Showing posts with label death. Show all posts
Showing posts with label death. Show all posts

Friday, September 27, 2013

Ride

For the second year in a row, I will be participating in the Buzzards Bay Coalition's "Watershed Ride." I will ride 75 miles around the perimeter of the bay.

The goal of the ride is to raise money for The Buzzards Bay Coalition. To show my appreciation for the Work of The Buzzards Bay Coalition, I am donating a number of a print edition (pictured below). Anyone who donates $50 or more to my fundraising page by October 6 will get one of these prints. The prints will sell for more than $50, so there's motivation to give to this cause now. I believe in their work. I hope you will do so as well.

January 31, 1827. 2013, pigment print on Mylar. 13cm x 13cm, ed. 100 + 1AP, 1PP, 1BAT.

Please note: Getting your print is a two part process. You can pay for postage and/or framing of the print by clicking the "Add to Cart" buttons below. But you will also need to donate on my fundraising page at the Buzzards Bay Coalition.

To donate to my fundraising ride and qualify for a print, follow this linkhttp://www.savebuzzardsbay.org/waugh

And select the buttons below if you wish to pay for postage or postage with framing.

Postage Only ->  
($6.00 for any number of unframed prints to a US address)
Framing and Postage ->  
($50.00 for each print to be framed and posted to a US address)
Please note that paying for framing or postage does not include a print.

This print, showing the image of a snow crystal is composed of the entire newspaper account of the death of Gideon Dexter (the text of which I posted on the first entry of this blog). The image of the snowflake is significant because the text recounts Dexter's death by freezing during a winter storm. But the form is also evocative of lace. Images of lace and knot-making make up most of the imagery that I'm working on in the next series of drawings related to this project. In a way, this little piece is a key into understanding one aspect of those drawings.

I, also, can't say enough about the Buzzards Bay Coalition. The coalition does an amazing job of monitoring the water quality of the bay. They provide data about the water quality to the towns in the watershed so that they have the facts that they need when deciding on policy.

The coalition also has a top notch education department. I worked as a docent for them this summer, and I saw first hand the value of experiences that the coalition is providing for kids in the New Bedford area.

I also helped with water testing, going out on the coalition's boat and taking down the numbers that the science department uses to evaluate the impact of development in the area.

I was glad to help as a docent and as a water quality tester. But my time at the coalition was also invaluable for my current artwork -- which centers around my great-great-great-great grandfather, who was a shipbuilder -- and who froze to death during a winter storm in the middle of Buzzards Bay.

The efforts of the Buzzards Bay Coalition have been crucial in reversing and slowing decades of declining water quality. And I want to raise money for the organization so that this important work can continue. But I also want to raise money for them as a thank you for educating me about Buzzards Bay and for giving me the chance to go out on the coalition's boat and experience the body of water that figures so prominently in my family's history and my current work.


Saturday, February 02, 2013

Anniversary

On February 1st, 1827, My great-great-great-great gransfather's body was found off the coast of Martha's Vineyard. He died in a working-class rowing accident having rowed himself to exhaustion against an unexpected storm.

To mark the anniversary, I stayed outside yesterday in freezing temperatures for an eight-hour work day without taking any breaks for any reason. I set myself up on the street outside the gallery where my solo show is being hosted (Winkleman gallery in collaboration with Schroeder Romero). The first half-hour of that time was consumed setting up a camera -- then I began reading aloud from Adam Smith's seminal book about capitalism, The Wealth of Nations. I thought that I might read for eight hours beyond the 30 minutes I spent setting up. But after being outside for eight hours, hoarse, sore, and cold, I read these words, "In the public deliberations, therefore, his voice is little heard, and less regarded; except upon particular occasions, when his clamour is animated, set on, and supported by his employers, not for his, but their own particular purposes." And I knew that this was the perfect line on which to end.

By the six-hour mark, I had to start doing three to six squats about every five minutes. Activating the large muscles of the legs burned enough calories to keep me from getting hypothermia. I was sure that I looked like an idiot. But even with doing the squats, by the end, I was totally chilled. I couldn't stop shaking for about an hour afterwards. Staying outside longer would have been bad, and I knew that, too. I would have had to have been continually exercising to generate enough heat to stay warm --and if I'd done that, I couldn't have gotten enough breath to read aloud. Panting would have made it hard to be stentorian. Adhering to the eight-hour work day allowed me to get the job done and not need medical intervention.



Thanks are due to my cameraman Christopher Cruzcosa who braved the cold with me.



Monday, August 06, 2012

Generations


The rowing project, to which this blog is dedicated, had its genesis while I was spending much of my time In Mattapoisett, Massachusetts with my parents. My dad's various health issues were catching up with him. Twenty-five years ago, he had a septuple heart by-pass, then he had colon cancer, then he had testicular cancer. He survived them all and was grateful for the years that followed. But the last two years were hard. I'm grateful that, because I'm an artist, I can take my work anywhere. I was able to hang out with him and simply enjoy his company. But, of course, my work was effected.

My parents' house is the one in which my mom grew up. It was built by my great-great-great grandparents. And spending so much time there and reminded daily of my dad's mortality, I incorporated the presence of that house into my work. The emotional capital of that house is tremendous.


