to the show in the elevator, a young woman exclaimed, “You gotta check out the artist known as Super Future Kid (Steffi Homa)!  I did. And entered a real gingerbread house comprised of 2500 pounds of salt and gallons of pastel paint replete with toad stools and a foot bridge over a stream of pink water and paintings of colorful, cartoonish creatures.

One of my favorite pieces was a huge ( 90 x 120 inches) installation entitled “Unfolding,” by artists Ori Carino and Lee Quinones.  It consisted of two layers of stretched silk with spray paint, airbrush, and acrylic paint. Illuminated from behind, it was stunning.

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“Unfolding” Spray paint, airbrush, acrylic paint on synthetic silk.

Many of the artists have sold work. Scooter LaForge’s beastly banquet table of hand glazed/fired commercial dinner plates with gold inlay were selling well at $500 a piece. Entitled, “Please Don’t Eat The Animals,” you were asked to “Gorge yourself on the excesses of humanity’s cruelty to animals.” I have vegan friends who would approve.

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Please Don’t Feed the Animals!

Before I realized it, I had already spent two and a half hours and never even left the 10th floor. I ran in to three new friends who had just arrived, and after a brief hello, made my way to the 11th floor to squeeze in a quick walk around as sensory overload had taken over, and I just couldn’t ingest another visual bite.

The show runs from March 3rd to the 9th.

(But I have to get in one more.)

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Krista Klingbeil uses a pastry bag to pipe in silica paste on the surfaces of her paintings.

Embark on a Hero’s Quest. It’s not Just for the Young.

We must let go of the life we have planned, so as to accept the one that is waiting for us.  Follow your bliss, and the universe will open doors where there were only walls.   Joseph Campbell.

A trip to the Metropolitan Museum of Art to see the exhibition, The Last Knight: The Art, Armor,and Ambition of Maximilian I before it closed, happened to coincide with rereading a couple of inspiring books, The Power of Myth, by Joseph Campbell with Bill Moyers, and Do the Work, by Steven Pressfield. Together they inspire a call to action: create a new vision of the future, embark on a quest, slay the dragon of resistance to bring it to fruition.

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His horse couldn’t be lacking in sumptuous adornment. A similar Bard (body armor for war horses) was presented by Maximilian I to Henry VIII.

Campbell’s quote could apply to Maximilian I. Although he was the son of a Holy Roman Emperor, he got little kingly guidance at home. He realized his own “unique potentiality for experience” and created a vision of what constituted a great ruler. With little money, land, prestige, or political clout, he forged a new identity with a marriage to Marie of Burgundy, a full-on propaganda campaign, crafted armor befitting the gods, and dazzling jousting tournaments. In today’s lingo, he knew how to create a brand.

His alliances and military strategies earned him the title of one of the most powerful leaders in European history and probably the label “hero.” I imagine him, with the flick of his fingers, casting off the past and then plunging himself headlong into an uncertain future.

According to Campbell, most hero stories are about the young–finding themselves confronting the unknown in a place, a forest perhaps. The hero embarks on this journey and must leave dependency and immaturity behind and then find the passion and courage deep within to overcome many trials.  If she or he is strong enough, the end result and revelations learned along the way will bring the hero to a richer and mature new life, a new consciousness– a mythological death and a rebirth.

But a hero’s quest isn’t just for the young!

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Ceremonial Armor of Charles V, grandson of Maximilian I and future Emperor.  The cost of this armor would be equal to the price of a Manhattan townhouse in today’s market. Original photo

A hero’s journey is exactly what we need in the later stages of our lives. To look inward, To be reborn. To save ourselves.

When we’re older, past childbearing/ child rearing years, or in retirement, we can find ourselves suddenly lost too, wondering what it all means?  Our trials are different– lost youth, declining bodily functions, confronting mortality (technology!)–but no less difficult. Shouldn’t  we to go forth and participate in life with as much courage and vitality as we did when we were young?

I think so. We Boomers are leading the way.

Now that we’re living longer we have another chance to take this adventure. Maybe it’s finally taking a cross-country trip, committing to a healthy life style, writing that book, or starting that business venture. You don’t have to go far or put yourself in much danger. But you do have to get out of your comfort zone.

Getting started and staying the course is the hard part.  In his book Do The Work, Steven Pressfield puts is this way:

On a field of the Self stand a knight and a dragon.  You are the knight. Resistance is the dragon.

Resistance will probably be the greatest trial, and some of the “greatest hits” that elicit the dragon of resistance according to Pressfield are any creative art, any course or program designed to overcome a bad habit or addiction, education of any kind, any act that entails commitment of the heart. In essence, “any act that derives from our higher nature instead of our lower.”

Pressfield says we can use resistance as a compass.

Rule of thumb: “The more important a call or action is to our soul’s evolution, the more Resistance we will feel towards pursuing it.”

