Tower Poetry Society

Promoting poetry sine 1951

POET: NORMAN BROWN & PENCIL ARTIST: MICHAEL WIWCZARUK

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The Final Dance

  • Click on poem and art to view clearer:

                    “The Human Soul needs to know it is Loved”
                    by Michael Wiwczaruk

 

 

Perhaps it’s fitting that this last PoARTry post comes during Arts Dundas Weekend — as this is the event that was the idea for the project in the first place. Each year, Tower Poets choose artworks made by Carnegie Gallery Member Artists that inspire them to create poetry. These are displayed together in Dundas store windows during the event. Artwalk: Join us on a guided tour as we stroll on Sunday, November 5th (meeting in front of Carnegie Gallery at 1:00 pm), experiencing the unique charm and small-town ambiance of Dundas’ quaint old downtown, as the poems are read aloud as we view the accompanying artwork.

Ekphrastic Poetry Explained…

Ekphrastic poetry explores a pre-existing work of art, expressing a visual medium in verbal form and expanding on the themes of the piece of art at hand. (Source: https://www.masterclass.com/articles/ekphrastic-poetry)

Is a picture really worth a thousand words? We, at Tower Poetry Society, along with textile artist Lorraine Roy, thought we’d see what would happen if we reversed the process… instead of words describing art, we decided to have art describing words…. Reverse Ekphrasticism(?)

POET: NORMAN BROWN

ABOUT THE POET:

Norman Brown is a Tower Poetry Society past president. He has published some poetry books. He has done at least one PoetTalk for Tower Poetry Society Members.

WHEN DID YOU START WRITING POETRY?

Can’t really remember exactly when, I think I have always written verse.  My eight line ‘City Streets’ doggerel  made it into my Grade Seven yearbook.

WHY DO YOU WRITE POETRY?

As I mentioned, I just always have written poetry.  (We’re talking about the process, right?) Lyrical Poetry, dealing with experience or emotion, is somewhat therapeutic.  Much of my poetry tells me about myself or my philosophy on life. As well  I write because it provides a mental challenge, getting those ideas down in words, and when successful there’s the satisfaction you get from making those stubborn thoughts and ideas behave properly. Plus, there’s the obvious satisfaction in having created something.

WHAT IS THE BEST ADVICE YOU HAVE EVER RECEIVED AND WOULD SHARE WITH NEW POETS?
  • Read the best!  Always keep reading other poetry.
  • Read your poem aloud to yourself as you are polishing it.
  • Workshop your poems.
  • Imitate.  (In a nice, legal sort of way.)
  • Carry a notebook or keep a diary.  Always keep an eye or an ear out for turns of phrases, contradictions, accents.
  • Listen to the voices of people around you, in crowds etc.
  • Keep your meaning clear.
CAN YOU COMMENT ON YOUR PROCESS?
  • Polish, polish, polish.
  • Hit ‘delete’ without feeling guilty.
  • I ‘web’ a lot to get started.
  • I get ideas from my trusty 1983 copy of Writing the Natural Way.
  • I look out my back window a lot for inspiration; so far, so good.

Norman says: “I have a boxful of A Failure of Flowers, my self published collection of poems for sale for the discerning purveyor.  New price,  $30.00 each, signed  (postage extra, usually about $5.00).

Photos from: https://towerpoetry.ca/poetryplus/

PENCIL ARTIST: MICHAEL WIWCZARUK

About the Artist:

Michael is Tamara Campbell’s (a previous contributor’s) son. He is currently in jail, so Tamara had to choose a poem for him, since he is not permitted access to a range of documents.

WHY DID YOU CHOOSE THAT POEM?

I did not personally choose this poem, but I did enjoy it. There were some aspects of the poem that were hard for me to express in the picture that I drew. I tried to understand the general message in the poem and paid attention to how it made me feel. I understand that everyone has a different perspective and that someone else might envision something totally different. Poems speak to each of us in different ways and spark thoughts and feelings based on all of our different experiences.

HAVE YOU DONE THIS KIND OF PROJECT BEFORE? WOULD YOU DO IT AGAIN?

I have never done this type of project before, but I enjoyed the challenge of it and would probably do it again. I have previously thought of including poems with some of my sketches.

WHAT WERE THE CHALLENGES? WHAT WAS EASY?

I found it hard to incorporate everything into the picture. I didn’t know how to express “perfumes of Zanzibar” and “swirls and eddies”. Again, I tried to express the poem in its entirety and portray how it made me feel.

CAN YOU TELL US A BIT MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED WORK? WHY THOSE COLOURS AND SHAPES?

I am currently incarcerated and so my materials are very simple as I only have access to stubby golf pencils (usually 2B). We don’t have pencil sharpeners, so I must sharpen them on the rough parts of the cement floor. First, I have to soak the pencil in water to dislodge the pencil lead so that I can pull it out to create a sharper point for fine details. The pencils are not art pencils and are low quality, but I have learned to make them work.

SIZE OF THE PIECE.  PRICE IF FOR SALE. WHERE IS IT AVAILABLE?

My drawing was done in pencil on 8.5×11″ paper, unmounted. It will be spray fixed to prevent smudging and will have a board backing to support it, but it is not framed or mounted.

