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For the Beauty of the Earth

I grew up in trees. I loved to climb to the highest branches during a storm to be part of their dance with the wind, or to wrap my legs around the lowest branch and swing down to see the world from a new perspective. My love for trees was so faithful that the day the Old Maple in my yard was cut down, I did not talk to my parents for the rest of the day. But, I also grew up pulling the legs off of spiders with my older siblings and making a pile of their bodies. These juxtaposing images of my childhood pastimes illustrate the conflict between my appreciation and relationship with the earth, and a learned posture of entitlement over the created world.

KTQuoteMy posture of entitlement assumed a hierarchy of value: myself and all of humanity at the top, and Nature at the bottom. I only knew, despite my life-long love for trees, nature’s purpose to be a resource for human use and exploitation. I did not know the intrinsic value of the earth.

Nature is not part of a hierarchy with humanity, it is meant to be in relationship with us — a relationship we have the responsibility to reconcile. Dorothy Sayers, a nineteenth century Oxford intellect and writer, postulates, in her book ‘The Mind of the Maker’, that we are made in the image of God, Imago Dei, and God is the Creator of all, so we therefore are “mini-creators”. Sayers goes further to state that we, as “mini-creators”, have the ability to create “good” and “evil”, and the responsibility to create “good”. We can find clear examples of this truth all around us: in our relationships, our school work, our treatment of our bodies, etc. But more evasive are the examples of “creating” that do not appear directly linked to the relational or physical formation of “making” something. For example, when we buy a product we do not think of it as creating, but the action of purchasing a product helps create a demand for that product. Whether extrinsically or intrinsically, we are always creating.

If we believe we create with every thought, word, and action, what then should our relationship be toward the created world around us? Traditionally, our posture toward the earth in the Western hemisphere has been one of ownership and dominance. We have interacted with nature on the prideful basis of control over its resources and have exploited them according to our “needs”. Instead of varying crops or resting fields to replenish the soil, we plant acres upon acres of corn, ignoring the depletion of nutrients, to feed the demand for cheap, conservable goods. We have damaged our relationship with the earth, as Hopkins illustrates in his poem ‘God’s Grandeur’: “Generations have trod, have trod have trod;/And all is seared with trade; bleared, smeared with toil;/And wears man’s smudge and shares man’s smell: the soil/Is bare now, nor can foot feel, being shod.” We have put on our shoes and deceived ourselves into believing that what we create (demand, waste, carbon dioxide, etc.) has no lasting degenerative impact.

Where does that leave us? Beyond holding the ideal to create “good”, what are we to do? What we do will look different according to each person, community, environment, etc. Instead, we should ask: how can we be in a reconciled relationship with Nature? Just as we hold the responsibility to be in right relationship with each other and live in community together, so we hold the responsibility to be in a reconciled relationship, and live in community, with the earth. If we know how to be in right relationship, then our actions will, albeit imperfectly, reflect Whose image we are made in. To learn how to do that, well, I recommend listening to the geese: “….the wild geese, high in the clean blue air,/are heading home again./Whoever you are, no matter how lonely,/the world offers itself to your imagination,/calls to you like the wild geese, harsh and exciting/over and over announcing your place/in the family of things.” (Mary Oliver, ‘Wild Geese’)

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Stories In Focus

Sabbatical Stories: Professor Murphy, Art

Q: Why did you choose to take a sabbatical this year?

A: Sabbaticals are very competitive. Not everyone who applies is awarded one. Houghton, like most colleges awards up to four sabbaticals per year. A faculty member is eligible for one after 7 years of teaching (hence the name- reflecting the 7th day of rest) this is my 3rd sabbatical in my 28+ years teaching at Houghton. No matter what year I took a sabbatical some group of students would feel a bit abandoned. I applied for a reduced load sabbatical, which is a bit different from the typical half year or year long versions most faculty elect to take. A half-year is one semester off with full pay. A full year is half pay. I extended a sabbatical over the entire year by teaching 1/2 year throughout the enter year. This gives me only a few contact hours per week on campus and the rest of the time working at my home. I did not want to leave my senior painting and drawing majors completely. This way I still have some limited contact with them in their final senior capstone studio work. I only teach. No committee work or academic advising. It has worked out very well for me. I hope my students feel the same.

