Blog

  • A Lonely and Frightening Thought: Eric’s Seventh Letter

    A circular postmark dates the seventh letter as April 5th, 1989. Eric writes:

    Catherine,

    It is great to hear from you, as always. I’ve been thinking of you too recently and I almost started a letter. However, my physics lab class doesn’t allow for such frivolous behavior.

    Lonely and Frightening Thought, Collage by Catherine Raine 2013
    Lonely and Frightening Thought, Catherine Raine 2013

    Yeah, my class really sucks this block, but to answer your questions — yes, I would say that I am happy in my “pleasant by not idyllic existence.” In fact, I’m somewhat sad that I only have another year here after which, I’ll have to enter the “real world” — no more free time and lots of neat people around like the 15 years of school I have had. Of course, if I go to grad school I’ll a have a few more years — sort of a temporary extension. But I know that the Grade School – Junior High – Senior High – College cycle has been completed and from here on, I will have to make a life for myself. Its a somewhat lonely and frightening thought.

    Lonely and Frightening Thought, Collage by Catherine Raine 2013
    Lonely and Frightening Thought, Catherine Raine 2013
    Lonely and Frightening Thought, Collage by Catherine Raine 2013
    Lonely and Frightening Thought, Catherine Raine 2013
    Lonely and Frightening Thought, Collage by Catherine Raine 2013
    Lonely and Frightening Thought, Catherine Raine 2013
    Lonely and Frightening Thought, Collage by Catherine Raine 2013
    Lonely and Frightening Thought, Catherine Raine, 2013

    I was very disturbed to hear that you are unhappy. You are one of the neatest people I have ever known.

    Feelings of Alienation, Collage by Catherine Raine, 2013
    Feelings of Alienation, Catherine Raine, 2013

    I understand your feelings of alienation — everyone is basically alone and if you choose to explore this reality rather than drown it in social activity or religion, you will only increase the feeling of alienation. It’s worth it though.

    IMG_1123
    Feelings of Alienation, Catherine Raine, 2013

    Make friends when you can but never forget that you are alone. I care about you a lot but you are still alone. You may fall in love and forget for awhile, but I promise that sooner or later you’ll realize — you are still alone. So is everyone, whether they realize it or not.

    Feelings of Alienation, Collage by Catherine Raine, 2013
    Feelings of Alienation, Catherine Raine, 2013

    LOVE,

    ERIC

    Feelings of Alienation, Collage by Catherine Raine, 2013
    Feelings of Alienation, Catherine Raine, 2013
  • Chinchillas and a Still Pool

    Two chinchillas are spending time beside a still pool. The word “still” comes from an old letter from a friend.

    IMG_0644
    Chinchillas and a Still Pool, Catherine Raine, 2013
    Chinchillas and a Still Pool, Collage by Catherine Raine, 2013
    Chinchillas and a Still Pool, Catherine Raine, 2013
    Chinchillas and a Still Pool, Collage by Catherine Raine, 2013
    Chinchillas and a Still Pool, Catherine Raine, 2013
  • Knitted Eagle Collage

    This rare species of raptor makes its home in a paper lake. Much less predatory than its non-textile cousins, the knitted eagle enjoys a quiet life of introspection.

    IMG_0122
    The Knitted Eagle, Catherine Raine 2013
    The Knitted Eagle, Collage by Catherine Raine, 2013
    Detail from The Knitted Eagle, Catherine Raine, 2013
  • Mosaic Dream Waves Exhibit and Collage Workshop at Runnymede Library

    Waves on Stage, Collage by Catherine Raine, 2011
    Waves on Stage, Catherine Raine, 2011

    Mosaic Dream Waves appears two years after my first public art exhibit, Maps of Loss: Rivers, Ruins, and Grief. On display until July 31 at Runnymede Library, Mosaic Dream Waves has a lighter approach than my previous display. Turning from melancholy to playfulness, the artwork pictured here invites you to visit an inner landscape where waves perform on stage, a mystical ornament shines, a yogini flies on a crazy quilt, and a dancing bird woman keeps company with a raven and a horse on wheels.

    IMG_9738IMG_9839

    IMG_9784

    Waves on Stage, Collage by Catherine Raine, 2011
    Waves on Stage, Catherine Raine, 2011

    Roll Me to the Moon, Collage by Catherine Raine, 2011
    Roll Me to the Moon, Catherine Raine, 2011

    IMG_9853
    Disco Pirate Zombie, Catherine Raine, 2010

    Flying Bookfish, Altered Book by Catherine Raine, 2012
    Flying Bookfish, Catherine Raine, 2012. (I learned how to make this altered book at a free workshop at S. Walter Stewart Library).

    Shine, Collage by Catherine Raine, 2012
    Shine, Catherine Raine, 2012 (This piece was inspired by a guided visualization).

