Wednesday, August 27, 2025

UKIYO-E



I have enjoyed visiting the Echoes of the Floating World exhibit at the Tacoma Art Museum multiple times, discovering something new each time.

This time, I was intrigued by woodblock prints by Kawanabe Kyosai, especially the one featured above, in detail. The museum has this triptych of prints titled as Comic One Million Turns of the Rosary. A book of prints I own titles it Comic Infinite Prayers. (Po-tay-to, po-tah-to, the joys of translation.)

The piece is political, expressing world events of 1864, and I'm glad for commentary from the museum and my book or I would have no idea what was going on. It's beautiful and weird, in its own right, but having a cultural context helps to infuse the print with even more power.

Sunday, August 24, 2025

VERNARDO'S CIRCUS

The circus came to Tacoma. Vernardo's set up their tent at the edge of Point Defiance Park. Their show was a good mix of acrobatics, juggling and other shenanigans, and showmanship.



















Saturday, August 23, 2025

THE DEAD DON'T DIE



The Dead Don't Die (2019) directed by Jim Jarmusch. This is a zombie flick. It's also very much a Jim Jarmusch flick. It has a leisurely pace, deadpan humor, and breaks the fourth wall on occasion. It also has a few welcome surprises. This won't work for everyone but it works for me. 

Streaming on Netflix.

Sunday, August 17, 2025

BARBARIAN



Barbarian (2022) directed by Zach Cregger. This is Cregger's first film, preceding Weapons, and it likewise nods to various films while taking those influences and "Frankenstein-ing" them into its own monster. Think The People Under the Stairs. Think The Texas Chainsaw Massacre. Think the Buffalo Bill portion of Silence of the Lambs. Think the Morlocks from The Time Machine. There are also contemporary topics scattered throughout—urban blight, celebrity, accusations of rape, rental properties, always being in control of your drink. Bill SkarsgĂ„rd's character is played well. This film has so many twists and turns, constantly undercutting our expectations. Excellent.

Will I ever stay in an Airbnb? Probably not after watching this.

(And you never go back into the fucking house!)

Streaming on Netflix.

Saturday, August 16, 2025

HEREDITARY



Hereditary (2018) directed by Ari Aster. I needed to see this again, in the context of Weapons. I think they complement one another well. Aster foreshadows everything that will happen in the film, and most of it early. This is a well-crafted movie that almost requires, and definitely rewards, multiple viewings.

A masterpiece.

Viewed on DVD.

Friday, August 15, 2025

NOPE



Nope (2022) directed by Jordan Peele. There's no way to talk about this film without spoiling it, SO READ NO FURTHER if you have yet to see it.

I went into this blind so I didn't know what to expect. It's a rather different film from both Get Out and Us. The creature design is spectacular. This is Lovecraftian cosmic horror but with humans just serving as snacks. In many ways, it's a meditation on film and the film industry. Strangely enough, even though this film and Weapons share very little in common, they are similarly structured and presented, and build their tension and stories in a parallel manner. It plays across genres, dipping its toes in science fiction, horror, and westerns.

It takes a close encounter with a UFO and plays with it, which is perhaps the most intriguing element for me.

Can we control animals? Even those that are domesticated? (Better yet, do we have control over anything?) Can we control ourselves?

I liked it.

Viewed on DVD.

Saturday, August 09, 2025

WEAPONS



Weapons (2025) directed by Zach Cregger. O.M.G. This psychological/mystery horror film is a slow burn until it isn't. Then it goes a bit batshit crazy. I went in knowing absolutely NOTHING about the film except for the fifteen-second teaser trailer from which the above image comes. I liked this film a lot.

There are nods to, and echoes of, plenty of other horror films, intentional or not. The People Under the Stairs. A Nightmare on Elm Street. It. Lost Highway. It Follows. The Exorcist. There are even some Stranger Things and The Scarlet Letter vibes. But it is definitely its own beast and work of art. And it may be trying to say something about school shootings. (Or at least I thought so until about halfway through.)

Chapters of the film show pieces of the story through the POV of one character or another. However scenes may or may not exactly line up the same way when in one chapter versus another. I think this is intentional, and it works well.

Seen at Regal Cinemas. (It had been a long time since I watched a movie in a "big box" theater.)

Wednesday, July 23, 2025

DARUMA DOLL DUEL



From left to right: 
A = "Old Man of the Sea" by The Child.
B = "Daruma the Grouch" by Troy's Work Table.
C = "No Face" by The Child. 
D = "Bert-i-dharma" by Troy's Work Table.

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The Child and Troy's Work Table had a Daruma Doll Duel. The rules? Each participant had to create and two Daruma art pieces, one of which used a liter Coca-Cola bottle as a canvas, the other of which could be another bottle or can. Bottles and cans had a base coat of Montana Black Spray Paint, but any medium could be used. Participants had two weeks to work on pieces. They were then voted on by Instagram followers over a period of a week.

Troy's Work Table had his ass handed to him! The voting was ranked, so every voter had to vote for all four: first choice was awarded five points, second choice was awarded three points, third choice was awarded two points, and fourth choice was awarded one point. Points were tallied and compiled. The combined scores of The Child's two pieces were essentially double the combined scores of TWT's two pieces.

