Monday, July 2, 2018

The Transformers - Iris van Herpen and Philip Beesley at the ROM


Left: Architect Philip Beesley's installation Noosphere, part of "Transforming Space", which integrates architecture, science and engineering  Right:  dress made of transparent acrylic sheets, tulle and cotton from Iris van Herpen's Capriole (a French word meaning "leap in the air") collection, 2011, part of the "Transforming Fashion" exhibit.  Both currently on view at the Royal Ontario Museum in Toronto.

I've been a fan of Iris van Herpen's work since I first saw a photo of one of her 3-D printed pieces so I was very excited when I found out that an exhibit of her designs was coming to the Royal Ontario Museum (ROM) this summer.  As I had already planned a weekend in Toronto in June, I added a ticket to the exhibit to my itinerary.

The top of the outfit above was created in collaboration with architect Daniel Widrig, and is the first 3-D printed garment ever sent down a runway.

Iris van Herpen, a Dutch fashion designer (and former Alexander McQueen intern) who had her first runway show in 2007, produces two collections each year.  Her designs have been worn by Bjork, Lady Gaga, Beyonce, Solange Knowles and Cate Blanchett.  She is best known as the creator of 3-D printed garments; Time Magazine named her 3-D printed dress one of the 50 best inventions of 2011.  Her designs are all about shape, texture, and movement, created with materials that are not generally used in clothing design; acrylic plastic, metal foil, metal gauze, ribs from an umbrella, silicon, and iron filings.  Herpen's inspirations range from science and nature, dance,  how the body relates to the space around it, and ephemeral concepts of conversations and experiences.  While she has shown more wearable pieces in runway presentations, the 40+ pieces on display at the ROM are van Herpen at her most extreme. 

Dress from the Refinery Smoke collection, 2008, inspired by texture and elusive quality of industrial smoke.  The dress is made from metal gauze that is initially silver in colour, but over time, oxidizes to the reddish brown colour seen here.

Collar made from the metal ribs of children's umbrellas, from van Herpen's first major collection in 2008, titled Chemical Crows.  The pieces were crafted entirely by hand and feature shapes that suggest the wings of birds (hence the title).  Herpen has said that she doesn't sketch her designs first, instead, she begins by working with the material itself and shaping it on a mannequin.

"for me, fashion really became a language to express the relationship between the insides and our outsides.  To not only go with the direct millimetre of our skin but also to explore the space next to that."
                                                         Iris van Herpen

Most of van Herpen's creations seem designed for making their maximum impact upon entering a room, as the backs are often more utilitarian than decorative, as seen in the piece from her Synesthesia collection above.  Most likely this is to allow whomever is wearing the dress to sit down, or at the very least, lean against a wall.  The piece is made from leather, gold foil, metal eyelets and cotton.

dress made from transparent black acrylic sheets from the Escapism collection

Another piece from the Synesthesia Collection, made from leather embellished with gold foil.  The base layer of the dresses (usually made of cotton or silk) is often a rather conservative shape - close-fitting, knee length, high neckline - but is is the exquisite detail work in the embellishments that creates the "WOW" factor.

The Mummification collection from 2009 reflects the designer's interest in the ancient Egyptian practice of mummifying their dead. The idea of being "wrapped" or "swaddled", figures prominently in pieces which were handcrafted from treated leather, thousands of eyelets, leather lacing, chain and metal balls.

