Titrating

"Titrating." 3/14/13. Acrylic, marker, and pen on canvas. 8x10".
“Titrating.” February 26th and March 14th, 2013. Acrylic, marker, and pen on canvas. 8×10″.

I’ve never shared the text in this piece with anyone until now. Shortly after I moved out of Tranquil Shores, I went down to Sarasota to see if I could sell some of my artwork by just setting up on the sidewalk. I didn’t want any trouble with police and the most trafficked spot in downtown Sarasota is outside of Whole Foods, so rather than set up in such a way as to be explicitly selling artwork, I just sat at a table outside of Whole Foods and painted, with a few finished pieces (facing outward) in the crate attached to my bike, another on the table in front of me, and another leaning against my chair. I just painted and hoped that someone would walk up and want to talk to me and then I could somehow segue into trying to sell something. Plenty of people did stop and talk to me, but I didn’t say anything to anyone about selling anything. And it was twilight, so no one could really see anything anyway. The whole thing was awkward. It wasn’t exactly my best plan.

Just before I went to Whole Foods, I had stopped by Clothesline. I had made a habit of doing that whenever I was back in Sarasota in the last year or so (in between stints in rehab), but this time it wasn’t just to say hi to the owner, Austin (my best friend from ages two to ten or so). Clothesline does gallery openings or art exhibits or [whatever you call that kind of thing] and – as of a couple months ago – I was now an artist. I figured I’d show him some of my pieces and see if there was any possibility of showing some of my stuff there. He was really supportive and sweet, but I didn’t actually ask outright and the whole thing didn’t pan out exactly as I’d have liked it to. Looking back, that makes a lot of sense.

Anyway, this was written a few hours later – after the Whole Foods attempt, after starting my ride back to Bradenton. It was colder than I could stand (to ride in) so I pulled over and wrote this on a piece of canvas that I had started to paint earlier. It says:

At first I thought it was just because she wanted to see me, but when I started writing on “Smiling With a Paintbrush in My Teeth,” I realized it might not be a good thing. When I asked her if she just wanted to see me or had something specific to talk about (and that I might not be home by ten) she said, “It’s not a big deal – it can wait ’til tomorrow.” But it’s a big enough deal that it’s not a text or a phone call. And a big enough deal that – ideally – she wanted to talk about it tonight. I’m really scared. Trying to see the good. Trying to be a light. Whole Foods today (covert street sales) was a bust. Clothesline was a bust. I might need to be in a big city to be an artist. And what keeps me from that? Heather. If she left me, I could go wherever I want. In another piece today, I had described myself as “stuck” and “trapped.” Also “smiling,” but still. My little punk rock heart’ll be broken, but I’ll be free to pursue my dream. And she’s been weird the last two days. “A dream I don’t want to wake up from.” It’s true, but maybe it’s time for me to wake up. I tried to ride the moped back. It’s too cold. The zipper on my bag keeps opening. I caved and called Lynette. There’s pizza waiting at home. I’m scared but I just need to make it another 100 minutes. Writing this killed 17. By the time I’m warm and fed, I’ll only have maybe 55 minutes to kill. Fuck. I’m smoking a cigarette now.

So – being incredibly codependent – I wanted to see Heather every night, but I was trying to be cool with it on the nights that I didn’t see her. But when she sent me a text on this evening, asking if she could come over around 10, I was excited because she had said that she had to work early and wouldn’t be coming over. And then my brain went into panic mode, as I realized that her text also implied that there was something we needed to talk about. Obviously, I jumped to the conclusion that she was going to break up with me. We had only been dating for a couple of weeks, but – shit – I didn’t really understand why she had been into seeing me in the first place. I’m a heroin addict and I just got out of rehab. She’s well-adjusted and employed. She drives a car! That she bought! With money from working!

I got picked up on the side of the rode and went “home.” (I was living with an ex-girlfriend’s family – although – I think it’s safe to say at this point (eight years in) that they’re basically my family; they’re as much family to me as anyone else in the world). Anyway, I was a ball of anxiety, I was so incredibly stressed out throughout this, but I remember that the one comforting thought in my head was there will be pizza – I will eat pizza and everything will be okay. (Yes, I am nine years old). When I got back to the house, there was not any pizza left. It was a pretty devastating blow.

I didn’t finish this piece that night because I didn’t want it to be a piece. I didn’t want anyone to see what I had written. It’s embarrassing.