It is for sale – $225.00

Please contact Tamara Campbell at tamarahcampbell@gmail.com if you are interested in purchasing it.

ANYTHING ELSE YOU’D LIKE TO SHARE?

I am very interested in realism and fine detail. My specialty is portraits. When you have to analyze someone so deeply, you come to see and recognize not only their beauty, but the beauty of the captured memory as well.

More Pencil Drawings:

Michael’s mother, Tamara Campbell speaks on his behalf… “This is one he did for his Grandfather (my Dad) showing Dad at 3 different stages in his life. One when he was about 9, as a soldier when he was about 18 and the third when he was 87. Michael loves doing meaningful portraits like this – showing different stages of a person’s life and important things in their lives. The house shown here is one that my Dad designed and built and has lots of good memories for my kids and myself.”

 

The Last Dance of PoARTry…

one last chance to read the poems;

one last chance to see the art… and then…??

I feel winter creeping in & it’s time to read the posts again, right here: https://towerpoetry.ca/blog/

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

WE HOPE YOU HAVE ENJOYED THIS 10th & FINAL DANCE OF POETRY AND VISUAL ART.

POET: GERTRUDE OLGA DOWN & MOSAIC ARTIST: HEATHER VOLLANS

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A DANCE OF POETRY & ART…

  • Click on poem and art to view clearer:

 

       

“An Orchard of Oaks” by Heather Vollans

POET: Gertrude Olga Down

About the Poet:

Gertrude (Trudi) Olga Down has been writing and reading poetry since she was a young child. She began to write with more commitment after joining The Tower Poetry Society in 1981.

Typically using a free verse style, Trudi’s poetry offers personal insights on the human condition, and on nature and love. She strives to present these word pictures in poetry that is accessible to all readers.

When did you start writing poetry?

I was quite young when I became interested in poetry and, like most children, enjoyed the rhythm and rhyme of the poems which we read in public school. From an early age I also was fascinated by the sound of words and intrigued by how a word’s meaning could change based on where words were placed in a sentence or how emphasis could change the meaning. My first poems were mostly about nature and animals. When I started reading a variety of poetic styles in high school and university, I began to move towards a freer style of writing, and expanded and diversified themes to include philosophy, relationships, and politics.

Why do you write poetry?

I write poetry to explore a theme or expand upon a “word picture” in my mind that I feel does not translate well into prose. I like the challenge of working with the theme or picture, shaping the poem so that the ideas flow and the imagery is clear. I write poetry because I truly believe it is a wonderfully unique style of communication; the poet has to get his or her “message” across in a few words, in short lines, and in a manner that is both engaging and informative. To me, poetry is very different from prose. That’s why I don’t write “prose poems” – I don’t see the point! Over the years I’ve learned that a poem can “speak” to the reader in different ways. What I try to communicate through a poem may be understood very differently by a reader; I think that’s fascinating!

What is the best advice you have ever received and would share with new poets?

Other than school and workshops, I’ve never taken any formal writing courses. One thing I can mention: over the years I’ve learned that poets need to realize when a piece is overwritten. Poetry is not like prose; the poet should not tell or explain everything. In poetry, it’s important to use language, metaphor, and simile to give the reader an insight into the poem, without being absolutely clear. I really like the advice provided by a former Editor-in-chief of Tower Poetry who said, “Be obscure, clearly”! Because workshops are done with a group of like-minded writers, they can provide great insight for the poet as to whether the poem “works”. The comments that arise out of these group sessions benefit not only the poet/poem under discussion, but everyone in attendance. I’ve received many excellent tips and suggestions from TPS workshop sessions that have helped me improve as a writer of poetry.

Can you comment on your process?

I enjoy the challenge of putting into verse what someone else might write as prose. It is exhilarating to work similes and metaphors into a poem and realize that they are working well, providing the mind pictures that help the reader understand the poem. I also like to play around with sounds and alliterations. It’s also important to me that the shape of the poem fits the theme or mood. I don’t mean that I write “shaped” poems; I mean that the stanza breaks are consistent; that lines are a suitable length and include a rhythm that continues throughout the poem; that the lines read such that they provide direction to the reader as to what the focus of the poem is all about. I’m not a fan of line breaks that jar or seem inappropriate to the flow of the reading of the poem. I write a poem from a particular point of view, but I also try to write the piece so that it can have universal appeal and be appreciated by a wide readership. I rarely “put myself” into my poetry.

More Gertrude Olga Down poems:

https://towerpoetry.ca/poetryplus/f-Trudi.html

She has poetry in this collection: https://www.lummoxpress.com/lc/product/tamaracks/

MOSAIC ARTIST: HEATHER VOLLANS

About Heather’s Artwork (from her website): “The biggest influence in my work is texture – my upbringing in Australia, my years travelling, especially in the Middle East and Europe have stayed with me and play a major role in my work.  Working in construction for years I saw so much texture – metals, ceramics, wood, concrete etc – but also much waste and too much going to landfill!  Since my teenage years I’ve had a passion for making things from discarded materials.  I tried my hand at many things, including decoupage, paper mache, wood finishing, patchwork quilting – always giving new life to old materials.  My passion for mosaic is influenced from these beginnings and continues to fire me.”

