Cooking is one of the few creative activities that I engage in pretty much everyday. However, I realized recently that somewhere along the line I stopped giving cooking the respect it deserves.

I have always enjoyed cooking but I guess my children—over time—with their penchant for the bland and the familiar, ate away at ( )the amount of creativity that I generally poured into daily meals. I remember my younger son exclaiming that a quickie “Sloppy Joe” dinner was “The best meal you’ve ever made, Mom!” That’s okay. As a busy mom, I’d take any compliment I could get.

But for years now, it’s ordinarily just my husband and myself and since we’re both adventurous eaters, I have free reign over what to cook. I’m not much of a planner. I work until my tummy tells me it’s time to eat, go downstairs, think about what I’m hungry for, see what’s available— sometimes pulling out three times as much as I’ll use—and start cooking. I rarely use a recipe for evening meals. The results are usually good and often delicious (my rule of thumb is Would I be happy if I’d paid for this at a restaurant? and often I can answer “Yes!” to that question)

However, I don’t usually think of it as part of my creative day.

Recently, I had a different kind of cooking that needed to be done. We—like many people this time of year—have a surplus of zucchini from our little garden. I don’t even particularly LIKE zucchini so I knew that I needed some creative ways of using up these mass quantities. I looked on the internet for zucchini breads and ran across a beautiful cooking blog called 101 Cookbooks by Heidi Swanson. There, I found a recipe for a zucchini bread with an ‘Indian’ twist. This looked perfect as I was having my book club over that weekend. Our book club does a pot luck dinner with food suggested by the book we’ve read and this time it was Indian.

I set to work making this and what I ended up with was not only a yummy dessert and a little less zucchini to deal with but also a renewed appreciation for cooking as both a creative outlet and catalyst.

Right from the start this zucchini bread recipe offered me two things: 1) the opportunity to bake—which I love but don’t allow myself the time to do and 2) a recipe to follow. Nothing earth-shattering there, but it dawned on me as I got into it that following a recipe was allowing me a mental escape. Follow the directions. Do this, then do this, then do that.

Relaxation was the first thing I noticed. I scooped and measured the dry ingredients, enjoying the gentle mess of flour as it sifted across the counter. I used my food processor with childlike glee to shred that huge zucchini in the photo in a just few seconds.

Then I noticed that the relaxation was overlaid with something else: stimulation. My sense of smell became activated in a major way by the ingredients. Lemon zest! Wow, what a virtual explosion of associations: summer and heat and childhood and so many others—all good! Then there were the more familiar but homey smells of pecans (being from Texas where pecans grow, I used them instead of walnuts), cinnamon and vanilla. My senses were further delighted by surprising ingredients such as crystallized ginger and curry powder. What yummy smells and sooo delicious.

By the time I popped the two pans in the oven, I was as relaxed, happy and energized as if I’d had a late-afternoon walk on the beach or a great yoga class. I felt raring to go! Ready to take on more baking (I used up more, though not all, of the zucchini on Heidi’s gorgeous chocolate zucchini cupcakes! which we are still enjoying around here) and more of anything creative I could get my hands on.

I would have come upstairs and written this post right then if I hadn’t had Book Club coming the next night!

What I realized—remembered—is that cooking, when we can relax into it involves the senses as few other activities do. Not only smell and—of course, taste—but touch and sometimes even hearing. And it’s one of those activities such as walking or riding a bike, driving or taking a shower that can put us into a C-mindful state. I’ve often worked through plot knots while cooking. The activity is absorbing enough that it distracts but it doesn’t require a great deal of concentration—sometimes none at all. Perfect for c-mind problem solving!

So here’s the reminder: We have to eat, so why not approach the occasional cooking *chore* as an opportunity to delight our senses, relax our minds and catalyze whatever we want to do with our excess creative energy.

bon appétit

[-warm-up, drawing-]

Here’s a creative warm-up exercise that uses categories.

Choose a category each day to draw in your journal. Divide your paper into 8 - 12 small sections. Decide on the length of time you want to devote to this. My suggestion is to start with no more than ten minutes. Quicker sketches will loosen you up. Later on, you may want to devote more time to the sketches.

Draw a version of your chosen category in each of the sections.

The idea is to warm-up your creative brain by doing quick, non-threatening, simple drawings. Doing a lot of drawings of one thing helps you explore your visual knowledge of that category. You will find that you’re going to learn a lot about yourself, your visual memory, your ability to express a simple thing quickly and you’ll find yourself being more observant of that category once you’ve done the exercise.

Here’s my “Fruit” category page:
As you see, this isn’t great art. They are quick simple, even iconic sketches. And yet, I found out a lot from doing them.

