timpanist with his instruments; graphite pencil on paper, c. 21 x 15 cms

I was mistaken; I have to re-formulate. This polarity is not about time-and-space matters, the way dancers do it. It’s more like the visible world calling for the invisible. Material bodies of instruments and human beings, interacting to shape the immaterial/imaginary space of music.

Thanks to the orchestra and its various directors for sharing their working process with me.

cellist with her instrument; graphite pencil on paper, c. 21 x 15 cms

four more drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms

four drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms

Yes, this is very different from drawing (for instance) dancers. While moving art performers interprete a temporal impulse into spatial, thus visible, reality, the orchestra’s performance establishes more of a polarity; the aim of the effort stays the audible field, and yet there is a great deal of ‘bodyness’: gleams of varnish on the violins; the instrumentalist’s physical concentration and coordination of movements in playing; the almost architectural issue of supporting and supported parts when the cello player brings her instrument in a ready-to-start position. And the conductor’s oral instructions helping to bridge the gap… like “trust the fact of getting there softly”… I’ll keep that one.

six drawings from a rehearsal; graphite pencil on paper, c 20 x 28 cms

Some more drawings of Milo; graphite pencil on paper, 21 x 28 cms

Milo, my shaggy friend, is leaving, but Augustine of Hippo stays with me.

“What is it that shineth through me and striketh my heart without injury, so that I both shudder and burn? I shudder because I am unlike it; I burn because I am like it.” (Augustine’s Confessions, XI 9:11)

Two drawings of Milo; graphite pencil on paper, 21 x 28 cms

colour exercise; watercolour on paper, 15 x 10,5 cms

Still enjoying the privilege of being able to work in the atelier, now accompanied by Augustine of Hippo “alive, with fiery breath”. And, being a doggy-sitter for some weeks, I take daily walks in a light filtered through autumn leaves.

Constantly awaiting the continuous miracle.

Milo resting; graphite pencil on paper, c. 25 x 30 cms

Quiet days in the atelier. Also following a course att Uppsala University, I spend an amount of time together with Plato’s Socrates, Thucydides and with my fellow students on the internet. Practising awareness, reflection and the art of dialogue… running out of emerald green and wondering where to get true cinnabar. This one’s for Martin in Chiapas.

Now I’m taking a break, going to Åbo/Turku to meet som fellow nomads and to dance all night.

inauguration of Gillberga with exhibition and sing-along music; photo by Christofer Martinson

September 4th: official inauguration of Gillberga, the building which has housed us; rejoining and rejoicing together with other citizens as well as politicians and officials of the municipality of Södertälje; an opportunity to display in public some of the works that were made this summer.

Most of what is accomplished among these people will never reach out of ‘the galaxy of the disabled’. Now, my dream would be to encourage communication for the benefit of society at large as well as for this singular group of people. Give us a wall, and we’ll give you a thrill.