EXCELSIOR!


blissful “Blissful” terra cotta sculpture by kayti sweetland rasmussen

EXCELSIOR
~~~~~~~~~
by Henry Wadsworth Longfellow

The shades of night were falling fast,
As through an Alpine village passed
A youth, who bore, ‘mid snow and ice,
A banner with the strange device,
Excelsior!

His brow was sad; his eye beneath,
Flashed like a falchion from its sheath,
And like a silver clarion rung
The accents of that unknown tongue,
Excelsior!

In happy homes he saw the light
Of household fires gleam warm and bright;
Above, the spectral glaciers shone,
And from his lips escaped a groan,
Excelsior!

“Try not the Pass!” the old man said;
“Dark lowers the tempest overhead,
The roaring torrent is deep and wide!”
And loud that clarion voice replied,
Excelsior!

“Oh stay,” the maiden said, “and rest
Thy weary head upon this breast!”
A tear stood in his bright blue eye,
But still he answered, with a sigh,
Excelsior!

“Beware the pine tree’s withered branch!
Beware the awful avalanche!”
This was the peasant’s last Good-night,
A voice replied, far up the height,
Excelsior!

At break of day, as heavenward
the pious monks of Saint Bernard
Uttered the oft-repeated prayer,
A voice cried through the startled air,
Excelsior!

A traveler, by the faithful hound,
Half-buried in the snow was found,
Sill grasping in his hand of ice
That banner with the strange device,
Excelsior!

There in the twilight cold and gray,
Lifeless, but beautiful, he lay,
And from the sky, serene and far,
A voice fell like a falling star,
Excelsior!

A SHORT VACATION Kate’s Journal


dancer“Dancer” stoneware sculpture by kayti sweetland rasmussen

Dr. Advice does not cook. I mean he REALLY does not cook, so in preparation for my short vacation for a tune-up, I am preparing a bit of sustenance in advance. So far a chicken vegetable soup, a chocolate cake and a few enchiladas. He used to feel sorry for our friend Emmett Oliver after Georgia passed away when Emmett stocked his fridge with frozen dinners. Personally I think that was very smart.

This appointment for surgery popped out of the blue a day or so after the stress test. One of those “voices” informed me that the doctor was ready. There was no chance to say “Wait a darn minute–HE may be ready but I haven’t finished reading the brochure”.

Having a bypass of a leg artery may or may not correct my “spaghetti” legs. I don’t think there is a need to drag out my dancing shoes again, but perhaps I can pass along my wheeled transportation. It seems a very positive endeavor. I just hate to be rushed.

BAREFOOT HUMMINGBIRD


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She lived a life that would have been considered outrageous even by today’s standards, but Beatrice Woods began her life in 1893 as a daughter of a wealthy, socially conscious family in San Francisco. Ultimately, it was her exposure to the arts that ruined her mother’s hopes for her in 1912, when Beatrice rejected plans for a coming-out party and decided she wanted to become a painter.

Supervised by a chaperone, Beatrice went to Paris to study, but it was in Giverney, home of Monet, that rebellious Beatrice ditched the chaperone and moved into an attic with her painted canvases.

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Moving to Paris, she decided to become an actress, and while taking acting lessons, Beatrice became became part of a Bohemian group of artists, and where she was introduced to the artist Marcel Duchamp. “We immediately fell for each other,” Beatrice recalled. “He was an enchanting person.” Duchamp introduced her to Henri-Pierre Roche, a French diplomat, writer and art collector, who became her first lover. He was also the first man to break her heart. Beatrice had found herself surrounded by Bohemian men who thought little of bourgeois morality. During this time she became known as the “Mama of Dada”.

“Marcel shocked me because he said that sex and love are two different things,” Beatrice later recalled. Yet she fell into a relationship with both men, and remained life-long friends with Duchamp. In 1953 Roche wrote a semi-autobiographical novel called Jules et Jim, about a threesome, which some some erroneously suggested may have been inspired by the association of Woods, Duchamp and Roche.

In 1948, Beatrice moved to Ojai, California, to be close to the Indian philosopher J. Krishnamurti. She built a home in the small peaceful village of artists a little south of Santa Barbara and surrounded by lovely rolling hills. There she taught and pursued her art for the next sixty years. At age 90, at the urging of her friend Anais Nin, she became a writer. Her most famous book is “I Shock Myself”.