A dress from the Crystallization collection from 2010.  The transparent plastic collar that imitates a splash of water was created by hand using a hot air gun, a pair of pliers and polyethylene terephthalate (PET).  van Herpen is quoted in an interview stating that she hopes the exhibit "really shows the value of craftsmanship and how much more you can do with craftsmanship rather than only the traditional techniques.....the relationship between craftsmanship and technology is very important to me."

van Herpen is fascinated by the architecture of shoes and has been creating custom shoe designs to go with each of her collections since 2010.  Clockwise from top left:  from the Hacking Infinity collection, laser cut leather, 3-D printed photopolymer and stereolithographic resin;  Wilderness Embodied, from 2013, made of rigid opaque photopolymer;  Crystallization, 2010, metal chain and leather; Magnetic Motion, 2014, the surface is iron filings, shaped with magnets, and coated with polyurethane resin

van Herpen believes it is important to collaborate with artists in other disciplines.  Italian architect Niccolo Casas collaborated with van Herpen to draw the 3-D design for a dress that represented the crystallization of water into ice.  The front and back of the dress snap together, and this detail photo shows how successfully the company who made it (3D Systems) were able to produce a dress (even though they originally told van Herpen that it was not possible to do what she asked) that looks like it's made of ice.

One of van Herpen's 3-D printed garments from her Hybrid Holism collection, showing the side hinges which allows the piece to enclose the wearer.  The collection was inspired by Philip Beesley's work, Hyzolic Ground.  Hylozolism is the ancient believe that all matter is in some sense alive.

van Herpen's connection with architect Philip Beesley began when she saw Beesley's project for the 2010 Venice Biennale of Architecture, which then inspired one of her collections, Hybrid Holism.  Beesley saw her designs online and an amazing collaborative relationship was formed.  Both are fascinated with the intersection of technology and the organic, and imagine designs that react to the energies of their environment.  They have developed 3-D fabrics that respond to the wearer's body movements through dynamic vibration.  van Herpen explores this in her Voltage Collection, with which she attempts to portray the unpredictable movement and power of electricity.

Detail of Voltage dress, created in collaboration with Philip Beesley, made of laser-cut transparent acrylic, silicone chevrons and microfibre.  Beesley has collaborated with van Herpen on 10 collections since 2012.

Philip Beesley's architecture studio, Living Architecture Systems, incorporates similar forms made of laser-cut 3-D polyester and acrylic forms in his installation, Aegis.  The canopy contains clear vessels filled with liquid, lights, and mechanisms that makes it react to visitor's touch and presence, and appear to "breathe".

detail of the Noosphere, the other installation in Transforming Space

"the delicate steel and acrylic skeletal mesh of the spherical volumes comprising Noosphere house vessels containing prototype cells that display certain life-like properties. Combinations of oil, inorganic chemicals, and water-based solutions stimulated by LED lights, create chemical skins within these cells that might lead to new kinds of self-renewing skins for future buildings. The structural mesh of the sculpture uses overlapping strands within conical stem-shaped cells that possess extraordinary strength using minimal amounts of material"

source: Philip Beesley Architect Inc. website

more detail from Noosphere

The Dome Dress, Beesley's and van Herpen's 11th collaboration, is an original commission for the ROM.  The dress is comprised of over 300 rosette-shaped, zinc-coated steel laser-cut forms which were hand-molded into three dimensional "domes" and is inspired by the idea of harnessing air and light around the body.

The Royal Ontario Museum is the last stop (and the only Canadian venue) on a two-year tour of this exhibit.  If you are curious as to where the future of fashion and architecture is headed, don't miss this exhibit, on until October 8th, 2018.

* The photos for this post were all shot on my new Huawei P20 Pro smart phone.  It was a test to see if a camera phone could do as good a job capturing sharp detail in low light conditions as my "real" camera, and I'm both happy, and a little sad, to say that it did.  If you're in the market for a new phone, and you want the one with the best possible camera currently available, this is the one.  This is not a sponsored post, I'm mentioning this because I'm truly impressed.

Sunday, June 24, 2018

Me Time


We all need to take some "me time" once in a while - time when the focus is on what you want to do; what gives you pleasure and feeds your soul.   As I'm a single woman with no children, one could argue that most of my life, outside of my job, consists of "me time", and they wouldn't be wrong, but in order to feel inspired and energized, I need to spend time away from the city I live in, surrounded by unfamiliar sights, and immersed in arts and culture.   And last weekend, I did just that.

Saturday....