Three weeks later, I found myself similarly upset though and I picked it back up. In all of that time, I had been cutting my anti-depressants all the way down to zero. For that reason, it was tough to tell when something was a legitimate issue and when I was maybe just feeling the absence of my medication. Just before I moved out of Tranquil Shores, it had been suggested that maybe I didn’t need anti-depressants after all. I started titrating down and we were monitoring my condition to see how I did with a lower dose and then with no dose. The day that I finished this piece, I was at the very end of my titration. I had no idea what was what.

I still get depressed, but I haven’t gone back on anti-depressants. After all, I still got depressed even when I was on them. And actually, I got depressed even more often because my “mental health tools” weren’t as strong back then. I don’t wanna go on a long spiel about it, but I’ll just say: I think anti-depressants are for people suffering from depression without cause. If, on the other hand, a person has plenty of legitimate reasons to be depressed, depression is the appropriate response and not something that should be treated with a pill. That strikes me as being roughly equivalent to putting a piece of duct tape over a “check engine” light and thinking the problem’s solved.

Anyway, I’m not saying that I have good reasons to be depressed, but I’ve got my little episodes and I have ways that I can manage them without a pill. Did I need it for a time? Almost definitely. I don’t think I could have started to get a grip without them. I was immeasurably miserable all the time. Words like “hopeful” and “happy” disgusted me. I wouldn’t even say them out loud. My process, getting well… it wasn’t quick and it wasn’t easy. I had a very long way to go. (And – yeah – I’m still going).

Quick aside. In writing this entry, I noticed something cool about this piece: how many other pieces it alludes to or is tied to in some sense. At least five. Maybe those will be the next ones I add to the site. (As I add those pieces, I’ll add links to them in the text of this entry, where each is referenced).

 

This painting has already been sold but hand-numbered/signed prints may still be available. Contact for availability inquiries.


Tola’s Approach to Demons

"Tola's Approach to Demons." 7/21/13. Acrylic paint and ink. 16x20".
“Tola’s Approach to Demons.” 7/21/13. Acrylic paint and ink. 16×20″.

The text at upper left:
“That was amazing,” Vincent said. “How do you feel?”
“Like garbage.”
I went back out on the dock with Tola. We sat out there for the rest of the night.
“I don’t really mind demons,” he told me. “So long as they’re not actively trying to fuck my shit up, I just keep my distance and everything is cool.”

—–

Tola had been drinking and I don’t know exactly what he meant when he said “demons,” but it made sense to me either way. Everything he said to me that night made a lot of sense. And meant a lot to me. That conversation was exactly what I needed that night.

I don’t believe in evil. I don’t believe that there’s such a thing as bad people. I have to think that way ’cause if I’m wrong, then I’m most certainly evil – I’m definitely a bad person.

But I try really hard. So I give other people the benefit of the doubt. If someone does something fucked up, I choose to believe that they’re doing their best. (Their best just happens to be pretty terrible relative to average/acceptable standards). I try to keep that in mind whether we’re talking about some asshole on the sidewalk or someone like that kid that shot up Sandy Hook. It’s hard to give everyone that credit – that empathy – but I try. In return, I hope to get the same.

With all of that said, some people are not entirely well. (I should know; often enough, I’m one of them). And if you play with fire… if you fuck with a demon … that demon is going to burn you alive. Nothing good ever comes from it. When it comes to people who are sick – people that aren’t even interested in being well – stay the fuck away. This is a lesson I have learned the hard way, but am still having a little trouble applying.

I need to learn to more closely adhere to “Tola’s approach to demons.”

—–

Everything you just read was written right after painting this. It was two days after I wrapped on “No Real Than You Are.”

July 4th (the night referenced in the piece) was my first night of filming. In the hour or so before we actually shot the scene, my co-star and I were not getting along. In fact, we weren’t even speaking to one another. And this scene we had to film – let me put it this way: the director told us that it was the scene in which it was most important for the audience to really see just how in love these characters were with one another. Suffice to say, I was not feeling any love for this girl on that evening and I’m pretty certain her feelings toward me were about the same. In hindsight, she was probably a scapegoat, but that didn’t change my feelings in the moment.

I still haven’t seen the footage, but – from what I’m told – we pulled it off. It took everything I had in me to not say FUCK THIS and just walk away from the set and quit. I was miserable and I was angry. But I didn’t walk away. I shook my shitty feelings the fuck out of my body and for [however long we filmed that night] I played and pretended and made myself alright. If that footage is at all believable, then I gave one fuck of a performance. More of a performance than anyone watching would ever realize. As soon as the director said “cut” though, I fell right back into it. Suppression and healing are two very different things. I can’t actually force myself to be okay. I don’t think anyone can. “Holding it together” and “getting it together” are two very different things. Real healing takes a lot of work. I think that this painting was one step of a walk in the right direction though.

