Tag Archives: attention

Secret Spa Under Smoky Skies

Where have the birds gone, Seattleites have been wondering as we cringe in our homes, hiding from the toxic air. No one’s sure. But for a brief shining moment, my small hanging birdbath was aflutter with golden-toned birds and their friends, seeking respite in the smog. Here’s the tale.

First, a Townsend’s Warbler arrives to enjoy the birdbath, with his dramatic yellow-and-black plumage.

Townsend’s Warbler

Then a Song Sparrow chases him off, and a Hutton’s Vireo takes advantage of the distraction to start his own bath.

Hutton’s Vireo

As the vireo is bathing, an Orange-crowned Warbler comes to check out the fun, joined almost immediately by a Yellow Warbler who simply leaps into the bath with the soggy vireo as the Orange-crowned looks on.

Yellow Warbler joins Hutton’s Vireo in bath as Orange-crowned Warbler looks on from below

After hesitating from the edge for a moment, the vireo jumps back in to bathe with his new friend, looking at one point as if I’d caught them guiltily in flagrante delicto. Then the vireo leaves to preen just above.

Hutton’s Vireo (front) and Yellow Warbler bathe together

This all looks like so much fun that a Western Tanager gal shows up. She is not so up for sharing as the others and watches for a while from above as the Yellow Warbler continues to wash. A Black-capped Chickadee shows up, hangs on the bath edge for a while, then ventures in to bathe along with the Yellow Warbler as the tanager watches.

Yellow Warbler and Black-capped Chickadee bathe together as Western Tanager looks on from above.

At this point the tanager has had enough and hops down to the birdbath, causing the warbler to get out—but not too far, hanging out above the bath to look on. The chickadee takes off.

Western Tanager leaps into bath already occupied by Yellow Warbler, as Black-capped Chickadee flies off.

The Yellow Warbler leaves and is immediately replaced by the vireo, who then tries to join the tanager—but she’s having none of it and yells at him to get out. He is more stubborn and takes a couple of rounds of getting yelled at before finally hopping back up to the overhead branch.

Western Tanager yelling at Hutton’s Vireo to leave her alone for a bath.

After a few moments the tanager hops from the bath to the nearby arch, and right away the Yellow Warbler hops back into to the bath. After a brief visit by the chickadee, an Orange-crowned Warbler arrives, likely the one who started off the whole process.

Yellow Warbler bathing as Western Tanager and Orange-crowned Warbler look on.

As the Orange-crowned Warbler lurks nearby, the tanager flies back down to the bath and yells at the bathing Yellow Warbler, who hops away nearby. The Orange-crowned Warbler decides that the birdbath on the ground is a better bet and takes a leisurely bath down there away from all the ogling and yelling.

Western Tanager yells at Yellow Warbler to get out of her bath.

With no one left to yell at, the tanager isn’t having as much fun, and flies off—though not before glaring at a juvenile House Finch who’s deigned to show up nearby.

Moments later a female Wilson’s Warbler lands on my windowsill about 18” away from mes – no time to grab the camera, but I marvel at how small she is up close. Here’s a photo of one from a couple of years ago (same location) so you can admire her beauty.

And all of this exciting drama, bathing, and arguing happened in about eight minutes…a glimpse of the lively life unfolding in secret as we’re preoccupied with our human affairs.

I’d guess that the smog likely brought together unusual bathfellows into this small space. In addition to its possible effects on their hard-working lungs, the ash and other particulates must feel icky and uncomfortable to these little people whose lives rely on their feathers’ cleanliness.

Scientists have found that soot particles in the feathers of museum bird specimens record “environmental turning points” in our history, tracing periods when coal pollution or frequent wildfires darkened larks, sparrows, towhees, and other birds. Clean skies mean clean birds.

For a little while, my city’s “bluest skies you’ve ever seen” (sung here by my childhood crush, Bobby Sherman) grew hazy, yellow, and toxic. But underneath one little pocket of shrubbery, at least, a few determined birds will emerge into our renewed air the bright and shining spirits they’re meant to be.

Orange-crowned Warbler

Field Notes: Jewel Worlds in Teaser Season

Every year in late January or early February, we seem to get a week or so of lovely weather: sunny skies, temperatures in the 50’s that lure us out into the forest or onto the beach. And every year I succumb to the hope that spring is really on its way early this year, that the abiding gray will give way to blue, that the scent of moist air will get its floral infusion in February instead of April. Continue reading

A Scientist is Surprised By a Tool Long Known to Artists

Maybe it’s my training as a scientist, with its requirements for precision and accuracy, but it’s always felt like my most natural fine-art form is photorealistic drawing:

Portrait of Agnes Adámy

Portrait of Agnes Adámy

I drew all through childhood (didn’t we all, in those pre-electronic days!), and in my teen years found the pure joy of doing portraits. The human face—expressive, alluring, textured, with character in curves, stories in wrinkles, soul in eyes—

Portrait of Arthur Wheeler

Portrait of Arthur Wheeler

—it’s unendingly interesting, no matter whose it is. It is a deeply sensuous pleasure to shape the curves of someone’s face or body with your hand, sketching in shading to bring out their infinite depth and character, a caress in carbon.