Victoria's Mansion

I booked a room at a guest house in Toronto called Victoria's Mansion, which is a short walk to the corner of Yonge and Dundas in the centre of downtown.  Built in the 1880's, the house is located on a quiet residential street and rooms have their own bathroom, air conditioner (which was important as the temperatures hovered around 35 degrees celsius when I was there), fridge, microwave, coffeemaker, wifi, and TV.  

 my little hideaway

Personally, I loved my little nook on the third floor (there are no elevators, so if you have a lot of luggage that may be an issue).  The rooms are all different, and I noticed that some guests commented on travel sites that their bed was uncomfortable.  I didn't have that problem, but then, it depends on your expectations.  I have stayed in rooms in people's apartments in New York, so I can be satisfied with accommodations that are less than luxurious.


I loved the tile in the shower, but if I had been drinking the night before, I may not have felt the same way about it if I had to face it while hungover in the morning.  The angled ceiling could be dangerous for someone who was taller than I am (5' 8").

window art installation on Church Street

Victoria's Mansion is in the area of Church and Wellesley, which is the heart of Toronto's gay village so there were lots of restaurants and bars close by, and rainbow flags were everywhere.

a happy pup on the streetcar

So, what did I do on my little adventure?

Every year I purchased tickets to at least one event during the Luminato Festival  in Toronto, which is an annual arts festival featuring music, dance, theatre, film, talks and more.  There are always more things I want to see than I can get to, and often the performances/performers are unknown to me, so I randomly pick things that sound interesting.  This year I had a ticket for a performance entitled The Fever, by an experimental theatre company from New York called 600 Highwaymen, which incorporated the audience into a collaborative experience.   I enjoyed it, it pushed me out of my comfort zone, and left me feeling connected to the other audience members surrounding me.

Cool art and cyclists just off Queen Street West

After a post performance cocktail and salad on the patio at the Drake Hotel, I headed to the Elgin Theatre for my second event of the day - a performance by the Malpaso Dance Company from Cuba.

The Elgin is a beautiful space dripping with gilt and red velvet
 
The Elgin Theatre is half of a pair of stacked theatres built in 1913 in Toronto.  The Elgin is the lower level theatre while the Winter Garden Theatre is located 7 floors above.  They are the last surviving Edwardian stacked theatres in the world.

The grand staircase leading to the Winter Garden Theatre


I wanted to wear something a bit fancy since it was a special occasion but as I had to wear it all day, it had to be comfortable for walking around in the heat.  I had purchased this dress at Cora Couture in Stratford several months ago and had yet to find the right occasion for its debut.   It's made of a thin, shiny, almost parachute-type nylon with an attached ruffle that can be unzipped.  It was comfortable and survived the bus trip to Toronto without turning into a wrinkled mess.


The Malpaso Dance Company, established in 2012, had performed to a sold-out audience at Luminato in 2015.  The company is committed to working with international choreographers and the evening's performance began with a work titled "Dreaming of Lions", choreographed by Osnel Delgado and set to music that was performed live by Arturo O'Farrill and the Afro Latin Jazz Orchestra.  The piece is based on Ernest Hemingway's "Old Man and the Sea" and if you are a fan of contemporary dance, you can watch the piece on YouTube via the link above.  The 11 dancers in the company alternate between strong and sensuous,  fierce and fluid, and precise and passionate and it was a thrilling evening of exceptional dance.

Sunday...


Sunday was Father's Day, and crowds of Dads and their families gathered to gawk at the expensive automobiles on display at the Yorkville Exotic Car Show.

On Sunday I had a ticket to see two new exhibits at the Royal Ontario MuseumIris Van Herpen: Transforming Fashion and Philip Beesley: Transforming Space
 

The above photo shows one of Architect Philip Beesley's installations, Aegis, and the Aeriform Dress, a collaboration with designer Iris van Herpen.  This is just a teaser until I get my post about the exhibit up later this week.  Trust me, it's mind-blowing.