WHY DID YOU CHOOSE THAT POEM?

The idea of the oak trees as sentinels drew me in.  I have such beautiful memories of wandering through oak orchards and feeling their awesome wonder, ancient-ness and connectedness with us.  The poem truly spoke to this.

CAN YOU TELL US A BIT MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED WORK? WHY THOSE COLOURS AND SHAPES?

I knew immediately I wanted to use the long slivery shards of slate to portray the oak branches, and to keep the design simple to emphasise the trees.  I also wanted it soft, not blingy to befit the subject of the poem.  My initial experiment was with small rounds of coloured glass to give the idea of the graves next to the pathway, but glass was way too strong and took away from the texture of the slate.  So, I eventually settled on the white sand background and the simple pathway with tiny pebbles.

WHAT WERE THE CHALLENGES? WHAT WAS EASY?

It was quite the journey. I guess it is new concept for me, but I kept my materials familiar. I usually work in abstract but wanted to represent real oaks. It was tough! The shape did not work for sooo long. Trying to portray the trees’ long majestic hanging branches was really difficult – mostly because I usually work not ‘picturely” I’m sure. Responding to any subject I find incredibly hard and ‘picturely‘, almost impossible.  But again I ‘enjoyed’ the challenge; wanted to push myself out of my own self-imposed boundaries.

Have you done this kind of project before? Would you do it again?

I did this project last year thanks to Lorraine and I wanted the challenge again.

Anything else you’d like to share?

I love everything about this collaboration between artists.  Finding common ground between artists is truly valuable and we should do more of it!  We all also need to be challenged and for me at least, this kind of collaborative project certainly does that.  Working through this artwork also brought back many beautiful memories of wanderings through oaks and I thought a lot about how precious they are to us and how emotionally connected we are to trees.  Aaah, that beautiful process!  My thanks to Gertrude Olga Down for being inspired to write such a beautiful poem and to Lorraine Roy for facilitating such a wonderful collaborative project.

SIZE OF THE PIECE. HOW IS IT MOUNTED?  PRICE IF FOR SALE. WHERE IS IT AVAILABLE?

It’s mounted on wediboard which is a lightweight Styrofoam product sandwiched between thin layers of cement.  Great for working on projects that can end up quite weighty.  Price $150  Available at Dawning Décor Studio, in Brantford.  905 667 4271

Title: An Orchard of Oaks

Size:  8”x8”

Materials: slate and pebbles.

 

More Heather Vollans…

Here are some more works…

  1. “North Shore Breezes”
  2. “Red Gold”
  3. “take those chances”
  4. “Undercurrent”

 

     

 

 

WE HOPE YOU HAVE ENJOYED THIS SEVENTH DANCE OF POETRY AND VISUAL ART.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we will open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

Note to Tower Poetry Members — You are invited to head over to the Carnegie Gallery in Dundas to choose art from the Members’ Exhibit that may inspire you to create a poem for Artwalk, part of Arts Dundas Week 2023. Please submit your poems no later than SEPTEMBER 12th. Complete details are found in the email sent out on Aug. 5. * Note: if you aren’t a member, it’s easy to become one. Simply head on over to our Membership page!

POET: STELLA MAZUR PREDA & artists (one + others?)

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A DANCE OF POETRY & ART…

 

“Garden Dance in the Moonlight” by Nicola Schneider

POET: STELLA MAZUR PREDA

When did you start writing poetry?

I began writing poetry rather late in life. When I was 42, my father passed away. After his death, as I would walk my little dog, I would have words and phrases playing games in my mind. I began to carry a pen and small notepad in my pocket and would stop in our walks to jot down thoughts and phrases as they came. When I got home, I found myself trying to organize these thoughts into lines that would eventually become a poem.

It wasn’t until 1999, when I discovered and joined Tower Poetry, that I found that a lot of what I wrote was gibberish! Over the years I learned a lot at Tower, most of all you write and then edit, sometimes several times.

Why do you write poetry?

I write poetry because it gives me a sense of satisfaction to be able to control all the words that play in my mind. I have always loved “words” as I was an elementary school teacher for 33 years. Poetry writing became a release for me after a day of teaching, a calming influence, a time to contemplate the world around me, a voice different to what I used every day.

What is the best advice you have ever received and would share with new poets?

Read! Read! Read! Reading is as much a part of poetry as writing!  And then Edit! Edit! Edit! Secondly join a poetry group such as Tower. Feedback from fellow poets is invaluable to your writing process.

Can you comment on your process?

I look for ideas that are often sparked by a phrase or quotation in a book that I am reading. Also, I often find my writing inspired by images that I see whether it be art, paintings or  nature. I jot down ideas as they come, even if it is while I am in bed for the night. I keep a pen and notepad handy in the night table drawer. I guess my process of writing can best be described by a poem I wrote:

Poet’s Garden

dig for thoughts
plant words     prune phrases
weed out redundancy
cultivate creativity

revisions nurture growth
we listen — voices spark the mind
imagery and metaphors thrive
produce early buds

blossoms open     blend together

colours of language

the poems within revealed

© Stella Mazur Preda

 

We didn’t hear back from the Artist that was scheduled for July, so I, your humble TPS Web Coordinator & Blogger, have supplied a mixed-media piece created in response to Stella Mazur Preda’s stunning poem, “The Garden.” As I’ve already been featured, you can read more about my process here.