    Matryoshka Doll on a Stagecoach Ride, Collage by Catherine Raine, 2011
    Matryoshka Doll on a Stagecoach Ride, Catherine Raine, 2012

    Yogic Flying on a Crazy Quilt, Collage by Catherine Raine, 2012
    Yogic Flying on a Crazy Quilt, Catherine Raine, 2012

    Desolate Yet Undaunted, Collage by Catherine Raine, 2012
    Desolate Yet Undaunted, Catherine Raine, 2012

    Dancing Bird Woman, Collage by Catherine Raine, 2012
    Dancing Bird Woman, Catherine Raine, 2012

    Abstract Wiseman, Collage by Catherine Raine, 2012
    Abstract Wiseman, Catherine Raine, 2012

    I love how the staff gathered these books about collage and altered books, adding them to the exhibit.
    I love how the staff gathered books about collage and altered books, adding them to the exhibit.

    As part of the opening reception on July 13th, I offered a free collage workshop that took place in the program room across the hall from the gallery. My mother, Carlyle Raine, kindly offered to help with the workshop, and the beautiful art that emerged captivated us with its originality, energy, and flair.

    Collage by Sehrish Mazumder, 2013
    Collage by Sehrish Mazumder, 2013

    Collage by Sehrish Mazumder, 2013
    Collage by Sehrish Mazumder, 2013

    Collage by Md. Mahdin Mazumder, 2013
    Collage by Md. Mahdin Mazumder, 2013

    Collage by Md. Mahdin Mazumder, 2013
    Collage by Md. Mahdin Mazumder, 2013

    Collage by Fahria Saiful, 2013
    Collage by Fariha Fyrooz, 2013

    Collage by Fahria Saiful, 2013
    Collage by Fariha Fyrooz, 2013

    collage and storm 024
    “The World Hangs by a Thread” by Ellen Jaffe, 2013

    Thank you, Runnymede Library, for fostering community art, learning, and creativity under the eaves of your poetic attic!

  • Herd-Like Organizations and Bota Bags: Eric’s Sixth Letter

    The exact date of Eric’s sixth letter is uncertain, but I estimate that it arrived in the late spring of 1988. Accompanying the letter was an application form and a catalogue with “a lot of propaganda” (Eric’s phrase) about Colorado College.

    I was thinking of transferring from Westminster College after an unhappy freshman year there, and I appreciated the concern behind his question: “Do you have a Financial Aid Form filled out yet? You should do that fairly soon and have it (need analysis) sent to the schools you are applying to.”

    Herd-like Organizations, Collage by Catherine Raine, 2013
    Herd-like Organizations, Catherine Raine, 2013

    After letting me know that Colorado College “is dropping one block out of the year in the so-called ‘Eight-block plan’ (and) CC also hasn’t divested (another point they don’t dwell on in the recruiting pamphlets),” Eric responds to a story I had told him in a recent letter. The story was about how I started an Amnesty International chapter at my college and how surprised I felt when one of my fellow freshman approached me to say that she would love to join the group but she could not. She hesitated because she was worried that the CIA would open a file on her.

    Herd-like Organizations, Collage by Catherine Raine, 2013
    Herd-like Organizations, Catherine Raine, 2013

    I also lamented that I felt left out of social life at my Greek-dominant college because I was not selected to join a sorority. His reply was comforting:

    Personally, I think Kappa Kappa Gamma and other herd-like organizations are a greater threat to Democracy than Amnesty International, even if the CIA and K. don’t agree with me.

    Herd-like Organizations, Collage by Catherine Raine, 2013
    Herd-like Organizations, Catherine Raine, 2013

    The next paragraph continues:

    I just started reading a book — Dead Souls, Nikolai Gogol. I think it’s going to be a really good book. I went shopping with a friend . . . who bought a book by Nabokov and a Cheap Trick tape at the Bookstore — quite a contrast.

    Herd-like Organizations, Collage by Catherine Raine, 2013
    Herd-like Organizations, Catherine Raine, 2013

    Friday night, he and I filled out our Boto Bags* with drinks and got slightly drunk while walking around Colorado Springs. It’s really a shit-hole of a city but it was fun.

    Bota Bag, Collage by Catherine Raine, 2013
    Bota Bag, Catherine Raine, 2013

    Did you pick up the book by Kafka yet? I hope you like it.

    Bota Bag, Collage by Catherine Raine, 2013
    Bota Bag, Catherine Raine, 2013

    Bota Bag, Collage by Catherine Raine, 2013
    Bota Bag, Catherine Raine, 2013

    If you need to ask me something about your appl. that can’t wait for a letter answer, give me a call. Otherwise, write

    LOVE,

    ERIC

    * Do you know what a Boto bag is? It looks like this.

    Bota Bag, Collage by Catherine Raine, 2013
    Bota Bag, Catherine Raine, 2013

  • Corn Goddess Collage (Plus Bookmark)

    "Corn Goddess" Collage, Catherine Raine, 2013
    Corn Goddess, Catherine Raine, 2013

    IMG_9614

    "Corn Goddess" Collage, Catherine Raine, 2013
    Corn Goddess, Catherine Raine, 2013

    When making a Corn Goddess collage, please secure a supply of thread, handmade papers, and stickers. Once completed, she is ready to celebrate the summer solstice with you.