Monday, May 28, 2018

A Month of Outfits


We finally got Spring, but then fast-forwarded to Summer in the space of a couple of weeks (too soon, Mother Nature, too soon!!).  The air conditioning has been on the fritz at work since the beginning of May (we haven't had any hot water either), so dressing for work is proving to be a real challenge in 30+ degree temperatures (that's celsius, or in the 90's for you fahrenheit people).  I have nothing exciting to report, so here are some outfits I wore this month. 

All the photos below were taken on my phone, which accounts for the slight blur and the crappy colours on the ones taken indoors.

giant cotton dress from From Mars

This dress is actually blue and white, not sure why the stripes on the front look grey.  I blame the crappy camera on my phone.  Anyway, it was sooo comfortable to wear, and I took every opportunity to put my hands in my pockets and swish from side to side to show off the volume of the dress. 

layers of linen all purchased at From Mars

This was what I wore earlier in the week, at the start of the heat wave.  I realized that most of my summer wardrobe consists of oversized linen pieces in black, grey or blue.  They are very comfortable to wear, but after a few hours of sitting, I look like I slept in my clothes (and I look like I'm just waking up from a nap).  I love linen, just not the wrinkles.

t-shirt dress over cotton skirt, both thrifted from Talize

Another "baby, it's hot inside" outfit which inspired a 20's flapper feeling because of the shape.  Shoes are Fly London.

cropped sweatshirt and textured skirt thrifted from Talize, "sleeves" made from a pair of knee socks and leggings from The Purple Puddle

This is one of my favourite outfits I wore this month, back when it was cooler.  I like the mix of black and white patterns, and the sweatshirt is actually a light blue, with puffed sleeves.

silver pants from the sale rack at H&M, sparkle tunic from From Mars

An outfit from the start of the month, when it was starting to warm up, and we saw the sun for several days in a row.  I went to an opening of an art exhibit with a friend and took a moment to take in some rays.

no post is complete without a gratuitous cat photo

This long and lithe kitty often visits my porch in the summer and this was the first time he was over this year.  My Sylvester is not cat-friendly, and despite the best efforts of this guy to try to make friends through the window, Sylvester (who is just out of sight on the other side of the glass) was not having any of it.  He even balanced on the back of my porch rocking chair in an attempt to get closer to the window.  A+ for effort!

Monday, April 30, 2018

Yayoi Kusama at the AGO - Feel Forever (or at least as long as it takes to get a selfie)


When it comes to visual art, it seems the preference of the current social media generation is for an experience that is both participatory, and instagram-worthy.   There could not be a better example of this than the exhibit Yayoi Kusama: Infinity Mirrors, currently on display at the Art Gallery of Ontario. 

The AGO began promoting the heck out of this show last year, and the frenzy that has resulted around getting tickets has made the exhibit Toronto's MUST SEE experience of 2018 (Toronto is the only Canadian stop on the tour).  I was familiar with Kusama's work before the show had been announced, and I admit I got caught up in the hoopla.  I got a membership to the AGO and when member's tickets went on sale in December, I waited 5 hours in a "virtual waiting room" to snag a coveted ticket. And that was just the start of the waiting I would have to do in order to see the show.

Yayoi Kusama - source

So who is Yayoi Kusama?  The 89 year old Japanese artist, is the current "it girl" of the art world when it comes to pulling in viewers.   You may only know her as the woman who loves polka dots and pumpkins, and wears bright orange, pink or red wigs.   The contemporary artist works in the mediums of painting, sculpture, collage, film, poetry and fiction and has been called a "worldwide phenomenon".   In 1993 Kusama became the first woman to represent Japan at the Venice Biennale.

The prevailing themes of Kusuma's art grew out of what could easily be called a very difficult childhood.  She began experiencing visual and auditory hallucinations as a young child, which continued into adulthood.  The themes of repetition, obsession, obliteration, infinity, and mortality which appear in her art today can be traced back to the drawing she made as a child trying to cope with her illness.   In her early 20's she was diagnosed with cenesthophathy, a syndrome where patients complain of abnormal or strange body sensations which are medically unexplainable.  When her illness got worse, she voluntarily moved into a mental institution, where she has lived, by choice for the last 50 years, leaving to work during the day in her studio which is located within walking distance. 