I found out quickly that to distinguish between a drawing of an apple, a peach, a plum and even a lemon is tricky, but can be done. I found out that though I have removed plenty of them, I couldn’t, when I started, remember what the stem of a pineapple looks like. I found out that in order to make a peach look like a peach, you have to turn your pencil on its side to get a softer edge. I remembered that the skin of a lemon is pitted and that’s a bit of a different pencil mark that the tiny seeds of a strawberry. I found out that in order to sketch a bunch of grapes, it’s easier (and more fun) to sketch the dark, negative spaces that just draw the overlapping grapes. I found that sometimes a fruit is best depicted by the drippy, wetness that ends up on the surface below it. I found out that it was hard for me to come up with twelve fruits and that I didn’t seem to have a clue what shape a fig is.

Try it. It’s fun and you’ll be amazed how much it will stretch you.

Here’s a list to get you going:

I threw in the last three to remind you that these don’t have to be solid objects. But stick with the simpler ones at first. See what happens. After doing these for a while, revisit a category so you can see how the first sketches compare with ones you do after sensitizing yourself to this process and to thinking visually.

And, let us know what you learned by doing this exercise!

[-photography, process-]

red carnation

Originally uploaded by nuanc.

This photo is one I took over two years ago. It came up this morning while I was playing the game Free Association! on flickr. The game involves posting an image in response to the last one posted by someone else. I did a flickr search through my photos for “window” and “silhouette” and this popped up. I hadn’t seen it in a long time and I found that I enjoyed it—really for the first time.

It has unexpected qualities. The distorted shape of the window. The gradation of blue from the top of the window to the whiter light at the bottom. The reflection of green on the window sill and the way the light between the tree branches seems to slide inside into to the corner of the window. The pop of red! And there’s something going on between outside and inside. That’s open to interpretation, of course, but either the flower faces the window as if yearning to be outside or perhaps the bare birch tree is admiring/envious of that splash of living colour. I’m not sure, but there’s certainly a hint of communication between the two.

All of this, of course, was unintended.

I took the photograph with my LOMO LC-A. It’s a refurbished version of a cheap camera made in Russia decades ago and it gives erratic and often impressionistic results—which is why LOMO’s have become popular and lucrative long after the cameras stopped being manufactured.

This photo was of a truly unremarkable scene. My step-son had been visiting and left an empty can of 7-UP on his window sill. Also in his room (this was after he’d gone home) I found a red carnation that he’d picked up in some restaurant we’d been to. Rather than toss both of them immediately into the waste basket, I put the carnation in the 7-UP can and took some LOMO’s.

This morning when I really saw it for the first time, it made me think about the act of creating as one of constantly expecting the unexpected. This image isn’t just about the unpredictability of the LOMO, though that’s a big part of it. It is also about taking the time to photograph an unremarkable scene and to chance shooting a dull, unsuccessful photograph in order to come up with something that has something different to offer. It took combining the colours of what was there: the metallic green 7-UP can and the red carnation against the white and blue background and taking it from a low angle in order to catch the super blue of the highest sky. It took depending on the unpredictability of the little Russian camera.

Each act of creation is an act of faith. We don’t know if it’s going to work out or not. That’s never the point. Doing it is the point. Doing it with an open heart and sense of expectancy that will allow us to recognize—once it’s done—when we have indeed caught the unexpected.

[-alteration, crafts, how-to-]

by Nancy Waldman

Here’s a fun little project that grew out of The PCQ’s Alteration Challenge.

It took less than a half an hour to put together. If you have your own tin (they are easy to find at garage sales or online auctions) you can make one of these for well under $10. The ‘clockworks’ can be found at hobby stores.

Just take your drill - you do have one, don’t you? - checking the package to find out what size drill bit you need to use - and drill a hole. Insert the metal piece inside the hole and attach the battery pack to it from the backside of the tin’s lid. From the front and still using the simple directions on the clock works package, put on the spacers and the hands of the clock.

From there you just put in a battery and watch (pun intended 8)) it go!

I used a Sharpie permanent marker to draw in the numbers but you can find press on numbers that would serve the purpose.

I wanted this one to be a counter clock since the word “soap” was written on side; I can even use for storing - yes, that’s it - soap. But the same clockworks can be used to make a hanging clock.

Here’s another idea. This is a photo of a clock I bought. It’s made from a metal tin that is open on the back side. The face of the clock is a piece of paper glued to the front. This brings up endless possibilities. Find a great picture and paste it on or better yet, do a collage. Fabric could also be used. Just be sure that your clockworks are high enough to lift the hands away from the face of the clock, especially if your collage gets a bit thick. They do come in several heights so this shouldn’t be a problem.

Easy. Quick. Fun. Functional. And, what great gifts they would make.

Originally published in the April 2006 issue of The Practically Creative Quarterly, theme: alterations; edited slightly for republication

[-poetry, how-to-]

by Nancy Waldman

detail, Genji Scroll, Goto Museum, Tokyo, Japan

I recently returned from a Writing Retreat planned and presented by the members of my local writing group. One of our participants, Krista MacKeigan taught a wonderful workshop on poetry and inspired me to try some found poetry.

I chose the words for my poem from The Pillow Book of Sei Shonagon, translated by Ivan Morris.

The process is, on the surface, simple.