 

ARTIST: Nicola Schneider

Did you know?!

PoARTry is based on an event that the Tower Poetry Society does each year. Poets pick an artwork on display, created by members of the local art gallery — Carnegie Gallery —  that inspires them to write poetry, which is a thing called – EKPHRASTIC POETRY…. Ek What? Ekphrastic means a “description” in Greek. An ekphrastic poem is a colourfully written description of a piece of art. This can be anything from ancient poet Homer describing Achilles’s ornate shield in The Iliad to Ode to a Grecian Urn by John Keats. Ekphrastic poetry may include literal descriptions of a work of art, the poet’s mood in response to a work of art, metaphorical associations inspired by a work of art, or personal memories about a work of art.

Five ways to write an Ekphrastic poem or story. 

  • Describe what you see
  • Describe what’s happening beyond the frame
  • Write from the perspective of the artist
  • Give voice to a major or minor character in the image
  • Explain your response to the art

(source: https://www.quinlanartscenter.org/ekphrastic-art.html)

During Covid, TPS in collaboration with Carnegie Gallery decided to spin this process a different way… instead of words describing art, poets were invited to submit poems for artists to select from to inspire visual art… Ekphrastic Reversed.

We decided to try again with PoArtry and have been running this series since February; each month featuring a Poet and a Visual Artist… and we now introduce the 6th poet…

Using ‘Five ways to write an Ekphrastic poem or story’ as a guideline, I have created…

Five ways to create an Ekphrastic visual art piece:

  • Depict what you see in your mind’s eye. (What image unfolds in your imagination as you read the poem aloud. Yes, poems are best read out loud!)
  • Depict literal, implied, and personal connections and meanings.
  • Create from the perspective of poet or any other character/object in the poem.
  • You might even consider a series of pieces inspired by the levels of meaning in a poem.
  • Depict your response to the poem.

 

Why don’t you give it a try? Take another read through Stella’s Poem and create! Make some art, write a response poem, quick doodle, whatever! Share your work several ways and we will feature it later in the month:

 

If you’re in the neighbourhood…

WE HOPE YOU HAVE ENJOYED THIS SIXTH DANCE OF POETRY AND VISUAL ART.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we may open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

POET: D. Le DOAN & TEXTILE ARTIST: BECKY MENZIES

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A DANCE OF POETRY & ART…

 

“Falling to Pieces” – Becky Menzies

 

 

 

 

 

 

 

 

POET: D. Le DOAN

Dinh Le Doan

About the Poet:

Dinh Le Doan is a Canadian residing in Beaconsfield, Québec. He has worked as an engineer and manager at a high-tech company in Montréal. He now devotes his time to writing poetry. His poems have appeared in Tower Poetry Publications, Montréal Serai, and Devour: Art & Lit Canada.

When did you start writing poetry?

I started writing poetry in 2006—but only after I had learned words and syntax from the novel “Brideshead Revisited” in 2005, and from literary books in the local library later.

Why do you write poetry?

I would like to quote the article by Halyna Koba in the Tower Poetry Newsletter dated January 2023…

WHY Dinh Le Doan WRITES POETRY

By Halyna Koba…

When Dinh Le Doan retired, his wife, Phung, suggested out of the blue that he is a poet. This was not the first time. While they were both students in Sydney, Australia, 33 years ago, Phung read a piece written in Vietnamese by Le (as he is usually addressed). She hadn’t known who had written it, since a pen name was used. She thought the writing carried feelings and sounded like poetry.

With her encouragement, Le, who had worked as an engineer in Sydney and Montreal, began writing poetry and was published by Tower Poetry. He commented, “That encouraged me a great deal to continue on this path.”

What is the best advice you have ever received and would share with new poets?

I can’t imagine any writing without reading, reading, reading.

Can you comment on your process?

Keep writing and a miracle will happen.

More Dinh Le Doan poems:

https://montrealserai.com/article-tags/dinh-le-doan/

My wife took this photo of Tower Poetry’s poets listening to the “Colours of Grey” poem, which was read by the author, at the 60th anniversary in 2011. I wish to share this photo as it may have special sentimental values to some.

(You can view more archived photos and content, here.)

 

 

TEXTILE ARTIST: BECKY MENZIES

Becky Menzies is a Canadian artist living in Thorndale, Ontario. Inspired at a young age by the artistry and academia of her mother, Becky’s relationship with creativity continues to this day as she explores her imaginative nature through various medium such as textile art, mobile (digital) art, fused glass art, and painting (En Plein Air).

Becky has recently begun to experiment with ways of incorporating two or more types of art medium and use vintage family photos to reflect her views of a reimagined world, often through her abstracted representations. Her art attempts to capture her responses to the environment and the people she meets along her life’s journey.

WHY DID YOU CHOOSE THAT POEM?

The title of D. Le Doan’s poem “Colours of Grey” initially suggested an image filled with various calming tones and textures of the colour grey. However, once I dove into the poem, I was swept up by the great movement and rich colours, beyond grey, that Le Doan incorporated into the poem.

