Since each of us was several, there was quite a crowd. Here we have made use of everything that came within range, what was closest as well as fartherest away. (Deleuze & Guattari, in the introduction to A Thousand Plateaus, 3)

Wednesday, March 3, 2010

Let The Beauty

A friend sent me the following poem, a line from which she took as the title for her forthcoming solo exhibition (the details of which I will include at the end of this posting by way of acknowledgement):

Today, like every other day, we wake up empty and frightened.
Don't open the door to the study and begin reading.
Take down the musical instrument.
Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground.


I am hesitant to attempt to write another word that might risk the 'rightness' of such a poem yet I am reminded, once again, of how works by Hossein Valamanesh draw me to them in a similar way (and then discover such a connection already exists*).

For me it is the needle and thread that are my 'musical instrument', the act of stitching a form of meditation which stills the world. Words are more difficult, become fraught with uncertainty but perhaps with practice, they will come too.

Details of the exhibition: Let The Beauty We Love Be What We Do
*For a video in which Hossein Valamanesh discusses mentions the influence of Rumi on his work

Image: Detail of 'Mandala Cushion' (2009) antique Japanese sillk from the Philosopher's Path, Kyoto, hand stitched for a friend.

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