    "Corn Goddess" Collage, Catherine Raine, 2013
    Corn Goddess, Catherine Raine, 2013

  • Christian Ethics and Love Exists: Eric’s Fifth Letter

    Turning to a new missive dated March 8th, 1988, Eric opens the letter with a response to a debate we’d been having about Christianity.

    Repression, Collage by Catherine Raine 2013
    Repression, Catherine Raine 2013

    Catherine, I think your analysis of the Christian as one who would deny hatred is more than unfair. The Christian knows hatred. In fact, the hatred of the Christian is a brutal form of masochism which denies and hates with more energy than you can imagine. It’s this denial of self which is more cruel than any form of hatred you are capable of.

    IMG_9159
    Repression, Catherine Raine 2013

    This self-hatred is linked closely with the key to Christian Ethics — that thought can in itself be a form of sin. This is the root of Christian masochism.

    IMG_9158
    Repression, Catherine Raine 2013

    This form of ethics replaces choice in action with guilt over having the thoughts which caused a choice. An ethical system in which thought can be wrong can only lead to unhealthy repression.

    IMG_9157
    Repression, Catherine Raine 2013

    I’m taking a class in Biblical Ethics next year. I think the prof. is going to dislike my ideas but maybe not. My minor is “Theories of Ethics.”

    IMG_9155
    Repression, Catherine Raine 2013

    Eric’s next paragraph turns to less abstract matters.

    Love Exists, Catherine Raine 2012

    Tomorrow I leave for a trip to the Grand Canyon. It is going to be really fun, I think. I’ll be gone for about a week.

    Love Exists, Catherine Raine 2012

    I’m going to be home in two week(s) for spring break (March 23-April 3, I think). I’d like to see you if possible. Love exists, Catherine. Don’t be depressed or alienated. I really care about you.

    LOVE, Eric

    Love Exists, Catherine Raine 2012

    The third page of the letter contains a post-script dated March 18th.

    Well, I was rushing to pack for my trip and didn’t mail your letter. It was a fun trip. The Grand (Canyon) is an amazing place . . . I had a lot of time to be by myself and think.

    I checked and my spring break does begin March 23 so I’ll drive with some friends and get home late that night.

    Give me a call.

  • Remaining Toronto Public Library Branches to Photograph!

    My library blog project started in 2007, and over the past seven years it has taught me many new skills. One of the most important ones has been digital photography. When I look at some of my earliest posts, their lack of pictures or not-so-great pictures show me how far I have come.

    To fully do justice to all 99 libraries, I would like to photograph three branches that have been undergoing renovations (Mount Dennis, Bridlewood, and the Toronto Reference Library) and twenty-two others that need better pictures. These branches include Rexdale, Woodview Park, Victoria Village, Oakwood Village, Swansea Memorial, Humberwood, Black Creek, Weston, Bloor/Gladstone, Northern Elms, Amesbury Park, Gerrard/Ashdale, Albion, Humber Summit, Davenport, Jane/Dundas, Perth/Dupont, Brentwood, Thorncliffe, Locke, Pape/Danforth, and Albert Campbell. Finally, I need to visit the newest TPL branch, Fort York Library.

    It will be satisfying to wrap up this project despite how much I will miss it!

  • Purple Paper Doll Collage

    This paper doll emerged from the scraps of a previous project. Many of the various elements just seemed to want to be together!

    Purple Paper Doll by Catherine Raine, 2013
    Purple Paper Doll, Catherine Raine, 2013

    The metallic paper background is fun to photograph because it changes colour depending on the location of the light source. From shiny to mysterious in two images!

    Purple Paper Doll by Catherine Raine, 2013
    Purple Paper Doll, Catherine Raine, 2013

  • Dan and Tracy’s Collage

    My friends Dan and Tracy love books, gardens, music, fine food, and wine. This collage is for them!

    Dan and Tracy's Collage by Catherine Raine, 2013
    Dan and Tracy’s Collage, Catherine Raine, 2013

    The boar with the headdress symbolizes Dan’s connection to Kansas City, Missouri. In that city, a statue of a boar lives on 47th Street, and he brings luck to people who rub his brass nose and drop a coin in a box.

    Dan and Tracy's Collage by Catherine Raine, 2013
    Dan and Tracy’s Collage, Catherine Raine, 2013

    It was my good fortune to make soap sculptures and listen to the Chronicles of Narnia with Dan in the 1970’s when we attended the same elementary school in Liberty, Missouri. As teenagers, we played in the symphonic band, wrote for the high school newspaper, and took French together. Dan and I kept in touch by mail, and in 2008 I got to visit him and his partner Tracy in Oregon.

    Dan and Tracy's Collage by Catherine Raine, 2013
    Dan and Tracy’s Collage, Catherine Raine, 2013

    Happy Birthday, Dan! May you and Tracy share a joyful day!