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I first became interested in Beatrice in 1985 while teaching a class in conceptual art and Marcel Duchamp, and when I learned that she was living in Ojai, I welcomed an opportunity to visit her.

If you want the local lowdown in Ojai, California, a resident says “People rarely ask what you do—they ask, ‘what brought you to Oja?’ I love that. Ojai is a beautiful sleepy small community of artists, farmers, and a few people who simply want to relax and enjoy life.

The prospect of seeing poppies drew us up into the green hills above the town. We had been graced with the sight of enormous 5 inch wide white flowers along highway 101, and Ojai thought enough of them to name a park Matilija—Ma-till-a-hah.

Matilija Poppies
Matilija Poppies, watercolor by kayti sweetland rasmussen

Winding up through the hills we came upon Beatrice’s little house where she lived, worked and had a small gallery of her work. The door was answered by a diminutive Indian man who introduced himself as “her humble servant.” Beatrice was momentarily engaged in another room but we saw her as she darted past the doorway like a barefoot hummingbird. Draped in colorful sari and Native American jewelry, she was an iconic figure, even better than I had thought

When she floated into the gallery and found my interest in art, her “humble servant” brought cups of tea and she described the art displayed in the room. She was quite open about her relationships with Duchamp and Roche, and introduced us to her German Shepherd dog,
Roche” who wandered into the room in search of a pat on the head.

Her sculptures were funky, funny and engaging and told a wry story of her life. One large piece was of a brothel on fire, with girls leaning out the front windows while a variety of men were pouring out the back doors. Beatrice explained that the men were “the mayor, the police chief, etc.” It was plain that her way to get even with the men who had hurt her throughout her life was to put them all in erratic or hazardous situations in her art.

To what did she attribute her longevity? Her stock answer was “I owe it all to chocolate and young men.” Beatrice Woods died in Ojai at the age of 105 in 1998.

Her personal and artistic style intrigued me, and I developed a number of pieces as a dedication to Beatrice.

Out Of The Woods
“Out Of The Woods” clay sculpture by kayti sweetland rasmussen

Beatrice Lives
“Beatrice Lives” clay sculpture by kayti sweetland rasmussen

CALIFORNIA GIRL


Wrapped in Love
“Wrapped in Love” stoneware sculpture by kayti sweetland rasmussen

CALIFORNIA GIRL

I’ve looked around a town or two
And I’ve wandered through the world,
But I’ve never met the equal of
A California Girl.

She seems a little softer,
Her laugh is more serene.
She talks a little slower
And finds the time to dream.
She’s a field beneath the freeways,
A meadow in the maze
A hill between the buildings,
New York with country ways.
She can sit with me in silence,
When there’s nothing else to say,
She never talks of freedom,
Because she lives it every day.

She’s open and yet mysterious,
Concerned but not too serious,
She’s class–without pretense
And style–without offense,
Just a California girl.

poem by James Kavanaugh

MADONNA OF THE PUEBLO


Pueblo Mother & Child
“Pueblo Mother and Child” stoneware sculpture by kayti sweetland rasmussen

He came walking up the aisle of the newly restored Mission San Jose de Guadalupe as if he owned it. A handsome young man wearing khakis and an open blue shirt, he had the positive air of someone who belonged there. He couldn’t possibly be the new priest, but somehow I knew he was.

I had come to the church looking for Father Mike Norcutt, the new young priest, to deliver a large sculpture of a “Pueblo Mother and Child” which he had recently purchased from the gallery across the street and which he called a Madonna. I suppose in some respects it truly is a Madonna, though perhaps a “Madonna of the Pueblo”..

He had gone to school with sons of friends of mine, and I felt I knew him though we had never met. I called down to him from a balcony and introduced myself and he tossed up a compliment for a woman of my years: “I thought you’d be an old lady” he called back. “I am” I replied.

Mission San Jose
“Mission San Jose de Guadalupe” stoneware sculpture by kayti sweetland rasmussen
The city hosts an annual Mission Days celebration for which this sculpture replica was made. The Mission founded in 1797 is the 14th in the Franciscan system of 21 Missions founded by Junipero Serra.

MOTHER LOVE


Mother Love
“Mother Love” stoneware sculpture 3ft.tall by kayti sweetland rasmussen

What stronger bond is there than the love of a mother for her children? During my life of art, I have been privileged to paint or sculpt people, and some of the most rewarding have been mothers with their children. Wherever I have gone, I am always touched by the enveloping warmth of a mother’s love for her children.

