I hear the earth turning

Studio still life: Vase by Chris Donnelly Ceramics 
Next to a card featuring a print of West Highland Landscape by Barbara Rae. 

I woke with a start at 4 A.M. after having a waking dream about my job.

At 6 A.M. I am drinking a strong matcha and listening to one song on repeat on my big headphones with my windows open. I have sat down in my favourite chair to write this. If you missed last week's post you can find it here.

This week went quickly.

There was a bit of local charity shopping, new matcha and the associated accoutrements arrived in the post, the crocosmia lucifer flashed red in the garden along with the geranium. 

I met my pal Julia for a spontaneous wander on Sunday to the City Art Centre to enjoy Out of Chaos: Post-War Scottish Art 1945-2000. The exhibition didn't disappoint with several personal favourites. West Highland Landscape by Barbara Rae stole the show and practically vibrated off the orange wall it was placed on. It is probably my most favourite painting by Rae that I have seen so far. It was a perfect study in composition, colour, and expression. Both my pal and I left the exhibition with a printed version of the painting on a card from the giftshop. Prints don't do this work justice though, so if you are able please go see it yourself. No photos were allowed of the exhibition or I would have shared some here, so again, go see it. 

Next we wandered through the city centre and I introduced Julia to the work of Michael McVeigh the artist who I had met the week before. It was good to chat with him again while enjoying his work. 

Afterwards, we enjoyed our supermarket lunch on a park bench in Princes Street Gardens and happened upon the vibrant sounds and colours of the Edinburgh Festival Carnival. We then moved on to the RSA for the Paul Furneaux exhibition, 旅路 | Tabiji - Journey (with wonderment) It is a gorgeous, jewel-like exhibition. 

It was a lovely and spontaneous Sunday, filled with all the best parts of living in this city and enjoying it all with a good friend.

Later that evening, I worked on another small painting. I have returned to the inspiration from a series I began in 2004 or so. I will write more about this in a future post. 

I hear the earth turning 15x15cm/ 5.9x5.9” mixed media on canvas 2025 Megan Chapman
£45 & free UK 2nd class shipping

Then on Monday it was back into the city centre for a different kind of art. My pal Anthea and I met up for a gorgeous fancy vegan/vegetarian lunch at David Bann, a gift I had received from my oldest brother for Christmas. We both dressed in bright saturated colours by chance and pretty much laughed the whole time - we played the part of ladies who lunch but with an edge, expertly. It was great fun and the decadent food was a rare treat that I was delighted to be able to share. By the way, I met my pal, Anthea in March at a movie screening - just two folks who crossed paths around a shared interest and then became fast friends. As I noted in my post last week, it's good to talk to strangers! 

Selections from the set lunch menu at David Bann
Thanks again, to my brother Ben for this lovely gift

Then it was back to life, back to reality, and back to work and here we are at the weekend once again. I plan to rest, talk to family and friends, sit in the garden, and paint.

Every day we reach out, set boundaries, and take care to express ourselves through art and action (however we are able - quietly or loud) is a victory.

Thank you for being here. Keep fighting!

Remember

Remember, 15x15cm/5.9x5.9" mixed media on canvas 2025 Megan Chapman
£45 & free UK 2nd class shipping

I am talking to strangers on the street, at the bus stops, in shops, and on the pavements as they clean out their cars. I am talking to them like they are long lost friends and they are letting me. We are laughing, sharing, and relating - we talk about music, politics, and despair. We share favourite bands - an obscure Interpol song radiates out of a car window. We smile, we nod, and we bond. 

A woman takes a photo of something I'm wearing - a shared political belief. The artist on the corner tells me about his paintings and challenges my history. We laugh, we know, we have lived similar lives.

The worker in the tea shop enjoys our banter and gives me my matcha for free. I'm touched, I'm thankful, my day made. 

I find more things I need and some things I don't on the street. A friend helps and supports me with a task and then we eat strawberries in the sun. 

Old things remind me of who I am and new things flesh it out even more. My hair grows longer and a bit wild. Glances shared through windows, laughter of later stories. Daisy bouquets and sunshine. 

I am okay. 

I am okay. 

I am okay. 

The strangers tell me so. 

This gift remains

Little Edie Flag Dance, Grey Gardens, Maysles Brothers' Film 1976

It's the 4th of July and while not patriotic, it is still an atmosphere that I can easily recall: a hot, sticky, Arkansas summer. Picnic tables at the park, Mom's amazing BBQ baked beans, hot dogs, and watching the country club's fireworks from a distance at the picnic table on the side of Mt. Sequoyah, and then later the fireworks at the Northwest Arkansas Mall. Bottle Rockets (and getting hit in the neck with a bottle rocket - thanks, Sean). The smell of burning snakes (not real snakes) as they undulated on the pavement. A feeling of a bit more freedom and extra wildness, walking the hot streets in the neighborhood to the pool with my friend, Annie. Vivid summer memories of childhood. 

But today, my brain has other plans—today it feels like the hashbrowns at the Waffle House (another American institution). Today, I am scattered, smothered, and covered... if you know, you know. This 4th of July I am anxious, angry, and fretful.

Today, the sky is grey and featureless as little Edie from Grey Gardens does her perpetual flag dance, frozen in time on my computer screen. Rain starts to fall on the pane of the tilted open window and I am a bit cold and far from home and the people I love. 

The US government did a bad, bad thing yesterday, and it all feels a bit much. I soothe myself by looking at and crying over Bruegel paintings. Yes, really. It's all right there. The paintings of Bruegel and Bosch were my version of Where's Waldo. Certain paintings become touchstones for grounding. These paintings serve as kinship and provide strength and a knowing. Like holding up a mirror passed through the family for decades—all your people have gazed in the same glass, and they are still there with you now.

The Triumph of Death, oil on panel c. 1562
117 cm × 162 cm (46 in × 63.8 in) Pieter Bruegel the Elder
Museo del Prado, Madrid

In these hard and strange times, I am so grateful to have this type of relationship with art. To be able to slow down and just go into a painting, to know a painting, to feel the support of a painting, to marvel and dream over a painting. To feel seen and known by a painting and to know it in return. It's a rare gift that I credit my parents for making  available to me through the prints on the walls and the books on the shelves in our little home in Arkansas.

No matter where I am or what happens, this gift remains.