But while I was working on that body of work (the associated drawings of which you can see here), I was also reading a bit about my mom's family who'd lived in the house since 1850 and in Massachusetts since 1630. What survives from the earlier ancestors, for the most part, are wills. But there is the article with which I began this blog, the one recounting the death of my great-great-great-great grandfather, Gideon Dexter -- how he was blown out into Buzzards Bay and froze while desperately trying to row back home. It's no surprise that while my dad was working hard to stay with us (he was given two months to live and pulled it out to over two years), I saw the story of Gideon, rowing against the freezing storm, as an allegory. He was an Ur father, of sorts, and his struggle was that primal struggle to stay alive, and my response was that impossible desire to anchor those we love to this world and pull them back to us, whether that be to pull them back from the funk of a bad day or to pull them back from  serious illness.

My dad died on April 15th, tax day, a day that no one likes. We had his memorial yesterday. I took this picture (below) later in the day, when my brother, sister, mother, and my cousin went back to the cemetery to tend to the flowers. They are all standing near my father. The red flowers that you can see are each placed near the headstone of one of my ancestors. Gideon's headstone is on the left, and his father, and son are shown too. All together, the headstones of seven generations are in this frame. Gideon's grandfather is buried far behind where I took the picture, on the other side of the cemetery.

The graveside gathering was secular and fairly informal. My mom spoke, then my brother, then my sister. then me. This is what I read:

Cheap gas and cheap flights have made it relatively easy for us to travel hundreds or thousands of miles -- to gather briefly for the purpose of remembering my father, uncle Pete, Charles Ruggles Waugh -- but the ease of traveling vast distances spread us out in the first place. The living gathered here today have less physical community than the dead.  Within 20 feet of us, lay the remains of 7 generations. They lived, sequentially, but overlapping, as neighbors. That couldn't have been easy. The traits we share with family are just enough to facilitate profound irritation. Each summer, I watch as [my nephews] Ricky and Jaycee bicker incessantly just like [my brother] dave and I fought as kids. At some point in my 20s, I realized that the stubbornness and self-righteousness that got me so worked up about Dave were just as present --or even more present -- in me. I couldn't be an artist if I didn't believe on some deeply narcissistic level that my vision of the world is one that should matter to everyone else in the room. We are reflections of one another, though reflections distorted by fun house mirrors.

When I was three, my dad had his mother move in with us. Relating to Lyda was never easy:  I know where I got my self-righteousness. No relationship is easy. Yet through those 10 years that she lived with us, I learned that love is not a choice. When Lyda finally went into a nursing home, her memories unravelling to the point at which she thought she was a child again, my dad generously answered as her brother, or sister, or mother -- whatever role was needed. He did not need her to know it was him or if he was a man or a woman. He held her hand. I hold as one of my most salient visual memories, at the funereal home, my father tenderly stroking his mother's forehead and tracing one finger down the bridge of her nose.

While most of my friends grew up and spun further and further away from their families into communities of choice, growing up with my grandmother set the stage for an older way of living -- So when Ricky came along, it seemed totally natural for three generations to live under one roof. Ricky and Grampie got the chance to be buddies, picking up rocks, fixing broken toys, dissecting monster centipedes -- because doing chores together and poking at bugs together and learning together, even having breakfast together, is the genesis and embodiment of love.

My dad was always a person with the tenderest of hearts. He is the one who scooped up baby birds that had fallen out of their nests and fed them using tweezers. He sat by the bedside of every sick pet, stroking their fur and offering them water with an eye dropper. As he got older he always signed his emails "love dad"; when he went to bed he said "good night -- love you." Recently, he took to greeting and saying good bye with the sincerest of bear hugs. This was no hearty handshake, no chest bump or bro slap on the back. Dad had no patience for that macho crap.

As much as my dad believed in the healing powers of his tofu lunch, I believe that he lived an extra 25 great years as a cancer survivor because more and more he chose to embrace that sincerity, to engage compassionately as much as he could. Walking at the Mattapoisett wharf, he never hesitated to ask a fisherman about how often he needed to paint his boat's hull, or about bilge water regulations; if he asked you how you were doing, he expected an actual answer, not an empty "good." His compassion reached out to the buildings he repaired; he worried about them like children, and he wanted to have a little talk with every dog he met on the street during his morning walks with my mom. There is a popular philosophy that we should spurn connections, simplify our lives, throw out, start fresh. Dad did not subscribe to that philosophy. He would not throw out the unresponsive computer, or the broken hair clippers, or the useless cell phone charger, or the wobbly chair. They gave him good years -- and he might salvage a part. He engaged with these objects as they exist in this world -- he'd express mock outrage that the screw he used to fix the chair two years previous had worked its way out and plopped to the floor. But that's life, and having to re-fix things didn't depress him. Putting back those loose screws again and again kept him engaged. And this, too, is an embodiment of love.

I am glad that we can all be here in this cemetery; even though this is not a place any of us choose to be -- short or long term. This is a place that embodies history and connections and family. This is a place of love.