HIKING WITH PETER
for Peter Thabit Jones, September 17, 2016
Boot-shod feet, born and bred south coast of Wales
felt the pulse of Big Sur’s thumping shore,
tapped its rhythms into poems,
then leaped, with the help of an airplane,
California to Colorado, where I met him
and was glad he was properly shod
to wind with me up among the sandstone fins
south side of Mt. Sanitas,
hiked and jogged by hundreds,
but sure to be people-free I promised Peter
on our descent north, then west, south,
and east from the summit.
Hour-long uphill huff and puff
failed to deflate our lungs,
left in fact whole hallways and corridors
of oxygen-filled enthusiasm
to talk poetry halfway from A to Z,
saving the other half for the less steep
meander back down.
Peter could pick up from where he left
the Pacific sprawled below his hillside
hermitage at Big Sur by viewing
flat Boulder suckling its own shoreline
steep off Sanitas a thousand feet below our feet.
Peter clicked his camera at whatever wonder
first flew into his eye, a young women clicked us
shaking hands by the mountain’s summit pole,
and shy deer on the way down
ambled in and out of focus,
as poets and the ways of poetry
filled our talk, mixed with the scent
of ponderosa pines, the slope of hillsides,
the grass of meadows, and a certain log
we had to find to find a certain way down
the rest of the world no longer knows.
Fine friendly trail companion,
this man Peter, for whom poetry
ties and unties his boot laces
talks to him in his sleep, sometimes
shakes him awake, and showed him yesterday
through his boot soles how to step
from Boulder’s young pink sandstone
to its old grey granite in whatever dance
between the two will add
an audible Colorado ripple
to each new poem
rising up inside him.
Alex Drummond America
-Credit : Cross-Cultural Communications Art & Poetry Series Broadsides # 78
CROSSES AND GRAVESTONES BREAK MY VIEW
Crosses and gravestones break my view.
To the left, I see you, bending
To arrange a jar of flowers;
The winter sky dulls your presence:
Charcoal figure, Van Gogh peasant.
Now kneeling, you recall a prayer.
My lack of Welsh locks out the sense;
But the grammar of sobs I know.
No priest, no poet, no actor
Could vinegar my wound like you.
You stand and gather up your things;
Then blackly walk the narrow path.
Your grief is deep – and so is mine;
Yet your strange prayer suggests that faith
Does visit your dark house of hurt.
I stare down at my child son’s grave;
I say no words to cross or stone,
As my clenched hands hold crumbs of dirt.
Published in VISITORS by Peter Thabit Jones, Seren Books (1986)
Fairleigh Dickinson University’s Edward Williams Gallery presents
“Adel Gorgy – Art About Art…From Da Vinci to Matisse and Warhol, Photographic Works,
March 30th through May 1st, Opening Reception – Saturday, April 11, from 2-4 pm.
From March 30th through May 1st, Fairleigh Dickinson University’s Edward Williams Gallery presents “Adel Gorgy – Art About Art…From Da Vinci to Matisse and Warhol, Photographic Works, Retrospective Exhibition” a solo exhibition of large scale, abstract photographic work by the acclaimed New York artist, Adel Gorgy. Gorgy’s work has been exhibited in museums and galleries nationally and internationally. This is his first exhibition at the Edward William Gallery.
Gorgy’s photographic art often focuses on familiar works of art by renowned earlier artists. This exhibition offers a rare opportunity to see examples of several bodies of work that span more than 20 years.
Merging the conceptual with the visual into vibrant and stunning images, Gorgy’s work extends the boundaries and redefines the possibilities of photography. In “Art About Art…From Da Vinci to Matisse and Warhol,” Gorgy’s first retrospective exhibition, traces of earlier artworks can be perceived. Works that range in subject matter from ancient to Renaissance to Impressionist and Modern Art present Gorgy’s distinctive style and vision. Gorgy reconstructs, recontextualizes and recomposes what he sees into complex, intricately detailed photographs rich with imagery and meaning. This work presents a completely new vision that has not been done or seen before. It transcends the limitations of realism, asks the viewer to experience art with new eyes, and gives new depth and dimension to familiar works. Gorgy’s abstractions are surprising, thought-provoking and beautiful. Several of the works are printed on silver metallic medium, which gives an incredible depth of tone and a rich surface texture.
Photographic artworks from these series have been exhibited in Manhattan, London, Italy, France, Singapore and Seoul, Korea. Now, New Jersey audiences will have the opportunity to see them locally. Adel Gorgy’s artwork has been the subject of five previous solo exhibitions. It has been included in numerous group shows, published widely in books and magazines, and is the subject of the 2014 book, “Adel Gorgy, Photographic Works.”
The Edward Williams Gallery, under the directorship of Diana Soorikian, at Fairleigh Dickinson’s Petrocelli College presents exhibitions of important local and regional contemporary artists.
Edward Williams Gallery, Diana Soorikian, Director
150 Kotte Place, Hackensack, NJ Free and open to the public
Hours: Mon-Fri 8:30am-8:30pm Sat 9:30am-2pm
Information and directions (201)692-2449 / email@example.com
Each possesses a unique vision and voice. Yet, when seen together, it is clear that the voices speak to one another. There is a sense of accord, through the shared language of abstraction. A musical note, a drop of water, a memory – all of these are sources and expressions of reverberations. Reverberations can be direct and clearly traced or may dwell in the realm of mystery.
Three artists, working separately, have created distinct bodies of work that reverberate in unexpected ways. Adel Gorgy, from New York, creates intricate contemporary abstractions that intentionally blur the boundaries between photography and painting. Miyako Aoki works aluminum surfaces in dense but bright colors that transform the metal into an elegantly minimalistic painted surface. Marsha Solomon’s ethereal acrylic paintings infuse her canvases with color and texture, but also with a sense of harmony and repose.