As a mother, grandmother and great grandmother, I can share this singular state of being. Children are our legacy to the world. It’s our responsibility to make it a good legacy.

100 Words

STORIES ARE LIMITLESS


Stories are either written or oral, and are at the base of every civilization. Even cultures who had no written language had storytellers. At a lecture by F. Scott Momaday, a Kiowa Indian writer and educator, he stated that at some time in everyone’s life, he must know from where he came. The Native American has no such problem, because he has been taught the legends of his people over and over his entire life. He can recite his family tree for generations back, and can also remember and tell stories about ancestors long dead.

Stories are painted and carved on rocks throughout the world. Reminders to us that we are not unique, and that those who have gone before us left their legacies for us to interpret.

In the 19th century, missionary schools began popping up on reservations all bent upon teaching the white man’s ways to the Indian children, but in 1870 the first off-reservation schools were organized to ensure that children would come to be Euro-American.

Emmett
“Emmett Oliver” original watercolor painting by kayti sweetland rasmussen

Our good friend Emmett Oliver, dear friend and educator, recently celebrated his 101st birthday. His mother was a product of one of the off-reservation schools, forcibly taken from her family. Tales of mothers clinging to the fences outside these schools are heartbreaking.

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“A Hole In My Heart” Stoneware sculpture by kayti sweetland rasmussen

It was said that a hole formed in the hearts of mothers so that her children could climb back in.

Children were given American names, and boys were given short haircuts and American-style boots. All were taught to work for their keep. Often when boys returned to their homes they knocked the heels off their boots and returned to moccasins.

Once back in the arms of their families, they again became part of the stories of their family.

I Am Home
“I Am Home” stoneware sculpture by kayti sweetland rasmussen

In this sculpture, the child, standing within the warmth of the blanket, is surrounded with the stories of his people. He hears the words once more, and again feels a part of the story.

“What cannot be changed must be accepted. What is accepted must be endured. Back when we were a people on foot, running up and down the mountains, we lost our advantage. People took our land, our children. We accepted everything, except the loss of our children. When you look at us now you will see a big hole in our hearts. This is so our children can climb back in. We go out to your world and come back, trying to decide which way to go. The young travel to places they think will give them everything. After awhile, they come home. They stand in the plaza, looking up at the mountains, seeing our ancestors. We older ones say nothing. Isn’t silence better than a scolding?”

OLD WEDDING CEREMONIES AT ORAIBI


hopi wedding pot

Hopi Bride With Wedding Pot” stoneware sculpture by kayti sweetland Rasmussen

Every bride is beautiful in her own way, and the Hopi bride of yesteryear was no exception. Though today’s bride is more apt to wear a long white wedding dress and serve a multi-layered wedding cake at her reception, not so long ago her preparations were time-consuming and laborious.

The two sided wedding vase was used by both the Cherokee and the Pueblo Indians and contained a sweet corn liquid which the bridal couple sipped during the ceremony.

After informing her mother and future mother-in-law of their intention to marry, the bride was set to the task of grinding corn for three days. Can you imagine a young woman of today grinding corn for three days?

About the Hopi Indian Marriage Ceremony

The village beauty parlor then took over and after washing her hair with pounded yucca roots to make it shine, the bride’s mother cut the front hair to the level of her chin and rolled the long hair in back into two large coils over her ears which designated her new status as a married woman. After this ceremony, the bridal couple each took a pinch of cornmeal, walked to the eastern side of the mesa on which the village of Oraibi stands. Holding the meal to their lips they cast it to the wind and return to the house as husband and wife. Simple ceremony.

Gifts of corn were distributed around the village, and the bride set to work making dozens of paper breads for the festivities after the wedding to which the entire village was invited.

Hopi Corn Maiden
“Corn Maiden” stoneware sculpture by kayti sweetland rasmussen

kiva isleta Kiva at Isleta, New Mexico, where I lived for some time in the 1960’s

The crier of the village announces the time for the spinning of the cotton for the bride’s blanket which takes place in the kivas. The bridegroom and male members of his family then wove a large white blanket which would be used as the bride’s winding sheet upon her death, and a second smaller sash each with long tassels on the ends, plus a reed mat in which the blankets are to be rolled.