    Dan and Tracy's Collage by Catherine Raine, 2013
    Dan and Tracy’s Collage, Catherine Raine, 2013

  • Nijinsky Ballet Haunts Viewer

    Although a century has passed since Vaslav Nijinsky (1890-1950) danced in his prime, his artistic energy flows forward in time, crashing on the Four Season Centre’s stage in a wild wave of visionary brilliance. In fact, the stage holds but cannot fully contain John Neumeier’s Nijinksy, for I still carry the performance with me two days after I saw it.

    When I think about the ballet, I am most haunted by the scene set in a Swiss hotel’s ballroom in 1919. There, the title character improvises a solo that turns out to be his final public appearance before symptoms of schizophrenia end his dance career (“John Neumeier’s Nijinsky,” by Michael Crabb, Performance Program, page 8).

    In the hotel scene, Nijinsky stands holding one hand outstretched overhead, fingers spread wide, his body tense. Slowly, the hand turns into a fist. He drives the fist into his mouth, and as his arm continues to push down, the force of this movement pushes him all the way to the floor. He lies there with his fist still in his mouth, stunned by this primal act of self-harm.

    When my eyes follow the trajectory of that cruel driving fist, I witness a moment of pain so raw and private that I shouldn’t be watching it because the anguish and despair feel real. The fist’s repression hints at a buried scream that it is desperate to silence. Inner struggle literally brings the dancer low, an artist known for his spellbinding leaps now slapping the floor with futile hands.

    The second scene that I cannot forget arrives in the second act. Asylum inmates in dove-gray ballet costumes hoist a Broken Boy from their midst. He stands on the shoulders of two male inmates, and each member of the group that encircles him raises one arm straight up in the air, their palms the face of prayer.

    When soldiers dressed in green jackets and undershorts storm the asylum, the Broken Boy gets crushed as they stomp around him in unison, their aggressive dance not softened by the presence of a woman with long hair in a body stocking. The Broken Boy tries to run but gets stuck. He is bent over, one of his hands steadying him on the floor while the other flies up. His jacket flops over his head as his legs spin in useless circles, going nowhere.

    Looming over the turmoil are two large illuminated circles that tilt oppressively, and the choreography mirrors their shape in a pattern that Nijinsky follows as he twirls with his arms overhead in a perfect circle. At one point, an anonymous dancer circles the still figure of Nijinsky as if he is a Maypole. And during the Scheherazade dance, lines of dancers break off into circles like arcing beads of earth magnets as Nijinsky swoops lyrically, his body and arms creating symmetrical half-circles of constant movement.

    The heartbreaking beauty of Nijinsky communicates what human disconnection feels like (hands and arms that undulate in proximity but rarely touch) and the suffering of a person crashing on the rocks of isolation and pain. Nijinsky’s psychological struggle reveals itself in unforgettable images: the fist in the mouth, the Harlequin kicking the stage wall, the Golden Slave with his arms crossed overhead as if bound by a rope, the man in the straightjacket rolling across the floor, and the long lengths of red and black velvet that twine around Nijinsky’s limbs in the final scene.

    As a grateful viewer of this powerful ballet, I’d like to thank John Neumeier and the National Ballet of Canada for expanding my understanding of Nijinsky and teaching me through dance what no psychology or history textbook could express with such visceral impact.

    Inner Map (Non-Political), Encaustic Painting by Catherine Raine, 2010
    Inner Map (Non-Political), Encaustic Painting by Catherine Raine, 2010

  • Garden of the Gods, “It Isn’t to Be Polite,” and the Tightrope Walker: Eric’s Fourth Letter

    After a letterless five months, I was delighted to receive an illustrated missive in November 1987. Eric wrote the first part of it while visiting the Garden of the Gods, Colorado Springs.

    In the Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    Catherine,

    Greetings. I am watching the sunset at this time.

    Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    I’m out at the Garden of the Gods which is a large group of rock formations.

    Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    It’s only 4 o’clock but the sun will set soon because there are mountains to the west. I wish you were here.

    Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    Two dark parallel lines frame a simple sketch of Eric’s view. A hill with three sprouted lines is Norad, and Pike’s Peak is labelled, too. I love how he included the precise height of Pike’s Peak: 14,110 feet. To the right, jagged rocks burst out of the informative illustration box with the caption “Rocks obstructing more mountains.”

    Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    Below the box is an apology that holds painful layers of meaning. A five-month gap between two letters in 1987 seems like a brief interlude compared to the stretch of time that continues to expand without mercy after Eric has passed far beyond the world of letters, apologies, and stamps. His silence stretches both backwards and forwards in time.

    Garden of the Gods, Collage by Catherine Raine 2013
    In the Garden of the Gods, Catherine Raine 2013

    I’m sorry it has been so long since I have written to you.

    It Isn't To Be Polite, Collage by Catherine Raine, 2013
    It Isn’t To Be Polite, Catherine Raine 2013

    If you are wondering why I am writing though, it isn’t to be polite or because I owe you a letter.

    It Isn't To Be Polite, Collage by Catherine Raine, 2013
    It Isn’t To Be Polite, Catherine Raine 2013

    It’s because I suddenly got the urge to talk to you. Why this urge? Well, truthfully, you are the first girl I ever felt really close to and you are always a friend (in the sense of friend much different than a superficial “social friend.”)