There is no mention made of Kusama's mental illness in the promotional material produced by the AGO, nor in the historical photos, quotes and information tidbits scattered around the gallery to give you something to read while you are waiting in line.  The exhibit is curated by Mika Yoshitake, an expert on Japanese Contemporary Art, and when she was asked in an interview why there was not more focus on the role that Kusama's illness plays in her art, Yoshitake said she preferred to have the work speak for itself instead of filtering it through Kusama's personal struggles.  I think there was a missed opportunity to use her illness as a catalyst for a connection with the larger community during the exhibit run.



Kusama studied art in Japan, and to escape the oppression of her family, who did not want her to be a artist, she moved to the United States in 1957, first living in Seattle, and then moving to New York in 1958.  Her time in New York was spent living in poverty, and moving in the same circles as artist like Andy Warhol.   She began making what would be later known as her "net" paintings, covering great expanses of canvas with small, comma-like strokes. 

An infinity net painting from 1961.  Instead of painting coloured arcs on a dark background, as she did in her earlier net paintings, Kusama painted black "scales" on a red background, giving the painting a snakeskin-like surface.

Dots Obsession XZQBA from 2007

 The painting above combines the monocromatic colour scheme of Kusuma's early Net paintings with the iconic polka dots she later became synonymous with.

I asked another woman at the exhibit to take a photo of me next to a portrait of Kusama from the late 60's - early 70's. 
 
photo from a rooftop performance in New York in 1970

While in the United States in the 1960's, Kusama organized "Happenings", in protest of the Vietnam war, in which she promoted a sense of connection through "self obliteration".   Kusama and other participants would paint polka dots on each other's naked bodies with the intent to create a kind of equality and obliterate the ego .

 
 Detail of Ennui from 1976 featuring soft phallic sculptures and shoes, coated with silver paint
 
Sculptures in the shape of phalluses appear frequently in Kusama's art - when she was a child, her mother suspected that her father was having an affair, and forced young Yayoi to spy on him and his lover, which left her with a great fear and anxiety about sex.  In the 1960's, as a form of self-therapy, Kusama began making phallic "soft sculptures" which she then used to cover items such as a rowboat, and a baby carriage.

Life (Repetitive Vision), from 1998 features a "garden" of phallic soft sculptures

The exhibit includes some of Kusama's early works on paper, paintings, collages and sculptures, but the focus is on her celebrated "Infinity Mirror Rooms".  The Infinity rooms evolved from Kusama's philosophy of obliteration and her self-proclaimed "huge adoration for the concept of infinity".  When in one of the small mirrored rooms (there are six in the exhibit) surrounded by polka dot phalluses, multi-coloured tiny lights, or illuminated polka-dotted pumpkins, you can see yourself recede into the distance, getting smaller and smaller until eventually you disappear.  

 
Phalli's Field (and an infinite number of Shelleys)

Phalli's field, the oldest infinity room in the exhibit, was Kusama's first use of mirrors as a device for repetition.  She has said she grew tired of sewing the red polka dot phalluses and decided to use the mirrors to create the illusion of an endless field of them.   This is the first infinity room that a visitor to the exhibit enters, and knowing that I could spend only 20 seconds in the room I had a moment of panic:  Do I take a photo of the room? Do I try to just take it all in with my eyes? How do I best capture this moment?  I did end up taking a photo (see above).

 Love Forever, Infinity Room

Love Forever is a hexagonal shaped room, mirrored on all sides, with peepholes that allow you and a second viewer on the other side to see yourselves repeated into infinity.  That's me, holding my camera in my hand in the middle square near the top of the photo.