My husband and I recently moved to a small rural town and into a home that has ready access to a creek and wooded area. During the winter seasons, I have been intrigued by how much of nature’s colours can actually be seen through the overwhelming amount of white and grey.

For me, Le Doan’s words seemed to capture this winter intrigue of mine, and I began to wonder whether I could capture the same in a piece of textile quilt art.

CAN YOU TELL US A BIT MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED WORK? WHY THOSE COLOURS AND SHAPES?

The initial part of the creative process included outdoor walks, taking photographs, some very loose sketching of possible ideas, and hunting for fabrics, trim, etc. that might work well together. The “hunting grounds” included my own collection of items, as well as thrift stores and fabric stores.

I had also just completed an online stitching course that included the use of fabric paints, mark-making and stitching to create a small abstract. Using some of the same techniques from the online course, I created small individual grey and white abstract-shaped pieces and used them in the background.

The leaves and flowers were cut out from two different fabrics and appliquéd to the piece. With more time and practice using fabric paints, I might consider in the future painting the leaf and flower images onto fabric myself.

The different layers used included batting, the individual stitched pieces, the leaf and flower appliqués, multiple layers of different tulle, and coloured stitching.

The entire piece was sewn together using free motion stitching.

Buttons were finally added for additional visual interest.

Close Up 1

Close-Up 2

WHAT WERE THE CHALLENGES? WHAT WAS EASY?

Creating for me is like riding a series waves. These waves undulate between “aha” moments during which a sense of ease flows for a while until a wave of “hmmm, that’s not working for me” arrives and off-project experiments begin which help me find the next “aha” moment.

Colours can become quite muted and dull when grey is added. The challenge was to create an image that attempted to show the impact of slow, wet snow on nature’s colours, as Le Doan described, without completely losing the colour and depth of nature’s shapes.

In terms of ease, I enjoy working in layers. I am also a mobile phone artist. In this medium, I use multiple layers of digital effects to create hidden backgrounds, or double exposures to manipulate the colours of an original photograph. Using a quilt art approach to create this piece, I was easily able to work with different layers to achieve the dimension and depth I was seeking.

Have you done this kind of project before? Would you do it again?

Not having done this kind of project before, I had to keep reminding myself that it was okay to create my interpretation of the poem as opposed to creating something that I thought the poet or others had imagined.  It was a very good creative exercise, and I would do it again.

Anything else you’d like to share?

I’d like to extend a huge thank you to the Tower Poetry Society and Lorraine Roy for supporting this artistic collaboration. Participating in the event was thoroughly enjoyable! I look forward to seeing the remainder of this year’s joint artistic submissions and participating in next year’s PoARTry event.

SIZE OF THE PIECE. HOW IS IT MOUNTED?  PRICE IF FOR SALE. WHERE IS IT AVAILABLE?

The completed piece, “Falling to Pieces,” was stretched onto a 16″ x 20″ canvas and secured into a 1/2″ floating frame. The piece is not currently available for sale.

More Becky Menzies…

Instagram: @polarexpress.0

Facebook: Becky Menzies

Recent mobile art piece using a family vintage wedding photo: “Flower Girls”

 

WE HOPE YOU HAVE ENJOYED THIS FIFTH DANCE OF POETRY AND VISUAL ART.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we will open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

POET: MARIE SINCLAIR & STAINED GLASS ARTIST: TERESA SEATON

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A DANCE OF POETRY & ART…

“Feathers for the Fallen III” Teresa Seaton

POET: MARIE SINCLAIR

About the Poet:

I’m a part of a writing group through Keeping Six Hamilton, a harm reduction action league where I work. Come check it out sometime.

Also, Marie is an artist. Spoiler alert: You will see some of her art in September when she will be featured as an artist in PoARTry.

 

When did you start writing poetry?

I started writing poetry when I hit puberty. I was struggling with mental illness and teenage angst, and it naturally became a way to express myself and cope.

Why do you write poetry?

Things didn’t get better for a long time, but along the way Poetry became even more important to me because in my poems I had a voice, and I could share my experiences and feel heard. In 2019, I began my recovery journey — poetry and I, hand in hand.

What is the best advice you have ever received and would share with new poets?

Progress not perfect – a mantra I live by.

Can you comment on your process?

My poetry process has evolved over the years as I learned more about myself, and poetry. When I am really inspired, really moved the words just pour out of me. I find if I am too busy my creativity is smothered, and the inspiration doesn’t come, or if it does, there isn’t time for the words to follow it. Pausing, pacing myself and mindfulness are so important to my creative process.

 

STAINED GLASS ARTIST: TERESA SEATON

Check out Teresa’s Website: www.TeresaSeaton.ca

 

WHY DID YOU CHOOSE THAT POEM?

I am afraid my decision here wasn’t completely altruistic. I have an upcoming exhibition next Spring titled ‘Susurrations” in which I need to gear my current work towards. The exhibition speaks to my relationship to birds. However, I still wanted to participate in this worthwhile initiative and needed to find a poem that resonated with myself and the world of birds. Marie Sinclair’s Poem did just that.