    It Isn't To Be Polite, Collage by Catherine Raine, 2013
    It Isn’t To Be Polite, Catherine Raine 2013

    The three-page letter continues with news of a break-up and a reflection on how the presence of Norad makes Colorado City “one of the targets for a first strike.” With a wavy line to show a time and location break, he promises to finish the letter back at college.

    Tightrope Walker, Collage by Catherine Raine 2013
    Tightrope Walker, Catherine Raine 2013

    I had a really great Ethics course. I did a lot of thinking. My favorite quote is (in) the class was from Thus Spoke Zarathustra by Nietszche.

    IMG_8571
    The text Eric quotes comes from page 18 of this book: “there is no Devil and no Hell. Your soul will be dead even sooner than your body: so fear nothing more!”

    Zarathustra is talking to a tightrope walker who is about to die (he fell.) Anyway, the t.w. is worried because the “pious” people told him he was not a good person and would go to Hell. Zarathustra cou(n)sels him:

    There is no devil and no hell. Your soul will be dead even before your body.

    Fear nothing further. (F. N.)

    Tightrope Walker, Collage by Catherine Raine, 2013
    Tightrope Walker, Catherine Raine 2013 (I like the text box and how Eric added bold-letter drama to the word Zarathustra. I wonder if the box was intended to represent the tombstone he mentions below).

    I think I’ll have this quote inscribed on my tombstone if I have one (which I doubt.) I bet the religious people in my family wouldn’t appreciate the grim humor.

    Tightrope Walker, Colllage by Catherine Raine, 2013
    Tightrope Walker, Catherine Raine 2013

  • Pink Floyd and Physics Finals: Eric’s Second and Third Letters

    The next letter arrived in April 1987 and introduced me to Eric’s love of Pink Floyd.

    The Final Cut, Catherine Raine 2012

    I listen to Pink Floyd all the time. I’m doing so right now. The album The Final Cut.

    I enjoyed it when Eric told me where he was or what he was listening to while he was writing his letters. It helped me feel connected to his reality even though he lived far away.

    The Song is awesome. “Not Now John.” The song is about making a movie.

    “Who cares what it’s about as long as the kids (go).”

    The opening line is “Fuck all that, we’ve got to get on with these.”

    Eric’s next paragraph in the letter turns its attention to another Pink Floyd album, the iconic Dark Side of the Moon. He describes the songs as “very political and philosophical.”

    Dark Moon, Catherine Raine 2012

    Dark Side of the Moon is a very good album. It’s about death and depression (The “dark side” of human nature.)

    All That You Touch, Catherine Raine 2012

    One of the songs has the classic line, “All that you touch and all that you see is all that your life will ever be.”

    Pink Floyd tends to be very gloomy, but I like it.

    A lot of people hear listen to The Grateful Dead. I’ve heard some Dead but I don’t like it too much. Looks like I’m not going to be a “Dead Head.”

    Dark Moon, Catherine Raine 2012

    By the way, Dark Side of the Moon ends with a faint voice in the background who states, “There is no dark side of the Moon really; as a matter of fact, it’s all dark.” Isn’t that awesome?

    I’ve got to go. Love, Eric.

    Eric’s next letter arrived a few months later. It’s shorter than most because he was in the middle of his freshman finals. The shape of his letters show his haste, many of them blending together, such as the way the top of the “t” in Catherine stretches to touch the top of the “h.” The calligraphy of swiftness.

    Have to Study for My Physics Final, Catherine Raine 2012

    Catherine,

    I don’t have much time to write because I really have to study for my Physics final. I haven’t done any homework for the class and I’m about 300 page(s) behind.

    I feel bad about not writing you. I like you a lot and consider you a very good friend. I hope you realize that. I just noticed that every sentence in this letter begins with “I.” Oh, well.

    Do you like The Who? I think they are awesome. The reason I’m writing is because I was listening to “Behind Blue Eyes.” Have you heard the song? It reminded (me) of the conversations we used to have about me . . . . “No one knows what it’s like to be the Bad Man/to be the Sad Man/Behind Blue Eyes.”

    Do you know where you are going to school for sure yet? Write back if you want — otherwise I’ll talk to you this summer. Love, Eric

  • Eleven Letters from Eric: The First Letter

    The collages pictured here are the first in a series inspired by eleven letters written by my hometown friend Eric Canuteson. He wrote the first one in 1986, and the last one arrived in 2002 before e-mail took over as our means of correspondence.

    Last December, I was devastated to learn that Eric suffered an untimely death at age 43. How could the teenager I had passed notes to during Greek and Roman History no longer be alive? His friendship impacted me immeasurably, and I wanted to honor his memory with an art project that incorporated actual text from the letters and images, people, and places he described.

    Love Eric, Catherine Raine 2012 (Eric’s signature from 1987 letter)

    Preserving examples of Eric’s handwriting feels crucial. Messy, scratchy, sprawling – I love the way he always signed his name in really huge letters. He also was a great one for circling or putting boxes around important phrases and doodling in the margins. They are the letters of a busy, dedicated person who has taken the time to share his thoughts with a friend. I’ll always be grateful to Eric for that.