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In addition to acrylic paint, "Old Man and the Sea" includes a sculpted clay nose, eye sockets, and fish. Translucent white marbles were used for eyes. "Bert-i-dharma" includes papercut hands in two slightly different colors of yellow to provide a three-dimensional element. 

Thursday, July 17, 2025

WEIGHING EMPTINESS



"The situation of being left high up in midair is indeed terrifying and maddening existentially, for knowing that things, ideas, and values have no self-nature and that there is nothing whatsoever to cling to is an unbearable threat to our whole way of life. It deconstructs our conventional worldviews so relentlessly that nothing is left to rely on and feel certain of. And yet, this is precisely what practitioners must grapple with—a complete collapse of the reificational way of thinking and its implications. Only then can they realize a truly liberating, responsible religiosity."

—page 44, "Weighing Emptiness," Dƍgen on Meditation and Thinking: A Reflection on His View of Zen by Hee-Jin Kim

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For the past year or so, the Zen notion of "emptiness" keeps bubbling up in my thoughts. ç©ș / kĆ« can mean sky or emptiness or the air or space. So this notion of suspended in kĆ« is terrifying. The related concept of 無 / mu which can mean nothingness or to be non-existent or void is likewise terrifying in its own right. So when I encountered the essay "Weighing Emptiness" by Hee-Jin Kim on a research visit to Pacific Lutheran University's Mortvedt Library, I knew I needed to spend some time with the book in which it is found and all six essays. (I've made it through the first three.)

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Hee-Jin Kim is as erudite and dense and chewy and mind-blowing and compelling as I find Dƍgen to be. Kim's commentary is an order of magnitude more accessible, however, which is helpful.

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In the quote above, I'm reminded of Christ's kenosis, his self-emptying referred to in Philippians 2:7. "[Christ] made himself nothing by taking the very nature of a servant, being made in human likeness." I'm also reminded of Pip floating in the vast expanse of the sea in "The Castaway," chapter 93, of Moby-Dick by Herman Melville. "The sea had jeeringly kept [Pip's] finite body up, but drowned the infinite of his soul...and therefore his shipmates called him mad...So man's insanity is heaven's sense..." To be stretched out between the mortal realm and the heavens, as Christ on the cross or Pip in the indifferent void of unbound ocean, as though hanging over the abyss (as one actually is) and to be aware of such, is likely to unhinge one's mind from the mundane, the ordinary, the everyday. Encountering emptiness, and the very ground of being, as one who is part of that emptiness yet differentiated (or so it would seem) from it, would appear to open up a "wound" in one's being. A separation. A gulf.

Then it gets more personal. (Or less personal, perhaps.)

When I broke my arm, the existential crisis it presented left me two responses. As my arm hung in space, swinging like a pendulum that I could not control, I knew I needed to get to the ground so that I didn't pass out. (While my arm may have been suspended in space, apparently the rest of my body was not.) That was the first response. The second response was to scream—because of the pain, because of the rupture from what I expected versus what was happening, from the break that occurred that was more than just physical damage. I continued to scream and scream and scream. I did so until the EMTs that arrived gave me ketamine to quiet me. That was after the morphine.

Either the combination of morphine and ketamine or, more likely, an accidental overdose of ketamine, provided further rupture. "Troy" continued to do things in "my" absence. I learned of interactions and conversations between medical personnel and "myself" that I do not remember. Some of it is on video or I wouldn't believe it. So who is it that had those conversations? Were they patterned responses? Did "I" reside elsewhere while my physical appearance acted on "my" behalf? Did "I" return to the "Ground of Being," "emptiness," "God" for a few moments before "I" differentiated once again? Were there two representations of "Troy" due to the break; was I fractured as an echo of the structural "collapse" of part of my body?

Since the break, I have relived it every night in my dreams. I break my arm every night. Every damn night. And it is "real." Is it as real as the first time? Maybe. I don't really know. But it is traumatic each time, and I wish it would cease. Yet it continues. Each night, I experience "the situation of being left high up in midair" and it is terrifying. While the physical scars slowly recede, partly due to the invasive (yet elected) insertion of a titanium nail into the center of my arm and healing and rehabilitative exercises and time, I'm not certain that the psychic scars decrease. I continue to hang.

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I continue to read and reflect. As I absorb the words of Kim and Dƍgen, I embody them and manifest them. I stitch them into my very being. May I soon know the meaning of "emptiness." I think I'm getting there, but I still have some distance to travel.

Thursday, July 10, 2025

SWIM FREE 2025



"Swim Free (2025)." Acrylic on spray-painted Coke can.

On the eighth anniversary of my mother's Feast Day, I had no plans other than getting together with my family for dinner. But then a spark of inspiration hit a couple hours before we were to leave. So I painted an octopus on an aluminum can, using silicone brushes.

I left the can at the Bremerton Art Walls, where I've painted other "Swim Free" pieces on prior Feast Days.

Then it was time to enjoy the best pizza, Spiro's in Silverdale, and remember my mother in conversation.