—–

During the month I spent working on “No Real Than You Are” (and scooting around Sarasota on my little thrashBike) I listened almost exclusively to the songs on a playlist that I made shortly after getting into town. The first song on the playlist isn’t online anywhere, so here’s the second. “Eviction Notice” by Riverboat Gamblers.

—–

Signed and numbered 12×15″ prints of “Tola’s Approach to Demons” are available in my webstore.

Hit me up if you’re interested in purchasing the original piece.


Weird War

"Weird War." 8/20/13. Mixed media. 9x12".
“Weird War.” 8/20/13. Watercolor paint, watercolor pencil, marker, pen, and oil pastel. 9×12″.

I started (and finished) this piece in the van, but also worked on it at the Ski Haus in Carbondale, (where Rational Anthem played with The Heat Tape, Future Virgins, and Hate Waves).

My primary purpose in creating art is emotional balance / regulation. Sometimes though, when I don’t like what comes out of me, the process can actually throw me off base a little bit.

I’m pretty fragile. Little things fuck with my head. I sometimes forget that I can write private journals that don’t have to go online immediately. When that happens, I lose one of my tools.

Noelle said this one looks like a warzone. From the beginning, I was pitting the top right and bottom left against each other, alternately considering cropping one or the other out. It took a long time to bring them together in the center in a way that felt right to me. I think the combination of textures (through the layering of the different materials) helped a lot with that. So did journaling (privately) in order to really examine the forces behind my feelings. Taking a suggestion made by a friend a few weeks back, I wrote on the back of the piece. As I wrote on the front of “Iowa,” I don’t need to put my every thought up in lights for public scrutiny.

Noelle works early on Wednesday morning, so we decided that tonight (in Valdosta) is the last show before we head home. We’re running more than a little late, but I’m not stressing it anymore. I don’t know how tonight will shape up, but I’m excited for whatever’s coming next.

This piece is currently listed for sale in my webstore.


Iowa

Things got a little hectic yesterday morning. I’m going to try to tell this story, which involves other people, while keeping the focus mostly on myself. I’ve never stated so explicitly but there’s a reason I do that and it’s not because I think I’m such a fascinating character. Letting my focus shift to other people would make for better storytelling but less effective mental health exercise. When it comes to my well-being, the things that other people think, say, and do are irrelevant. Really, they have nothing to do with me and are none of my business (or at least none of my concern).

The Lipstick Homicide and Bloated Kat houses are about a block apart, so our crew was split between them for the night. It was about time for us to get on the road from Iowa City to Carbondale when Noelle called me and said she needed my help. “It’s nothing bad or serious, is it?”

“Andrea broke up with me and is driving back to Florida without Jessica.”

Since 2008, Rational Anthem has had an incredibly sensible rule: no girlfriends on tour. Relationship problems are bad enough on their own, but when they come up on tour, they become the whole band’s problem. This trip though wasn’t quite a tour and an exception was made. Noelle’s girlfriend rented a car to drive up to Dave Strait Fest, but also to stop along the way up and back for two of the shows Rational was playing between Florida and Minneapolis. In the car with her was a friend of Noelle’s (and – at one point – possibly of Andrea’s as well).

What happened isn’t important. There was now bad blood and Andrea didn’t want to drive back to Florida with the other girl.

Rational Anthem has three members. Their van has four seats. I was along for the whole trip and Zack’s summer in Minneapolis was over, so he was hitching a ride with us back home to Florida.

I walked over to the house and sat down with Andrea. I offered a couple different ideas/options that might make her more receptive to driving back with Jessica in tow, as planned. She wasn’t having it.

There was a point in my life where I was so desperate to be perceived as a “winner” – as someone capable of pulling any trick or fixing any problem – that I would have pulled whatever emotionally manipulative bullshit was necessary to get those two girls in the car together and back on the road to Florida. But that’s not me anymore. Andrea was hurting and I felt for her. Whatever happened to spark the conflict didn’t really matter to me. Two (or three) people can have radically different versions of a story and neither’s is wrong. Perception *is* reality. If Noelle or Jessica were mean to Andrea, if it was all in Andrea’s head – it didn’t make any difference. Emotions are more powerful than facts. I didn’t care about the problem, only the solution.

The rental car was in Andrea’s name. On paper, the call was hers. Could she have been coaxed into taking Jessica and making life easier for the other people involved? Probably. But I consider Andrea a friend and – it’s a little strange but – my empathy was stronger than my need to be the clever problem-solver. It’s strange because I’m not sure that’s ever happened before. I wasn’t willing to do anything to keep her from doing what she felt she needed to in order to feel okay.