    Before starting this project, I photocopied the letters because I couldn’t bear to tear up the originals. I also gathered up as many images as I could that seemed relevant to the letters’ contexts.

    The next collage, “Eric’s Excellent Intellectual Adventure,” takes its theme from the first letter Eric ever sent me. He had just started his freshman year at Colorado College, and I was in my last year in high school. Postmarked September 24, 1986, it describes his classes, first term paper, and grades. He also asked me to pass on some messages to his former teachers, including a tongue-in-cheek summary of his political views.

     Eric’s Excellent Intellectual Adventure, Catherine Raine 2012

    I used the actual postmark from the envelope for this collage. The postmark and the political figures Eric mentions place our friendship in historical context, for his letters are both cherished personal souvenirs and valuable documents that give us a snapshot of an era. It seems an obvious point, but it still astonishes me that Eric’s first letter existed in a world before South African apartheid ended, before the Berlin Wall fell, before Clinton (sandwiched between the elder and junior George Bush), before 9/11, and before Obama.

    I am a Liberal and always have been one.

    Reagan Sucks.

    Rehnquist Sucks (Rightquest)

    Death to Fascism.

    Daniel Monion is a joke. (It took me awhile to figure out that Eric was referring to Daniel Moynihan, whose name didn’t register in my memory bank of late 1980’s political figures).

    Support the ANC!

    I hate Republican business majors.

    There aren’t any here, thank God.

    I really like how he put the title “Mr.” in quotation marks next to his name. At age 18, maybe he didn’t comfortably inhabit the title Mr. Eric Canuteson, so he left the “Mr.” outside the box he drew around his new contact details.

    The same letter of September 24, 1986 testifies to Eric’s academic success in his crucial first year of college. With Eric’s ambitious spirit and fierce intelligence, he laid a strong foundation to later complete his Ph.D.

    I was impressed by Eric’s go-getter attitude in all the years I knew him, but that’s not to say he couldn’t be laid back, too. I loved the part in the letter where he admits he put off writing his paper to watch an Eagles versus Bears football game.

    Eagles Versus Bears, Catherine Raine 2012

    I got a B+ on my very first college paper (I wrote it in a very short time because I was watching football.)

    An arrow starting from the letter “a” in football points to the words “Eagles v. Bears” floating in the space above the first line of the letter.

    The letter goes on to describe how he received an A on his final test.

    I got the highest grade in the class — there were only two A’s. By the way, My class is SATIRE AND CARICATURE.

    I’m taking Russian (7 hours of it, no less) in the 5th and 6th blocks. (Colorado College’s block program allows its students to focus intensely on one class at a time in a series of eight blocks a year).

  • Brothers Grimm in the House in the Woods at the Osborne Collection

    A visit to “The House in the Woods: Magical Tales of the Brothers Grimm” revealed the ways that Jacob and Wilhelm Grimm’s Children’s and Household Tales (1812) have evolved over the centuries, soaked into the very bones of narrative structures, and remain alive to this day.

    From the second volume of Children’s and Household Tales (1819), the “engraved frontispiece by Ludwig Grimm is a portrait of one of the Grimms’ principal sources: Dorothea Viehmann, a tailor’s wife who sold fruit in the Grimms’ village of Kassel” (exhibit notes, Martha Scott)

    Martha Scott, the curator of this exhibit at the Osborne Collection, generously took the time to walk me through the collection of illustrations, pop-up books, and art that she had gathered to celebrate the 200th anniversary of Children’s and Household Tales. During the tour, I appreciated Ms. Scott’s extensive knowledge of the different versions of the tales and her witty engagement with the illustrations.

    For background information, Scott supplied me with a copy of the notes that rested in plastic sleeves on the display cases.

    The Sleeping Beauty. Told by C.S. Evans and illustrated by Arthur Rackham. London: William Heinemann, 1920 (exhibit notes, Martha Scott)

    From a very young age, the phrase “The Brothers Grimm” has captivated me, and when I see it in my mind’s eye, I visualize the letters G-R-I-M-M in mahogany-inked calligraphy with extravagant loops like twisted roots for the downward swoops of the “r” and double m’s.

    In addition to the distinctive twin m’s, it is possible that the romance of the name is in the word order. Whereas “the Grimm brothers” sounds like a family singing act from Nashville, The Brothers Grimm could independently serve as the title of an ancient fairy tale that stars two solemn brothers who live in a dark forest cottage and spin tales by a hearth on winter evenings.

    The real Jacob and Wilhelm, scholars with an interest in preserving oral history, most likely did not personally recite fairy tales around hearths in cottages. However, the imaginative illustrations I saw in “The House in the Woods” left the mystique of the Brothers Grimm intact; the more I learned, the more enchanting the stories became.

