Upward!

I’ve seen it in the rainforest north of Juneau, where the fluffy moss puffs up like thick cat fur on the rotting logs, growing toward the sun, and I’ve seen it in Sequoia where the dark, thick redwoods just keep flinging their massive trunks upward. I love how the great ancient forests all leap upwards.

A raft of our greatest artists noted this — Van Gogh, Burchfield, Carr, Chagall.

In my office, a Van Gogh — one of his Olive trees — churns, surges and tendrils up above my desk. Likewise, the Northern symbolist Charles Burchfield paid attention to such movement with his cathedral forests, where all the branches and leaves coil and curl skyward in church-window like arches — the energy of up, the vibrating sky, as in  September Wind and Rain. Chagall took this tack too, and his donkeys, his angels, his lovers all leave the ground to float and drift in the sky, or wherever, as in Over the Town or I and The Village

Emily Carr, the Canadian arboreal savant saw it too. I like how with Emily her sacred trees are all rushing upward, for instance her Among the Firs and Sombreness Sunlight.

Carr respects the trees; her’s twirl and whorl and shout and shoot to the sky. She graces them with dark rich blues and greens — yellows and oranges and whites peaking through them — black trunk and limb pushing heavenward through fire.

I love how Emily’s paint, her broad brush strokes move up, the sweeping branches, the upsweeping skies, except for this — those gorgeous lateral slashes of paint and wind rushing through her trees. Burchfield did this too in Oncoming Spring.

This is the motion of life. Life is heliotropic — with the occasional slash —  it is ascendant, for me it is praise.

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