Dots Obsession - Love Transformed into Dots 2007
 
A room filled with giant, inflated pink and black polka dotted vinyl balls on the floor and suspended from the ceiling pretty much begs you to roll them around and bump up against them, but alas, the signs said "don't touch the artwork".  I did bump into one of the ones on the floor by accident, causing it to move towards me, and I looked around to make sure no one thought I was trying to cause trouble.   The largest ball contained a small infinity room of smaller versions of itself, but I spent my allowed 20 seconds taking a requested photo of two women in the room with me, so I don't remember much about it.  More interesting was a smaller hard plastic ball with a peephole that allowed you to view a silver orb suspended inside it...

There was no lineup to look inside the ball, so I was able to look at the fascinating kaleidoscope of small silver orbs for almost as long as I wanted.    This may be why this was one of my favourite pieces in the show.   

Photos do not capture the magic of what you see when you are inside one of the infinity rooms; they have to be experienced in person.  Visitors were not allowed to take photos inside my favourite of the infinity rooms, All The Eternal Love I Have For The Pumpkins (a gallery volunteer joined you in the room to ensure you didn't try to sneak a selfie), and for me it was the most enjoyable experience, partly because you were allowed 10 extra seconds in this one, and also because there was nothing to distract you from the fairy tale scene before you.  The darker, upside-down view of the polka dotted pumpkins on the mirrored ceiling was just as fascinating as the happier, brighter ones in front and below you.  I could have easily remained entranced for several minutes if we hadn't been informed that "time's up"! 

The exhibit includes works from the artist's most recent painting series My Eternal Soul (2009 - present).  The paintings incorporate vibrant colours and Kusama's signature polka dot motif along with amoeba and eye-shaped forms, and the titles reference love, life, birth and death.  Boldly colourful sculptures accompany the paintings.  It was disappointing to see that many viewers ignored the other artworks in the exhibit in an effort to get a perfect selfie in one of the mirror rooms.

 Obliteration Room

Viewer participation reaches a peak in the Obliteration Room, which starts out as a large, pure white room and "exterior" courtyard, complete with white furniture and household items.  During the run of the exhibit, viewers are invited to cover the surfaces in the rooms with colourful polka dot stickers provided by the gallery.  And afterwards, you can exit through the gift shop where you can satisfy your craving for all the polka dot-covered merchandise you could ever imagine.

Narcissus Garden

In addition to the two floors of the gallery devoted to the Infinity Mirrors exhibit, the AGO has also included the additional installation of Kusama's Narcissus Garden.  1,300 stainless steel balls cover the floor of the Signy-Eaton Gallery.  The work was created in 1966 and originally installed at the Venice Biennale that year along with a sign reading "Your Narcissism for Sale", indicating the balls were for sale at $2 each.

"The silver ball is also representative of the moon, of sunshine, of peace.  In essence it symbolizes
the union of man and nature.  When the people see their own reflection multiplied to infinity they 
then sense that there is no limit to man's ability to project himself into endless space."
Yayoi Kusama, 1966

As I came to the end of the exhibit, I asked myself if all the waiting was worth it.  I had the extra challenge of having come down with a stomach bug the night before, which meant an added stress of knowing where the closest washroom was at all times.  The art itself is in turns fascinating, mesmerizing, and often beautiful, and given that the opportunity to experience the exhibit is not available to everyone, I was glad I was able to see it in person.  However, that said, it was definitely not one of my best viewing experiences.  I do not like being told how long I am allowed to look at a piece of art, and this was the major quibble I had with the exhibit .   I could understand, and deal with, the lineups to get into the show, and the lineups to enter each of the infinity rooms, but 20 seconds is absolutely not enough time to enjoy, and register the experience, especially when you are forced to share a small space with two other people, at least one of whom is busy snapping photos.  I realize that the more time people are allowed to spend in the rooms, the longer the lineups to get in, but I wonder how I would have felt about the experience had I been able to spend 45 seconds to a minute in each room.   