Q: What are some of the projects you have worked on?

A: I stated in my application that I wanted to concentrate on three areas of my professional work.

  1. Studio work

  2. Reading in my field and in literature

  3. Reading and research in Film

I feel the best so far about the studio work. I work about 30- 50 hours each week on my paintings (they are really not strictly paintings…mixed media pieces). I average about 2 per week. The drawing phase for each piece takes about 12-18 hours. The painting and mixed media another 10. They are all 7X10 inch works. So far I have completed about 45. By September I hope to have between 75-100 from which I will exhibit about 20-25. These are far more labor intense than work I have done is many years. For the past 7-8 years my watercolor paintings could (and should ) be done in about an hour. At the end of each year I had typically about 200 paintings. From which I would exhibit about 10%.

My reading has gone about as I anticipated. I have concentrated on several postmodernist writers.

Murphy_TedDavid Markson, David Foster Wallace, William Gaddis, George Saunders, and Borges.

I have also immersed myself in poetry- particularly 20th century Polish poetry by Wislawa Szymborska, Zbigniew Herbert,  Bronislaw Maj, and Czeslaw Milosz as well as the Portuguese writer Fernando Pessoa. There are many others- Louise Gluck, Mary Oliver, Tomas Trasnstromer , John Berryman and James and Franze Wright.

I have continued my interest in Shakespeare over this sabbatical with a couple of works of criticism Shakespeare After All and Shakespeare and Modern Culture by Margorie Garber, and Tony Tanner’s Prefaces to Shakespeare. This and the plays themselves which I can listen as I paint.

Film has been mostly work in a few directors I have become more interested in Yasujiro Ozu, Andrei Tarkovsky, and Robert Bresson. I have also been reading in art. Works on Magritte, Balthus, Deibenkorn, Gorky, and Amy Sillman.

Q: How has it affected your work as an artist?

A: I needed time to to immerse myself in a new body of work. Creative work is unlike scholarly work in that no clear ideas can be set out as a plan. The work grows out of the working process. This time to just work and see where it leads has been very productive. I also had opportunity to see several important exhibitions is New York. The Magritte show at the MOMA and the Balthus exhibition at the MET. As well as The Art Institute of Chicago.

My sabbatical really began with my participation in the CIC (Center of Independent Colleges) Seminar at the High Museum in Atlanta where I was one of 20 faculty selected nationally meet and discuss 17th century Dutch art and patronage. This was centered on the Royal Picture Gallery of the Mauritshuis from The Hague, Netherlands, on exhibit is Atlanta.

(home of the Girl With A Pearl Earring, Vermeer) and 38 other works. (the Show started in  San Francisco at the Young Museum, High Museum of Atlanta and concluded at the Frick Museum in New York City)  This seminar was fully funded by the Kress Foundation and was a magnificent experience. This has also impacted greatly my work.

Q: Have you read/learned anything interesting during this time?

A: NO…just kidding…I have already covered this above.

Q: Do you think it has given you the time and rest you need?

A: I feel a relief from the teaching responsibility. But more so from the committee and departmental day in and day out complications. This is all part of the job for a faculty member. Last year I was very busy with Rank and Tenure committee, Honors student work and interviews and preps, departmental hires and decisions and advising. This year my colleagues have relieved me of this and it has been very helpful. That is what we do for each other.

I am grateful to the school for this time and look forward next year to exhibiting my new work and giving a lecture on this material. Currently I have an exhibition of 10 paintings At Milligan College is Johnson City Tennessee. Some of these works will be included in my show post sabbatical.