- Published on
"In a Trust so Gentle" - acrylic on deep cradled birchwood panel, 12" x 16" x 1.5". Ready to hang (sides are painted; no need to frame. Hanging wire is attached). Available here and at Artfinder.
When you go,
if you go,
And I should want to die,
there’s nothing I’d be saved by
more than the time
you fell asleep in my arms
in a trust so gentle
I let the darkening room
drink up the evening, till
rest, or the new rain
lightly roused you awake.
I asked if you heard the rain in your dream
and half dreaming still you only said, I love you.
- "When You Go", Edwin Morgan
The poetry of Edwin Morgan (Scotland) continues to mesmerize me. It began when I was introduced to his poem, "Hyena" and continues. He has an ability to be visceral and dark, and also exquisitely tender as in today's poem.
I've been contemplating tenderness lately. And the phrase "in a trust so gentle" made my heart melt a little.
When you go,
if you go,
And I should want to die,
there’s nothing I’d be saved by
more than the time
you fell asleep in my arms
in a trust so gentle
I let the darkening room
drink up the evening, till
rest, or the new rain
lightly roused you awake.
I asked if you heard the rain in your dream
and half dreaming still you only said, I love you.
- "When You Go", Edwin Morgan
The poetry of Edwin Morgan (Scotland) continues to mesmerize me. It began when I was introduced to his poem, "Hyena" and continues. He has an ability to be visceral and dark, and also exquisitely tender as in today's poem.
I've been contemplating tenderness lately. And the phrase "in a trust so gentle" made my heart melt a little.
In a Trust so Gentle
That's not hard to do, lately. The heart melting part. As my edges soften, the light gets in (and comes out, and moves through) and I feel things even more deeply. As I learn to speak gently and tenderly to myself, my thoughts and words toward others become ever softer. I trust again.
About the art: beginning with an unprimed birchwood panel, an inspiration photo and a limited color palette, painting from the inside of the figure outward, and then from the outside of the figure inward. RESISTING the desire to define features. EMBRACING the abstracted background and shapes/textures made by rubber wedge, brush and fingers..
Love the painting and how even with a busy background we center on the figure, somehow in despair but coping.