Made from cutout paper, text from books, pen drawings and old paintings.
'He found my hand, the hand with the pen. He closed his hand over my hand. "Go ahead, bub, draw," he said. "Draw. You'll see. I'll follow along with you. It'll be okay. Just begin now like I'm telling you. You'll see. Draw," the blind man said.
So I began. First I drew a box that looked like a house. It could have been the house I lived in. Then I put a roof on it. At either end of the roof, I drew spires. Crazy.
"Swell," he said. "Terrific. You're doing fine," he said. "Never thought anything like this could happen in your lifetime, did you, bub? Well, it's a strange life, we all know that. Go on now. Keep it up."
I put in windows with arches. I drew flying buttresses. I hung great doors. I couldn't stop. The TV station went off the air. I put down the pen and closed and opened my fingers. The blind man felt around over the paper. He moved the tips of his fingers over the paper, all over what I had drawn, and he nodded.
"Doing fine," the blind man said.
I took up the pen again, and he found my hand. I kept at it. I'm no artist. But I kept drawing just the same.'
-Raymond Carver, Cathedrals
Stacking figures, limbs and stories on paper.
www.off-foot.com : A collection of memories from the pitch.
'Roman legionaries kicked the ball all the way to the British Isles. Centuries later, in 1314, King Edward II stamped his seal on a royal decree condemning the game as plebeian and riotous: "Forasmuch as there is a great noise in the city caused by hustling over large balls, from which many evils may arise, which God forbid." Football, as it was already being called, left a slew of victims. Matches were fought in gangs, and there were no limits on the number of players, the length of the match, or anything else. An entire town would play against another town, advancing with kicks and punches toward the goal, which at that time was a far-off windmill.'
Eduardo Galeano, Soccer in Sun and Shadow
'Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no father. Its green border repeats the dark outline of the buried lake; an invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rock's calcareous sky.
Consequently, two forms of religion exist in Isaura.
The city's gods, according to some people, live in the depths, in the black lake that feeds the underground streams. According to others, the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells, in the revolving pulleys, in the windlasses of the norias, in the pump handles, in the blades of the windmills that draw the water up from the drillings, in the trestles that support the twisting probes, in the reservoirs perched on stilts over the roofs, in the slender arches of the aqueducts, in all the columns of water, the vertical pipes, the plungers, the drains, all the way up to the weathercocks that surmount the airy scaffoldings of Isaura, a city that moves entirely upward.'
Italo Calvino, Invisible Cities
Mixed media drawings made while in residency at Vytlacil through the Art Students League.
'They left for the mainland the next morning, taking the six-o’clock boat. Mother got up to say goodbye, but she was the only one, and it is a harsh and an easy scene to imagine—the matriarch and the changeling, looking at each other with a dismay that would seem like the powers of love reversed. I heard the children’s voices and the car go down the drive, and I got up and went to the window, and what a morning that was! Jesus, what a morning! The wind was northerly. The air was clear. In the early heat, the roses in the garden smelled like strawberry jam. While I was dressing, I heard the boat whistle, first the warning signal and then the double blast, and I could see the good people on the top deck drinking coffee out of fragile paper cups, and Lawrence at the bow, saying to the sea, “Thalassa, thalassa,” while his timid and unhappy children watched the creation from the encirclement of their mother’s arms. The buoys would toll mournfully for Lawrence, and while the grace of the light would make it an exertion not to throw out your arms and swear exultantly, Lawrence’s eyes would trace the black sea as it fell astern; he would think of the bottom, dark and strange, where full fathom five our father lies.'
John Cheever, Goodbye My Brother
'It was his fourth or fifth drink and he had swum nearly half the length of the Lucinda River. He felt tired, clean, and pleased at that moment to be alone; pleased with everything.
It would storm. The stand of cumulus cloud—that city—had risen and darkened, and while he sat there he heard the percussiveness of thunder again.'
-John Cheever, The Swimmer
'This is how we did the job: in the boat we had a ladder: one of us held it, another climbed to the top, and a third, at the oars, rowed until we were right under the Moon; that's why there had to be so many of us (I only mentioned the main ones). The man at the top of the ladder, as the boat approached the Moon, would become scared and start shouting: "Stop! Stop! I'm going to bang my head!" That was the impression you had, seeing her on top of you, immense, and all rough with sharp spikes and jagged, saw-tooth edges. It may be different now, but then the Moon, or rather the bottom, the underbelly of the Moon, the part that passed closest to the Earth and almost scraped it, was covered with a crust of sharp scales. It had come to resemble the belly of a fish, and the smell too, as I recall, if not downright fishy, was faintly similar, like smoked salmon.'
Italo Calvino, The Distance of the Moon