    Thorn Rose. The Brothers Grimm. Illustrated by Errol Le Cain: Faber and Faber, 1975. (exhibit notes, Martha Scott)

    Grimm’s Fairy Tales. Illustrated by E.J. Andrews and S. Jacobs. Edited by Edric Vredenburg. London: Raphael Tuck and Sons, [1902]. (exhibit notes, Martha Scott)

    Snow White. V. Kubasta. Westminster, London: Bancroft & Co., [1958]. An ARTIA production. Printed in Czechoslovakia.
    “In the first edition of Children’s and Household Tales (1812), the wicked queen is Snow White’s natural mother. In the second edition of 1819, the Grimms substituted a stepmother as villain.” (exhibit notes, Martha Scott)

    The Fairy Tales of the Brothers Grimm. Illustrated by Arthur Rackham. Translated by Mrs. Edgar Lucas. London: Constable & Company, 1909. (exhibit notes, Martha Scott)

    Grimm’s Fairy Tales. Selected and illustrated by Elenore Abbott. New York: Charles Scribner’s Sons, 1937.
    Instead of relying on a fairy godmother, Cinderella “sings to the magic hazel-tree which grows from her mother’s grave, and the birds toss down a splendid dress.” (exhibit notes, Martha Scott)

    Grimm’s Fairy Tales. Pictured by Mabel Lucie Attwell. Edited by Edric Vredenburg. London: Raphael Tuck, [ca. 1907]. (exhibit notes, Martha Scott)

    Beauty and the Beast Picture Book . . . . with eighteen coloured pictures by Walter Crane: engraved & printed by Edmund Evans. London: John Lane, The Bodley Head, [1900].
    “Walter Crane’s The Frog Prince was first published in 1874 . . . . The Grimms chose “The Frog King, or Iron Henry” as their opening story because they considered it one of the oldest tales in Germany. In their version, the princess, disgusted by the frog’s request to sleep in her bed, throws it against the wall, whereupon it transforms into a handsome young prince.” (exhibit notes, Martha Scott)

    The Fairy Book . . . . by the author of “John Halifax, gentleman.” With 32 illustrations in colour by Warwick Goble. London: Macmillan and Co., 1913.
    “British illustrator Warwick Goble pictures Snow White and Rose Red as they rescue the spiteful dwarf from an eagle.” (exhibit notes, Martha Scott)

    The Little Brother and Sister and Other Stories by the Brothers Grimm. Illustrated by Eddie J. Andrews, and Elsie Blomfield. London: Raphael Tuck and Sons, [ca. 1910]. (exhibit notes, Martha Scott)
    The deer is actually the little girl’s brother who has unfortunately drunk from a bewitched stream.

    Die Bremer Stadtmusikanten. [Illustrated by] V. Kubasta. Prague: Artia, 1965. (Panorama-Marchen). (exhibit notes, Martha Scott)

    Little Red Riding Hood. Illustrated by Patricia Turner. [London]: Folding Books, [195-].
    “This ‘carousel’ book opens in circular fashion to reveal six three-dimensional scenes.” (exhibit notes, Martha Scott)

    The Fairy Tales of the Brothers Grimm. Illustrated by Arthur Rackham. Translated by Mrs. Edgar Lucas: Constable & Company, 1909. (exhibit notes, Martha Scott)

    My Bookhouse. Edited by Olive Beaupre Miller. Chicago: The Bookhouse for Children Publishers, [ca. 1928].
    “This wooden house contains the six volume My Bookhouse and the three volume My Travelship collections . . . . The My Bookhouse collection was first published from 1920 to 1922.” (exhibit notes, Martha Scott)

    Thank you Martha Scott, Leslie McGrath, and the Osborne Collection for an enriching afternoon in the magical company of the Brothers Grimm! Your book house is a jewel worthy of the finest scholars in the land!

  • So You Think You’re Hopeless at Drawing?

    Before I took Drawing 1 at the Toronto School of Art in 2012, I thought I was hopeless at drawing. Even though I had been making collage and textile art for six years, I didn’t feel entitled to call myself a “real” artist because I lacked basic drawing skills.

    “Love, Eric” collage by Catherine Raine, 2012 (for the memorial project “Eleven Letters from Eric.“)

    With very little formal training in art, I wanted to address the gaps in my knowledge that held me back from stretching into three dimensions. It was also time to overcome the limiting “I can’t draw!” belief.

    On the first day of my TSA evening class, our instructor, Paul Turner, boldly asserted that anyone who could hold a pencil could learn how to draw. I thought to myself, “I hope I don’t prove him wrong!”

    As an adult educator myself, I know how important it is convince students to move beyond negative assessments of their abilities. Comparing my skills from the first week to the final week of drawing instruction, I can happily report that the only thing I proved wrong was my self-doubt.

    To thank Paul and encourage anyone who wants to learn a new skill, I offer this illustrated blog post as evidence that if I could learn to draw at the age of 43, then others most certainly can too!

    In the first two weeks, our class focused on the humble yet crucial box in one-point and two-point perspective, in addition to the equally essential ellipse. Paul encouraged us to “get comfortable with non-parallels” such as a box resting at a different angle from the table it’s sitting upon. However, I was remarkably and deeply uncomfortable with non-parallels.