I gave Andrea a hug and told Jessica she’d have to take a bus from Iowa to Florida. Not because she did something wrong (I don’t know or care whether or not she did) but because that was simply the situation we were in. Unfortunate but… things are as they are.

Jessica said she didn’t know what she had done wrong. I said that I didn’t either, but that it didn’t matter. She was upset (and reasonably enough so). Not being the type of itinerant punk rock fuck-up that so many of us are, a bus trip from Iowa to Florida was going to be a new kind of experience for her. I did my best to remain calm, compassionate, and supportive, and to alleviate any fears, but it didn’t go over much better than my initial proposals to Andrea. Jessica asked if she could go in the van with Rational Anthem and someone else could take a bus or ride back with Andrea.

Chris, Noelle, and I walked back to the other house. Chris wanted to keep the group intact as it was. Noelle said she felt bad about the situation Jessica was in so she was okay with Zack or I heading back with Andrea – so long as we were. I didn’t like that option, but was willing to do whatever seemed to make the most sense. Zack was too. I saw Andrea’s hurt, but there was hurt all over the place and I’d do just about anything for Noelle at this point. She’s my friend and – besides – I owe it to her. For all the times when I haven’t been a good friend to her. For all the times when the only thing she could really count on me doing was making trouble myself.

As it turned out, Andrea returned
the car in Iowa and made other plans. The five of us decided to hit the road as initially planned.

"Iowa." 8/19/13. Watercolor, marker, and pen. 9x12".
“Iowa.” 8/19/13. Watercolor, marker, and pen. 9×12″.

This was finished later that afternoon but drawn mostly the night before, on the way to (and at) the show in Des Moines (which was The Copyrights, Lipstick Homicide, Rational Anthem, Tight Bros, and a few others). The text is basically journaling about the situation and some other stuff that was on my mind at one point or another.

The text that stands out most to me says, “What’s to come is what matters. We roll with the punches. We’ll do whatever it is that we have to do.” It’s kind of about what is as well as what should be. Or maybe just what is when we’re at our best. Human beings, I mean.

I’m really grateful for the fact that – even when I thought it might mean that I’d have to go home early – the thought never occurred to me that I should go back and try to talk Andrea into taking Jessica after all.

And I’m grateful that I’m still here with four of my friends. And grateful that I’m finally able to treat my friends the way a friend should.


Whatevermind

Says: “I don’t accept what you consider fact, truth, or reality. But I do believe in freedom right now. And I’m gonna do my best to try to be happy. I’ll let you know how it works out.”

It was in response to being told that – what I’m doing / how I’m living – is okay for now but will have to end really soon. That I’ll need to get a real job or learn to draw boardwalk caricatures.

"Whatevermind." 5/12/13. Pen. 9x10¼".
“Whatevermind.” 5/12/13. Pen. 9×10¼”.

I drew this “for” the insert for (Rational Anthem’s) Whatevermind LP, but decided that it didn’t fit and – beyond that – almost seemed antithetical to it.

Actually, I just remembered: this didn’t start out as an expressive piece, I had something in mind, but I made a mistake (and since I was using ink, I couldn’t correct it) so I just worked around it and it turned into this.

We’re en route to Des Moines. Show tonight should be good. Rational, Copyrights, Tight Bros, and Lipstick Homicide. Kind of strange though: doors at 4, show at 5, and it’s 21+.

Found out The Heat Tape got added to the show tomorrow in Carbondale. Their album was my favorite thing on the planet that first week in Sarasota to make “No Real Than You Are.” It was actually when one of those songs came up in my headphones and I didn’t immediately feel great that I knew something was wrong. I wanted the feeling back – the one that I had gotten, riding around town listening to that album just a few days earlier. Raccoon Valley Recordings (and my response to it) were literally my mental health gauge.


I’m Building Up to Something

I once pitched “Another Successful Human Interaction” as a song title to Chris (for Rational Anthem). That’s the phrase that’s in my head again right now. I’m sure it’ll strike anyone that knows me as pretty absurd, but (as if I hadn’t covered this just earlier today) I get nervous in social situations sometimes. And when I have conversations that I can walk away from without feeling embarrassed, I feel proud of myself. Self-esteem requires a lot of maintenance, but (having a little bit these days) I can… it’s… I don’t know. I guess what I wanna say is that I’m able to use it to build up more. Just by having *some*, I’m able to develop more.