Yayoi Kusuma: Infinity Mirrors is at the Art Gallery of Ontario until May 27th.  Good luck getting a ticket - aside from a few "same day" tickets that may be available, they're all sold out.

Tuesday, April 10, 2018

A Hat, A Poet and A Pair of Shoes


 The Hat...

Once upon a time, in a conservative, Southwestern Ontario city, there lived a women who loved hats.  She loved looking at hats, the more dramatic and unusual, the better.  She loved to see other women wearing hats, and had several friends who lived in other cities who wore hats every day.   When she travelled, she enjoyed visiting hat stores and vintage shops where she would try on hats and picture herself wearing them on the weekend, or on an evening out.  She wanted to be one of those women who wore a hat with confidence and panache. "This is the one!" she would think, the one that I WILL wear, only to take it home and find that it sat on the top of her wardrobe, or in a hat box, admired, but unworn.   It turns out that she loved the idea of hats, and what they represented, more than wearing the hats themselves.

However....
Occasionally, she would find a hat that was simple, but still had a bit of drama, went with many of her outfits, and did not make her feel uncomfortable or self-conscious when she wore it.

It's like a beret, only with more structure.  Wool felt hat from The Sentimentalist

Enjoying some sun on my face, wearing some of my favourite black and grey pieces.  Waxed cotton vest and faux leather leggings from From Mars, ribbon-laced Doc Martens purchased in New York.

These photos were taken at the end of February when we had a brief spell of very spring-like weather, and I could get away with wearing a lighter coat.  I found the vintage wool coat at Blue Pepper Vintage closing sale.  There was either something very interesting going on in the sky to my right, or, more likely, I discovered that if I tilt my head upwards, it gets rid of that annoying "soft and wrinkly" neck in my photos.


The Poet....

I was thrilled to learn that Canadian poet bill bissett was going to be in London to do a reading at one of our local branch libraries.  bill and I have known each other for about 30 years, and while we don't see each other very often, he has always been one of my favourite people.  He has a sweet and gentle spirit, a lovely sense of humour, and for all the challenges (including a severe head injury in the 1960's, and two recent heart surgeries) he has faced in his life, retains a positive and optimistic outlook.  bill, whose sound and concrete poems at one time earned him praise from Jack Kerouac, is the author of more than 60 books of poetry, and is also a painter and musician.  His poetry can be challenging to read as he has abandoned all use of capitals, punctuation, and conventional spelling, but it is a joy to listen to him read his own work.  You can find the words of one of the earliest poems I every read of his, "Cooking Carrot Soup" here, and there are several videos of him reading his poetry on Youtube.

The Shoes....

I was contacted by a representative of Calla Shoes, a start-up company in the UK that sells stylish shoes designed specifically for women who have bunions.  The founder of the company, a woman who has bunions herself, wanted to provide heels were both stylish and comfortable to wear, and that protect and conceal bunions.  They noticed I mentioned I suffer from bunions in one of my blog posts, and offered me a pair of shoes from their website to try them out.   Since I don't wear heels, and for now, the two styles they carry are heeled pumps and ballet flats, I went with a pair of grey suede ballet flats.  The shoes arrived from the UK in record time, beautifully packaged.  They are a nice looking shoe, with a comfortable cushioned insole, and they fit, in that the wider front did accommodate and conceal my bunions, but unfortunately, because my foot is also fairly wide in the middle, the sides of the shoes bulged and my foot slipped out when I walked.  I have never been able to wear ballet flats because of the shape of my feet, and the need for more support than they provide, and I was hoping these might be the exception to the rule, but alas, not.  I contacted the company to get instructions on how to return the shoes, and they generously suggested I gift them to someone else. 

As it happens, they fit my bestie's feet perfectly (she and I both wear a size 10, but she doesn't have bunions), and she quite liked them, so they found a good home after all!  Thanks very much to Calla Shoes, for letting me try their product, and for letting me re-gift them.   If you have bunions and haven't been able to find heels that you can wear, take a look at their website.