CAN YOU TELL US A BIT MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED WORK? WHY THOSE COLOURS AND SHAPES?

I wanted the emphasis of the window to be inside the cage. Or in fact, inside the head of the birds in the cage. That is why the only real colour is the chaos of the feathers. For the rest of the window I chose texture and shapes but no colour per se.

WHAT WERE THE CHALLENGES? WHAT WAS EASY?

I saw the design of the window as soon as I read the poem. In fact, if I had any issues it was editing the design down to its essence.

Have you done this kind of project before? Would you do it again?

Yes I have and indeed, yes I would. I am a big supporter of artist collaborations.

Anything else you’d like to share?

Future Exhibitions…

Rose Window Exhibition
June 2023
Paul Elia Gallery Hamilton ON

Susurrations
Four artists interpret life with birds
Teresa Seaton, Mita Giacomini, Mary Philpott, D. Heather Moore
Spring 2024
Carnegie Gallery, Dundas ON

SIZE OF THE PIECE. HOW IS IT MOUNTED?  PRICE IF FOR SALE. WHERE IS IT AVAILABLE?

The piece is titled “Feathers for the Fallen III” part of an ongoing series that keeps coming back to this theme. I thought this piece fit into it nicely. The pieces in this series deal with humanity’s inherent nature to control or profit from their surroundings at the price of our avian species.

The art work is 14 x 27 inches and the cost is $915.00. It is available from myself but not until after the exhibition in the Spring of 2024.

Teresa Seaton Studio
755 Spring Gardens Rd., Burlington ON L7T 1J5
Studio open by appointment
Cell: (905) 510 5030
Email: teresa@teresaseaton.ca

 

WE HOPE YOU HAVE ENJOYED THIS FOURTH DANCE OF POETRY AND VISUAL ART.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we will open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

POET: REBECCA CLIFFORD & MIXED MEDIA ARTIST: NICOLA SCHNEIDER

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A DANCE OF POETRY & ART…

“Fame is in the Song”

 

POET: REBECCA CLIFFORD

When did you start writing poetry?

I started stitch together words at an early age.  Fascinated by gems such as “Jabberwocky”, I sought to create words of my own.  Constance Metcalf, my high school English teacher encouraged me further, and I’ve never lost the itch to stitch words together.

Why do you write poetry?

I could give you an esoteric diatribe about instilling social justice, changing the world, righting a multitude of wrongs AND although I truly believe that words can affect all of these things, it will take better voices than mine to achieve such things.

What is the best advice you have ever received? 

I receive comments at the poetry workshops I attend, and pondering such remarks serves to make me a better writer.  (Like participating in a Tower Poetry Society workshop! More info here!) However, the best advice I’ve found is to read and absorb the works of others – not just poetry.  For me, I turn to P.K. Page, Marilyn Gear Pilling, Carol Shields, Alice Munro, John Steffler, Guy Gavriel Kay, Anne Simpson to list off the top of my noggin. And, I do tend to center my reading on Canadian poets.  There’s nothing wrong with trying to channel Bliss Carmen, Archie Lampman, or Wilfred Campbell, but finding one’s own voice is an ongoing journey.

What is the best advice you’ve followed?

That I create and write to please myself.  Changing a word or line you love because a more seasoned poet said it should be so, isn’t true if it doesn’t work for you.  Writing to please others can drive a writer into an early grave.

Can you comment on your process?

The creative work of others inspires me to write – art, music, dance, theatre, good oratory.  Silence, or the lack thereof, also provokes my creative juices.  Isolated thinking brings out thoughts on life, death, politics, social justice – the whole gamut.  I live rurally, and nature provides much fodder for the pencil.  And I do use a pencil… also the backs of envelopes, parking tickets, and grocery receipts.  I write words, snippets, phrases down wherever and whenever inspiration finds me. Examples are the way I feel hearing the coyotes howl, the wind race, cash registers singing in a supermarket, voices and smells at the market, at the bakery.  I’ve found that waiting till I have a notebook in hand means I’ll lose something vital.  And that drives me nuts.

 

 

 

MIXED-MEDIA ARTIST: NICOLA SCHNEIDER

 

I am on the executive council of Tower Poetry Society, as Web Coordinator, which is kind of strange because I know not much of web coordinating and am a mere novice at poetry, but as it were, and continues to be…

Check me out at:

EverydayArtEveryDay.com

WHY DID YOU CHOOSE THAT POEM?

In general, the subject matter immediately called to me. I have taken several photographs of dragonflies and thought I could use them in my piece. Further readings cemented my choice. Rebecca’s poetic language swirled around in my brain. I love to chill out in the summer by watching “dragonflies stitch the air, sketch lines of elegant directness.” Upon further study, the poem’s deeper meanings came through. The opening quote that  influenced the poet to write this poem, and the poem itself, features several musical references. I love the lyrical quality of the poem and aimed to show this in my piece.