    In fact, I was actively alarmed when Paul stacked six books on top of each other and suddenly shifted all of their spines into different angles. How could I possibly draw that pile? I was barely adept at boxes floating in space, and my ellipses looked like squashed peaches in the mud.

    Imagine my discomfiture when a variety of boxes on tables greeted us in week three. I had a drawing board, paper, and a skewer in my hand to gage proportions but little clue how to use it. (There was a reason why I scored low on spatial-relation skills on standardized tests in junior high).

    Paul had demonstrated the skewer technique, and he even drew me a picture of a thumb holding a skewer next to a box, but I still felt hopelessly out of my depth. To my horror, I was actually close to tears!

    Week three drawing, proportion exercise

    Though measuring proportions was difficult, our instructor exhorted us not to give up. A quick comparison of the drawings above and below bears testimony to the fact that this skill became much easier for me.

    Week seven still-life exercise

    In week four, I loved the opportunity to “respond to the total form with one line” and build a “relationship of trust with (my) eye, hand, and mind” (Paul Turner). The total form was a male model who changed poses frequently, and the rapid shifts pushed us to draw from “head to toe, boom, one line!”

    Jazz Coat Hanger

    Bauhaus Man

    Defiance

    Tightrope Walker, Catherine Raine 2013
    Tightrope Walker, Catherine Raine 2013

    Starting Block Stance

    The looseness and freedom of this gesture exercise lifted my spirits after the previous week’s disappointment with myself. Many of my sketches seem to express this joy.

    Yes! Leap

    Jaunty Dancing Sailor

    Insouciant Businessman

    In week five, we considered “how objects behave in space.” I liked the challenge of truly looking at a lantern, a bottle of dish detergent, and a lampshade to determine proportion, shape, and line. I also greatly appreciated Paul’s advice to be in the moment while engaged in drawing: “Don’t focus on where you think you should be (skill-wise) or what your drawing should look like. Be here now!”

    The following week, I learned to pay more attention to the spaces between objects. Our task was to “go after” the shapes created in the gaps between items such as a chair, a goblet, or a sled propped up together on a table. We used white charcoal on colored paper to depict the negative space, allowing the objects to take form from the absence of charcoal.

    Negative space exercise

    It was the objects’ turn to live in the gaps and let so-called empty space take center stage for a change. Why should positive, filled-up space get all the attention when so many fascinating patterns are waiting to be noticed in the liminal places, the edges of objects, and the sea of animated air between them? I loved the radical shift in visual and conceptual perspective that the lesson in negative space inspired.

    Mid-term negative space and contour assignment

    During week seven’s still-life exercise with two objects, I became very aware of the lovely negative-space shape made by the inside of my grandmother’s silver teapot’s handle, something I might not have noticed prior to the class. As I gazed at the teapot and a green vase from TSA’s closet of diverse objects, Paul suggested, “Let the shape lead you to the line.”

    Week seven still-life exercise

    On the eighth class, we had a new model, and Paul instructed us to “build a height and width for the form and then plant a shoulder.” I liked the use of the verb “to plant” in a drawing context because it implied bold, purposeful action, a deliberate sowing of a seed from a burlap bag, a strong line from which something new can grow.

    It Isn't to Be Polite, Catherine Raine 2013
    It Isn’t to Be Polite, Catherine Raine 2013

    Planting the first shoulder of the form is an act of bravery, a commitment that changes a blank scroll of paper into a potential drawing. The first line transforms an idea into artistic reality, the abstract to the concrete, and fear-paralysis (“Will the line be perfect?”) into definitive action.

    Value was week nine’s topic, and I struggled to get my head around the terminology and grapple with the sphere resting in front of me on a draped table. At one point, I sighed, “Vanquished by a styrofoam ball!”

    Week nine value exercise

    I was disappointed in my value drawing even though I managed to improve it somewhat. However, I did like this artistic and psychologically-applicable advice from Paul: “Deal with the dark side of the form first and then work your way into the light.”

    In week ten (our last week), we had the opportunity to do sustained drawings of another model and integrate what we’d learned about proportion, shape, gesture, negative space, and line. I also learned some new phrases to describe the long line of the body from shoulder to hip: “the line of action, the bow of the torso, and the C-curve.” I enjoyed thinking in terms of active lines. These lines are alive, humming with tension like an archery bow and curved like fruit in a bowl.

    Even though I had trouble visualizing the planes of the body and understanding what Paul meant when he said, “Let the interior shapes guide you the exterior,” by the end of the evening I had two sketches I particularly liked.

    Reflecting on my experience as a novice student of drawing, I am very grateful for such a stimulating class that taught me to have faith in my learning potential. I especially appreciate the invitation to look at objects, space, form, and light in fresh ways. What a gift to an artist and a writer!

    Contour exercise, week four

    Subway contour sketch, week four

    Thank you, Paul, for taking me on a journey from perceived hopelessness to confidence in a developing skill!