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Woven bridal sash

The last act of the drama is called “going home” in which the bride, who has been living with her husband’s people up to this time, returns to her family home. Wearing the large white blanket and carrying the smaller one wrapped in the reed mat she walks to her mother’s house. For in this land of women’s rights the husband must live with the his wife’s relatives.

WHERE SHEEP MAY SAFELY GRAZE


sheep grasmere

Life is much different in the countryside. City and suburbanites usually know what to expect, good or bad. If the lights don’t work, one calls an electrician, plumbers are available to fix a leaky faucet, and if the neighbor’s fence falls into your geraniums, get a carpenter. The craftsmen who operate in the country may be out fishing or hunting, or merely lollygagging around, and will come when it suits them. In the meantime, phone calls are made at a pay phone, laundry is done at the launderette, and you gain an education in patience.

We were made aware of this phenomenon in the first week we took over ownership of the old farmhouse in Kirkland, Washington years ago. It sat amongst ancient trees within walking distance of Lake Washington, with no neighbors within shouting distance. There was a small orchard with pears, apples and cherries and a patch of large juicy raspberries ready to pick. Nearly were enough blackberries to keep the freezer filled with pies for those willing to pick them.

To say it needed some loving care and a good push into the twentieth century would be an understatement, but we were game and filled with the enthusiasm of stupidity. It sat alongside a shady lane at whose culmination were the two homes of an old Swedish man who adored us, and his daughter who seemed to wish we would move back to California. Mr. R. watched with interest while we labored day after day, lending us tools, giving advice and sharing rhubarb wine. He was a retired homebuilder who miraculously had built our small house for himself and his late wife, and was filled with stories of the families who had subsequently lived in it. We felt very fortunate.

We had managed to find a roofer, who was not only available immediately, but expected us to help him. It was apparent that “us” meant “me” as Dr. Advice set off for Alaska, Montana and points North, leaving me on the roof with an old gentleman in his 70’s to teach me where to place the shingles. At our first dinner party I had not planned ahead and neglected to take into account the small size of the dining area, so our next project was a new family room.

Looking back it seems as if we tackled all the projects at the same time, until I began to feel like the heroine of Betty MacDonald’s “The Egg and I”. I wrote page after page to family back home describing in detail each unfamiliar endeavor. I stopped holding the various craftsmen in awe as we learned each trade by virtue of do-it-yourself books.

The acre and a half we sat on began taking shape, with sprinkler systems, ornamentals such as rhododendron, azalea and camellias tucked in amongst the trees, and the whole enclosed by a circular driveway and white fencing.

It also became evident that we needed a large building to be used as entertainment, extra sleeping quarters for the many curious friends who thought we were out of our minds, and not least, studio space for my sculpture and teaching.

So with no prior experience and the grace God gives to idiots, we built a barn with sleeping loft ready to hold eight intrepid visitors willing to climb a ladder for access, which passed all inspections the City sent us, all within about 200 feet from the house.

Life was good until the neighbors horses got loose one night and discovered our new lawn. We woke that morning to find them munching happily on the ripe pears in the orchard, with broken sprinkler pipes poking up, and with no name tags on any of them.

During the five years we lived there, Dr. Advice spent two weeks of every month in Alaska and points north and east, giving me additional experience in ditch digging and containing the small creek which often overflowed, and the various projects of home repair. A whole new market opened up in the Seattle area for my work, and my North Coast education began in earnest.

North Coast ShamanHaida Shaman” sculpture by kayti sweetland rasmussen

My work day in the barn usually began about four in the afternoon and lasted until midnight. I have always preferred working at night when things are quiet with no interruptions, the creative juices seems to flow more easily when alone with no thoughts but your own. The young today would say it’s “zoning out”.

One late night when sleep overtook me, I put away my tools, turned out the lights and locked the barn door, ready to walk back to the house in darkness like the 9th plague of Egypt. I remember the silence and the darkness with no moon. Suddenly I heard a very loud belch as from a nearby man. I ran the rest of the way to the safety of the house and of the two dogs whom I had neglected to take to the barn with me. Needless to say there was no sleep for me that night.

Early in the morning I took the dogs and went outside, where looking at the meadow behind the house I saw a small flock of sheep which had moved in during the night. Speaking with Mr. R. later in the day, I learned that these cute fuzzy creatures DO burp—rudely and loudly.

The lambing once over, the sheep moved out and several horses moved into the corral behind the barn, and in due time, we moved back home to California to a new grandson.

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