The original quote from Hippocrates, “Life is short, art is long” meant… that it takes a lifetime to hone a craft, i.e., gain skills and knowledge, and that since life is short, many don’t reach a ‘fame’ status in a lifetime. Hence, in the past, folks tended not to gain fame until they were dead. That kind of sucks, so…

Here is my interpretation, which is a concept that I try to apply to my art: Enjoy the journey. “The success is in the silences.” If the process brings joy, then fame doesn’t matter. “Fame is fleeting” just as a dragonfly’s entire life cycle is “ephemeral.” Dragonflies don’t care (or even realize) how short their lives are. Even if your “song” or poem or art doesn’t get out into the world and appreciated – reach “fame” – you can still have success in the play and exploration; in the joy that the process brings.

CAN YOU TELL US A BIT MORE ABOUT YOUR PROCESS FROM IDEA TO FINISHED WORK? WHY THOSE COLOURS AND SHAPES?

My current practice is based on the stARTs process shared by New Zealand Intuitive Mixed Media Artist, Judy Woods. Artist Judy Woods – abstract art (judywoodsart.work). Previously, I’ve followed her process by not purposefully thinking of any sort of end goal. This time I thought I meditated on the poem throughout the entire process. I pulled out phrases that inspired imagery that I could use in my artwork (the sparks). Hence, the dance of poetry and art. Next, I recorded these key words and sketch pictures on my surface to guide the piece. This is the first underlayer to be covered up with many layers. “What happens in the underlayer stays in the underlayer.”

               

This is a summary of the process…

  • I work in sets.
  • In beginning layers à I have fun. Play. Explore. I ask, “What if?”
  • I aim to be brave. Nothing is precious; if I don’t like it, I can simply paint over it. If I don’t love something, I ask, “What’s the opposite?” and do that. Learning what I don’t love is just as important in moving my practise forward as knowing what I do love.
  • I am learning to embrace ugly.
  • Principle of differences. I always ask, “What is the opposite of…?” I use the knowledge of elements/principles to create both subtle and strong contrasts.
  • In middle layers the ‘heroes’ (or focal points that I love) will start to be revealed.
  • In end layers, I emphasize those heroes. This is what my piece is about. I ensure there is contrast, some quieter spaces.
  • I often come back to the art to look with fresher eyes after several weeks, or months.

WHAT WERE THE CHALLENGES? WHAT WAS EASY?

The process took a while to trust. Ultimately, it brings freedom to my art-making. The idea is both scary and freeing. Scary because it was a whole new way to think. Freeing because if I don’t like something, I can cover it up. My focus is on the journey. The journey is a marathon, not a sprint. When I don’t focus on the result (the finished product), I feel less anxious, and I can take more risks in my art. I have removed expectations.

Knowing when the art is finished is always a challenge for me. Having a deadline was helpful.

Also, since I had several pieces inspired by the poem, it was difficult to choose just one for submission. I decided on one for submission and there are 3 more in the series, each given the title of the last line of each stanza in Rebecca’s poem:

  1. “Life is Brief”

2. “Art is Long”

3. Submission: “Fame is in the Song”

4. “Success in the Silences”

Have you done this kind of project before? Would you do it again?

I have written poems inspired by artworks for Carnegie Gallery‘s and Tower Poetry’s annual Artwalk, and for the PoARTry this time and last time. This is my first visual art submission… ever. I am looking forward to doing it again next year!

Anything else you’d like to share?

Art is for everyone.

This is my view on art-making. Everybody IS an Artist. 1. Art is easy. 2. Practice makes better. 3. Be YOU. 4. Make Ugly Art & make mistakes. 5. Have fun. Now, go make Art, Human:)

Read my complete Art Philosophy here: Everyone IS an Artist – Speech – Everyday Art Every Day

More Nicola:

https://www.instagram.com/everydayart.every.day/

 

SIZE OF THE PIECE. HOW IS IT MOUNTED?  PRICE IF FOR SALE. WHERE IS IT AVAILABLE ?

Framed 22″ x 18″

Artwork size 14″ x 11″

* Contact nicolaschneiderisawesome@gmail.com

 

WE HOPE YOU HAVE ENJOYED THIS THIRD DANCE OF POETRY AND VISUAL ART.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we will open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

DID YOU KNOW?     YOU CAN POP OVER TO OUR TOWER POETRY FACEBOOK GROUP FOR DISCUSSION!

 

 

Poet: Jennifer Dunlop & Painter: Tamara Campbell

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A dance of poetry & art…

“Anticipation of the Sun’s Illumination” by Mixed Media Artist Tamara Campbell

 

 

 

 

 

 

 

 

 

 

 

Poet: Jennifer Dunlop

Jennifer Lynn Dunlop is the President of Tower Poetry and enjoys composing poetry while running on the Bruce Trail.

When did you start writing poetry?

I began writing poetry when I was eight years old. I participated in a lesson on poetry in school and it really resonated with me.

Why do you write poetry?

I write poetry because I have always enjoyed words and reading, and I have a strong imagination.  I appreciate wordplay, and the art of creating visually interesting images through words alone. I am passionate about the natural world, and I have always felt compelled to attempt to describe it in the way I see it, and illustrate how meaningful it is to me.

What is the best advice you have ever received and would share with new poets?

The best advice I have received is to attend a workshop and obtain constructive feedback.  I believe many layers of editing are beneficial, and that we cannot be objective about our own work.  In addition, I believe it can be useful to put a poem away for a short period of time and then return to it with fresh eyes.