Next to resistance, Pressfield, goes on to say, “…rational thought is the soul’s worst enemy. “Bad things happen when we employ rational thought, because rational thought comes from the ego.” Rational thought or the ego will find a multitude of reasons why this adventure is a bad idea. It wants to play it safe, quell those fears that arise. What’s the solution?

Instead, we want to work from the Self, that is, from instinct and intuition, from the unconscious.

Working from the self requires spending some quiet time away from social media, texting, anything that constantly grabs our attention.  Long walks, keeping a journal, enjoying nature, prayer/meditation help to cultivate intuition and shed light on the unconscious. These are simple undertakings, yet they require the most effort. But what a thrill it will be to live a second self– a new version of you.

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Steel Gloves–Gauntlets– of Maximilian I.  These give new meaning to the expression: Throwing down the Gauntlet. Original photo

Joseph Campbell coined the phrase follow your bliss.  He affirmed living life as an adventure.

What each must seek in his life never was on land or sea. It is something out of his own unique potentiality for experience, something that never has been and never could have been experienced by anyone else.

So, throw down the gauntlet.

And with your higher self, pick it up.

Embrace the challenge.

NYC Artist Poogy (Briggs) Bjerklie, a Hallowell, Maine Native, has a One-Woman Show at the Sears Peyton Gallery, New York, NY.

New York City is still a mecca for artists the world over, and the neighborhood of Chelsea, home to hundreds of galleries, is often hailed as one of the city’s most important and influential art districts.

One of the many exciting things about living here is being exposed to all this stimulating creativity and attending art openings.  What’s even more exciting is when the one-woman show at the Sears Peyton Gallery, in Chelsea, belongs to a childhood friend who grew up in Hallowell, Maine, and graduated from the Maine College of Art.

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Early Morning, oil on panel 20x 20 inches.

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Between the Trees, oil on panel, 27×27 inches.

Along with a festive and colorful crowd, I was able to celebrate, Poogy Bjerklie, The In-Between, her second exhibition with the gallery.  Described as “…landscape paintings, rendered both intimate and anonymous, imagined and reimagined, on dreamy, luscious surfaces,” I would add that her work has an old world, other worldly quality, which draws you in to reflect on happy childhood memories playing outdoors hoping for talking animals and fairy sightings. Her paintings evoke a response.

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Poogy and husband, John opening night..

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An art patron at the opening. Love the coat.

Poogy’s story is interesting.  After graduating from Maine College of Art, where she met her husband, John, she somewhat reluctantly agreed to move to Brooklyn.  Back in the 90’s, they rented a huge apartment that included studio space in what was then an AIR (Artist in Residence) building, which housed about 13 other artists.

At the time, Poogy was creating hand-painted clothing in addition to oil paintings.  It was common back then for landlords to ask tenants to hold open studio weekends to showcase their art. Many artists became suspicious because more and more, landlords saw this as an opportunity for real estate developers to have easy access to view the entire building and then make an offer on the property. This wasn’t the case with her landlord.

Not wanting people traipsing through her space, she reluctantly agreed, and, instead, built a temporary wall about four feet into her studio that prevented the public not only passage into her work area but also her living space. She painted and distressed the wall a rich bronze color that captured the light and beautifully enhanced seven small paintings.

Her display caught the eye of one woman in particular during the event.  After admiring Poogy’s work, she bought one painting and announced, “I’m scheduling a one person show of your work in October.” This patron happened to represent the Phatory, an East Village art gallery, still open today, specializing in contemporary art.

Every painting sold.

The rest is history.

In 2018, The Maine Museum of Art located in Bangor, part of the University of Maine, Orono, selected Poogy to exhibit her work entitled, Poogy Bjerklie, Nowhere in Particular, at one of its five separate exhibition spaces. The Museum had found her through the Sears Peyton Gallery and had been looking at her work over the years. Oddly enough, they didn’t realize at the time she was a Maine native.

Her work was displayed at the museum from January 12–May 5, 2018.  Typically, artists don’t usually sell paintings at museum shows, but as luck, or should I say, talent would have it, Poogy sold four paintings to one collector.

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Distant Mountains, oil on paper mounted on wood 11 1/4 x 11 1/4.

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Proud moment with a dear friend at her solo show.

While New York City (Queens to be exact) continues to be her primary residence, she still owns seasonal lake property in Maine where she draws inspiration from its natural beauty like so many artists before her. In fact most, if not all, her pieces in this current show were done in Maine this summer.

What makes this a particularly significant event for Poogy is that the year 2020 is proving to be an exciting time for women in the arts as museums everywhere are focusing requisitions and programming on long, underappreciated female artists.The Baltimore Museum of Art has even dedicated all its 2020 programs and exhibitions to women. There couldn’t be a better time to be recognized with a solo show.

Her journey from small town Maine to New York City and having gained entree into its high velocity art scene is notable. Surrounded by lush and graceful paintings representing years of hard work and well honed talent was profound. The vitality and enthusiasm in the room opening night was palpable.

It is inspiring to see an artist still opening her heart–still following her bliss.