I didn’t really start experimenting with watercolors until I was an adult. Water in all its forms takes you with it on its fluid journeys, washes you out of your mold, pours itself into your rigid ideas and softens them, blurs and diffuses your boundaries. Watercolors have a life of their own, and I was drawn to them because I couldn’t control them as I could my pencils. And since you pretty much can’t erase with watercolors, being in relationship with them requires you to commit to their serendipity, to be open to new directions you hadn’t anticipated. I knew I needed that.

The watercolors I’ve been happiest with were those where I stopped in time rather than overworking them, but these have been few and far between:

Galapagos Tortoise (I think)

Galapagos Tortoise

Generally I just get frustrated because I keep trying to get it just right, with all the lines in the perfect place just like they are in reality, and all the colors exactly right with the precisely correct shape. I either overwork the piece until it seems ruined (remember, no erasing), or give up in frustration over the details before it feels finished. That’s what happened with this sketch, which I began while sitting on a bench in a Lincoln Park clearing that I’ve nicknamed “Dragonfly Field.”

"Dragonfly Field," Lincoln Park, West Seattle (unfinished)

“Dragonfly Field,” Lincoln Park, West Seattle (unfinished)

So many branches, so many leaves! It was just too hard.

Trying to get a grasp of this literally-ungraspable art medium, I took a watercolor course recently with marvelous artist and teacher Ruthie V, who teaches at South Seattle Community College. She really gets watercolor.

“Look, aim at just the big patches of color. Don’t worry about all the little bits,” Ruthie suggested as I struggled to portray every single leaf in view in the SSCC Arboretum. But I just couldn’t un-see the details, and once I noticed them I couldn’t not try to get them right.

* * * * *

Getting the details right is a big part of the scientist’s job description—and not only that, but a thrill as well. A continuing-education biology instructor who started out as a geologist once told me with great pride, “There’s not much about ultramafics[1] that I don’t know.” As a grad student, I loved knowing tons of details about crystals, their architecture, how the atoms fit together and influenced each other, how a crystal sings and dances.

Of course, that’s not all you need to be a good scientist. You also have to be able to find patterns, preferably ones that are both interesting and significant. As with art, it’s easy to get bogged down in the details. I remember when I finally got my first big data set from my grad-school research and was faced with All Those Numbers: yikes! Now what?

I managed to find some interesting-enough patterns in those data. But how to do that in art? Especially when I’m not in my 20’s or 30’s anymore, but my 50’s —late 50’s at that—when my brain doesn’t function at quite the speed (that I seem to remember…) it did back in school?

* * * * *

I’ve had poor vision since fourth grade. In fact, I remember the exact day when the big blue numbers on Miss Stein’s classroom calendar looked different. She was teaching some lesson, finished up, and asked if we had any questions. I raised my hand and said, “Why does the calendar look fuzzy?” (She annoyedly clarified that she had meant questions about the lesson she’d just given. Oh. Sorry.)

I used to love lying under the Christmas tree and taking off my glasses, enjoying the wonderful soft haloes of colored light above me, our tree transformed into an arboreal fairyland by the hovering glowing light-balls. (I still do that now…don’t tell.) I think part of the joy I’ve always felt swimming might be partly because, wearing no glasses, I can’t see when I’m wet: a freedom from tracking what’s happening, freedom to trust to the sensation of wet and coolness on my body rather than the information from my eyes.

* * * * *

Right after I wake up every morning, I have a daily write-of-passage: three pages in my journal that take me from dreamland into reality, my treasured liminal time. And it was in that liminality yesterday, for no apparent reason, that I had a sudden insight into my art conundrum.

Because of my gift of poor vision, I can choose how well to see! What a wonderful tool in my artist box: to be able to simply take off my glasses and paint what my 20/450 vision sees: large fuzzy blots of color and hazy shapes. Take that, perfectionist tendencies!

This morning I went back to Dragonfly Field, sat on the same bench as before, took off my glasses, and iPad-painted what I saw.[2]

Dragonfly Field sans glasses (Used iPad app called Art Set)

Dragonfly Field sans glasses
(Used iPad app called Art Set)

It’s a scene, a whole scene, how about that? No tiny leaves to worry about, a few big shapes of shadows and shrubs and grass; can you make them out? The splotches of color seem to define a space, a place, in a way my thin lines couldn’t. It’s almost like having a whole new medium to explore.

Funny how at this point in life, occasionally the things you’ve been thinking all along are your weaknesses suddenly flip over and become resources. A tendency to move slowly, formerly known as laziness, starts to look like contemplativeness. Having no ability to deal with shopping malls (a sore disappointment to my mother) gets transformed from “hypersensitivity” to an affinity for the earth. Insecurity about having something valuable to say becomes a desire to listen more deeply. Bad vision can sometimes help you to see a little better.

Artists have long known to take off their glasses, and I’ve just discovered this tool. So maybe that’s another bounty of aging: delight at newly encountering the old wisdom of others. Here’s to many more such surprises.


[1] An igneous rock type sort of like basalt, but more so.

[2] (Unfortunately, not seeing well also meant that I inadvertently painted on a tiny little portion of my canvas, ending up with a teensy and highly pixelated image, but I can fix that next time. Live and learn.)