Can you comment on your process?

My process is to write down any idea I get in a google doc.  Often, I let it percolate. Sometimes poems are inspired as a whole, but more often, it is a small kernel of an idea that grows.  I will edit many times before I feel the poem is finished.

More Jennifer…

Instagram: @dunlopjenniferlynn

https://www.instagram.com/dunlopjenniferlynn/

 

Poems from Home/HPL videos:

Hooks https://youtu.be/zrF6Iqjlicw

Momentum https://youtu.be/h28BrSNQEWQ

 

From the New Quarterly (New Directions in Canadian Writing)…

Jennifer’s Writing Space https://tnq.ca/jennifer-lynn-dunlops-writing-space/

 

 

Painter/Mixed Media Artist: Tamara Campbell

Why did you choose that poem?

This poem, “Grace” – by Jennifer Lynn Dunlop, really speaks to me. I live in the woods, surrounded by nature. When I read Jennifer’s poem, I can see the details she is writing about, I can get lost in her words like I can get lost in nature. Nature is where I feel most whole, most at peace. I love getting lost in her wonderful details – the textures of bark, mushrooms, flowers, leaves, the wildlife – there is so much to get drawn into, to escape into, so much variety. I am also interested in the concept of grace and have been trying to be more grace-ful in my life. That can be hard sometimes 🙂

What were the challenges? What was easy?

“Anticipation of the Sun’s Illumination”

My biggest challenge for this project is the challenge I am always finding myself faced with – time! There is an old Yiddish adage – “Man plans, and God laughs.” That seems to apply to my life, as it does to many peoples’ lives I imagine – hence the saying! I have so many ideas and currently two streams of paintings/series that I am totally immersed in right now and, as many creatives know, once you get those creative juices flowing, new ideas keep being born. So this was easy in the sense that I knew what style of painting I wanted to do my response in and then I read the poem a number times and kept going back to it and thinking about it while I painted. I painted three pieces at the same time (I can’t ever work on just one – it is hard enough with a few to wait for things to dry!). Then the challenge was to choose one for this project. Since I had painted the three of them with this poem in mind, I can see elements of the poem in all of them.

Have you done this kind of project before? Would you do it again?

Yes, many years ago. For a few years I participated in an International Women’s Day in the town that I lived in then. There was a gallery there that put on a show each year. There would be a statement and theme for each year and you would create a piece of art inspired by that. I also once wrote a poem inspired by a photograph that I had taken. The photograph was of a house in ruins – it is a house that I had dreamed about and then found while out driving on back roads.
Yes! I would most definitely do it again!

Can you tell us a bit more about your process from idea to finished work? Why those colours and shapes?

I love colour. I love organic shapes. I am always exploring techniques and looking for new ways to make marks. I paint in layers, building them up until it feels right, then I go in with markers or paint and add the little details. Layers, layers, layers! I try to restrict my palette, but that doesn’t always happen. I grab things as I’m painting – my studio is an explosion of creative mess when I’m finished painting. The hardest part is having to walk away at times to let things dry so I can carry on.

Anything else you’d like to share?

I have always loved art and was raised with an appreciation of the arts. Over the course of my life, so far, I have always been dabbling in some form of art or another – woodworking, printmaking, pottery, photography, painting. I was very focused and showing for a few years up until about 12 years ago, when I became a first time grandmother and my studio became a nursery. I kept dabbling, but stopped showing until late 2019 when I started really focusing on my art again.

Size of the piece. How is it mounted?  Price if for sale. Where is it available ?

9″x12″     On paper, unmounted        $100

9″x12″     Matted and framed           $150

Available for sale from me tamarahcampbell@gmail.com

 

“Unfinished Dreams”

 

 

Tamara writes on Instagram: “There were 4 paintings to start, but a friend came for a visit and insisted that she needed one of them just as it was (before it was finished in my mind – but she’s a really good friend!) – so that one became “Unfinished Dreams” and I carried on with the remaining 3. They are titled, in order, “Anticipation of the Sun’s Illumination”, “The Dance is All” and “The Grace of Nature” – these are all words from the poem. “Unfinished Dreams” is last one. My eldest daughter helped me decide which one I’ll submit to the project. It was hard because all 3 were painted with the poem in mind, so I see elements in each that speak to me of the words and feelings that were inspiring me.”

@tamara_h_campbell –  https://www.instagram.com/tamara_h_campbell/

Other Projects/Art Available:

(Inukshuk Print)

https://www.internationalprintexchange.org/shop/prints/ipe-2017/inukshuk-by-tamara-h-campbell

https://www.sketchbookproject.com/library/S220594

 

We hope you have enjoyed this inaugural dance of poetry and visual art.

ARTISTS, there are poems still available to choose from and time to get in on the project… https://towerpoetry.ca/po-art-ry-poems/

POETS, stay tuned… we will open up submissions towards the end of 2023. As for what will happen with PoARTry, we don’t know.

This is an organic project, and we are thinking of a possible exhibit or publication. Who knows?! What we do know is that we have a lot of exciting work by talented poets and artists to share with you each month!

 

Did you know?     You can pop over to our Tower Poetry Facebook group for discussion!