And it’s an easy slip, a fast fall, back to zero, but it’s not *really* zero anymore, even if it feels that way sometimes.

The Slow Death are playing soon and I’m excited to see them.

Just now – wanting to include a piece of art in this entry since I’m trying to get it all up on the site, piece by piece – I checked to see what I had photos of on my phone. This one seems appropriate.

"I'm Building Up To Something." 6/3/13. Crayon and digital. 8x10".
“I’m Building Up To Something.” 6/3/13. Crayon and digital. 8×10″.

I drew this with crayons in group back when I still lived at Tranquil Shores. Later, I played with it on the computer and turned it into something else. When I get home, I’ll add a photo of the original to this entry (if I have one, which I may not). In either case, I’ll upload a bigger picture of the “computerized” version. (That’s something I’ll have to do with everything I’m posting from the road). I can’t recall the specifics of why I was drawing in group on the day that I made this because I don’t know what day that was. Again, when I’m home, I’ll look into it. But I remember feeling a little inadequate, but – at the same time – a little hopeful. Like, “I may not be much now, but… you’ll see.” I guess I could call it a “letter to my detractors” of sorts. And – as noted – the original is entirely crayon – which I think is sort of perfect for this. I could call it “naive,” I could call it “immature,” but I’d rather call it innocent. I like that.


I Don’t Do Well With Crowds | I Don’t Go Out Much

Chris is vomiting out the window on our way to Grumpy’s. We’re pulling over so Pete can drive. Today is going to be an excellent day. For so many reasons.

—–

This summer, I spent four weeks in Sarasota working on “No Real Than You Are,” a short film in which I had been cast. The last stuff filmed (on the last day of principal photography) were the exterior shots of a house party. My character had no dialogue but it was important for the audience to see that my character is there, at the party. So even though I had nothing to do, I had to be present so the camera could pick up on me at some point, if only for a second.

I had the lead male role in the movie. Throughout filming, everyone on the production team treated me like I was the coolest motherfucker on the planet. It was easy to feel important. (I wasn’t/I’m not, but in the context of this film: sure). Since this was a party scene though – and since I had no important part in it – there were a ton of random people on set and, so far as they all knew, I was just another extra.

For most people, I have a feeling that none of this would be an issue. But – for me – it kind of was. It’s embarrassing, but I’m not good in situations where I’m just an anonymous part of the crowd. I need to have something to do, to somehow stand apart. At shows, since I don’t play them myself these last few years, I need to be selling records or working the door, or – at least – have someone to hang with (with whom I’m thoroughly comfortable and at ease). Otherwise, I have to go hide out somewhere every so often, if only for a little bit.

But I couldn’t do any of those things here. There was no performance required of me. There were no records to sell. The people I knew (the production team) were busy with the scene. And the people I didn’t know… I don’t want to be judgmental and I’m sure anything I was picking up on was more about my own state of mind then anything they were doing…. But it might be possible that there was something to it. After all, it’s a little strange that – in the city in which I grew up – of the people that came to this party (even if it was a *fake* party) I didn’t know a single person. These were the people that came out to a fake party on a Thursday night so that they could be be seen in frame in this movie. And that strikes me as a really shitty thing to say and I know I should be grateful that they came because the movie needed them. You can’t film a party without people. And shit – I’m sure a lot of them came out just for that reason; some of them were probably there just to support the film.

Really I’m just trying to explain (or justify) why I didn’t make new friends by talking to some of the people around me. It’s my own failing.

Instead, I sat there with a pen and paper, isolating myself as a hundred people excitedly milled around me, until I felt like it was reasonable to ask the unit production manager to prod the director and cinematographer in my direction, so they could get whatever the shots they needed. And I asked her to “find me a friend” – someone for my character to talk to, so that he wouldn’t appear to be as much of a mentally disturbed, self-absorbed twerp as the actor playing him. (For that “role,” we recruited the producer. It was good; he got a cameo and I didn’t have to talk to anyone I didn’t already know).

It’s not that I think I’m “better” than other people, it’s just that I’m (sometimes) terrified of them.

Here’s what I drew as I sat alone at the party.

"I Don't Do Well With Crowds." 7/16/13. Pen. 8x11½”.
“I Don’t Do Well With Crowds.” 7/16/13. Pen. 8×11½”.

—–

And here’s another similar drawing from another similar night.

"I Don't Go Out Much." 5/18/13. Pen on scrap. 3x4¼”.
“I Don’t Go Out Much.” 5/18/13. Pen on scrap. 3×4¼”.

—–

  • Both cartoons are available as 5×7″ prints.