The Shuttered House by Rochelle Jewel Shapiro20 May 2018, Posted by Poetry in
Art: Textures Through a Window by John Timothy Robinson
THE SHUTTERED HOUSE
It’s mid-afternoon, but from somewhere, an owl hoots.
Once overturned bikes were thrown down on the sidewalk
by tow-haired twins dashing to the Good Humor truck
for a cherry Bomb Pop or lemon/lime Lickety Lix.
Once you heard the twop of a baseball tossed
into a mitt and the whoops of sons chasing squirrels
that scampered off in furry waves.
Once two young men in twin rented tuxes held
the limo door open for their prom dates.
When the Twin Towers collapsed, the brothers enlisted.
After the officer and chaplain came to the door up the block,
the pair of yellow ribbons were taken down from the linden tree.
The twining vines of the honeysuckle hold back their headiness.
“The Shuttered House” was first published in Citron Review.
About the author:
Rochelle Jewel Shapiro’s novel, Miriam the Medium (Simon & Schuster, 2004), was nominated for the Harold U. Ribelow Award. Her short story collection What I Wish You’d Told Me was published by Shebooks in 2014. She has published essays in NYT (Lives) and Newsweek. She teaches writing at UCLA Extension.
Art: Textures Through a Window by John Timothy Robinson
In the artist’s words:
John Timothy Robinson is a traditional, mainstream citizen and holds a Regent’s Degree. He minored in Studio Art: Printmaking. John is also a ten-year educator for Mason County Schools in Mason County, WV. He is a published poet with seventy-six literary works appearing in fifty-nine journals and websites since August 2016 in the United States, Canada and the United Kingdom. In Printmaking, his primary medium is Monotype and Monoprint process with interest in collagraph, lithography, etching and nature prints. John also has an interest in photography and collage art.
“A Grotesque” appears in The Diagram Issue 16.6 2016.
“Red Triumph with Daffodils” was published in The Tishman Review 2017.
“Gold Fusion” first appeared in New England Review 2017.
“Golden Bridge 1,” “The Cook,” “Crying Woman” (block image), “Religious Figure 1,” “Orchard Keeper,” “War Face,” “Candle,” “Iris” (after Ayres Magenta 1), “Pioneer Cabin” (photo) and “Old Car; Mt. Carmel Ridge” (photo) first appeared in New Plains Review print and online 2017.
“Blue Abstract” first appeared at Inscape Journal of Brigham Young University 2017.
“Leaf Image” was published in Twyckenham Notes 2018.
“Synapse Tree” first appeared in Mud Season Review 2018.
“Coral I” first appeared in Packingtown Review, Issue 11, winter 2018.
“Latent Heart,” “Color Abstract in Pastel Tones,” “Color Field,” “Violet Field Action Painting” and “Golden Bridge” were first published in Empty Mirror in 2018.
“Cups Design,” “Golden Bridge 4,” “Still Life; Objects on Table plate photo,” “Pool at the Edge of the Mountain,” “Sphere and Rectangle,” “The Magic Circle” and “Transforming” first appeared in aamora: An International blog for artists, photographers and writers in 2018.
“Golden Bridge (red sky 1-5 10-4-2011” was first published at Wise Review 2018.
“Still life; Objects on Table” (blue chair, orange wall) first appeared in Duende 2018.
“Brick Image” and “The Outhouse” (photos) were first published at Reservoir Journal 2018.
“Transform to Lesser Fade” and “Crying Woman” (b/w) first appeared online at Thirteenth Nerve 2018.
“Bruce Chapel” (photo) first appeared at River River Writers Circle 2018.
Essays on Printmaking;
“An Aesthetic for Printmaking” was accepted at Empty Mirror in 2018.
Artist Statement for Printmaking;
For me, the only valid printmaking today is the process-oriented, research approach. I have an interest in the concept of the painterly print. Sometimes my work in this technique resembles Impressionist or Expressionist painting. Approaching printmaking as a student consistently renews itself and often incorporates much of what we presently know through study of the larger, international historical context. Knowing past techniques and methods has also enabled us to come to greater awareness of their varied cultural origins as well as a greater sense of the nature of art and life for the given individual. This is only possible to know through careful study of past printmakers and artists, their methods and techniques, their innovations and thoughtful insights on art and process. I see no difference between printmaking and any other medium in terms of artistic goals. Printmaking can be executed as a single medium or can incorporate multiple mediums at once. I am always researching, trying to emulate various techniques, learning from them ways to improve my own awareness. Art should arrest human attention, make the viewer question, inspire people and even initiate the learning process beyond the context of the work. “An Aesthetic for Printmaking” sets forth my beliefs as a practicing printmaker today.
John Timothy Robinson
8869 Five Mile Road
Gallipolis Ferry, WV 25515
Collage is a mode of perception that allows me to integrate different sorts of accumulated language—verbal, visual, musical, spatial. Fragments of lived experience stir memory and associations, and offer the bricks and mortar for a visceral construction of psychic and emotional space. My materials include papers from antique books and other ephemera, relics of human life and culture. At work, I think about the horizontal, vertical, and other directional forces that shape experience and orchestrate paths of movement and pursuit. I think about transitions and thresholds, those charged moments of mystery, uncertainty, and possibility. Sentience and structure are intertwined, and I’m inspired to find their balance.