Find a piece of prose and turn it into a poem. Use every word as it is found in the original. Krista suggested first trying non-fiction rather than novels or short stories. Newspapers, she found, were generally lacking in enough figurative language to make it interesting.

My suggestion is to choose a piece of non-fiction prose not for its subject, but instead for the language and imagery. Find words that interest you about a subject that you wouldn’t ordinarily write about.

Remember it is ‘found’ art, so don’t agonize over this part of the process. Play with it. Choose *lightly* and see what develops. In that way, you can be surprised by the results.

I found that this kind of exercise was instructive in the areas of line breaks and overall pacing of the poem. Because I was using “ready-made” words it took away that pressure of choosing the right ones and allowed me to focus on other parts of the process. This is very much like learning about composition by using magazine scraps for collage or even painting by numbers or tracing which –while perhaps not an artistic goal–can be instructive about how artists achieve certain effects.

Once you have done several, choose one to take a little farther by rearranging, removing and adding words. You can also experiment with doing a Parallel Poem.

Parallel Poems are derivations of existing poems rather than prose. The result is a poem very like another the original but using slightly different words, images or subject matter. See below for links to some examples of parallel poems. Use can one of your found poems, or take a poem you admire and make it your own while always, of course, giving credit to the original poet for his or her work.

Other online links:

- Parallel Poetry Workshop
- Found Parallel Poems
- an online word rearranger
- See another PCQ Found Poetry article
- Our Poetry links

about The Pillow Book:

Sei Shonagon was born in approximately 965 and served as lady-in-waiting at the Court of the Japanese Empress during the last decade of the tenth century. The Pillow Book was a kind of diary or journal, though whether only for herself or written for a contemporary or future audience, no one knows.

Here is another Found Poem from the same source:

30. Insects

The bell insect
and the pine cricket
the grasshopper
and the common cricket
the butterfly
and the shrimp insect;
the mayfly
and the firefly.

I feel sorry for
the basket worm.
He was begotten
by a demon,
and his mother,
fearing
that he would
grow up with his
father’s frightening
nature,
abandoned the
unsuspecting child,
having first wrapped him
in a dirty piece of clothing.

“Wait for me,” she said as she left.
“I shall return to you as soon
as the autumn winds blow.” So when
autumn comes
and the wind
starts blowing,
the wretched child hears it
and desperately cries,
“Milk! Milk!”

The clear-toned cicada

The snap beetle also
impresses me.
They say the reason it bows
while crawling on the ground
is that the faith of
Buddha
has sprung up in its
insect heart.
Sometimes one suddenly sees the
snap beetle
tapping away
in a dark place
and this
is rather
pleasant.

The fly
should have been included
on my list of hateful things
for such an odious creature
does not belong with ordinary
insects.
It settles on everything
and even alights
on one’s face
with its clammy
feet.

I am sorry
anyone
should have been named
after it.

The tiger-moth
is very pretty
and delightful.
When one sits
close to a lamp
reading a story,
a tiger moth
will often flutter
prettily
in front of one’s book.

The ant
is an ugly insect;
but it is
light on its feet
and I enjoy watching it
as it skims
quickly
over the surface
of the water.

Originally published in the April 2006 issue of The Practically Creative Quarterly, theme: alterations; edited for re-publication

[-photography, collecting-]

by Nancy S.M. Waldman

haul

Originally uploaded by nuanc.

This photo is one I took two days ago, after becoming inspired by Manu’s playground photograph.

I was, afterward, tuned into the sun coming through my windows, the play of light and shadow on objects and the transformative power of the sun.

This photo is of a group of objects that have gathered themselves on a shelf in my laundry/mud/back entrance room. I use the passive voice because that’s precisely what it is, an unintentional grouping. It’s not a true display, as no one sees it except whoever does the laundry (mostly me ).

Most of the objects are things I’ve picked up while walking in the woods near our house. There are fragments of china that were thrown into a backyard rubbish pile decades ago. There are bottles and broken bottles and a perfect little teacup that my dog brought out of the woods. The wheelbarrow is not a found object, but is one I can’t remember acquiring, so it has the feel of something found.

These objects are outside things that have found their way into my house, but they are just barely inside the door. Because of this, I like the way the photograph shows the outside and the inside. They almost merge into one.

When we turn our attention to ordinary things in a creative way - whether by photographing, drawing, painting, or repurposeing them - we first see them in a new way and then we appreciate them anew or, maybe for the first time.

Today, choose to focus your attention on something - or someone - in a new way. It will alter the way you perceive them and you’ll be reminded that appreciation is its own reward.

Here’s an article on gathering and collecting
with links to the results of our Collectors Survey

Originally published in February 2006 in the Practically Creative blog

[-art, alterations-]

by Nancy S.M. Waldman

scroll/reset

Originally uploaded by Mary Bogdan.

I have boxes on my mind.

This week, I covered a small cardboard box in old photos and gorgeous, vintage gold paper I found in my late father’s art supplies. I lined the inside with beads and feathers. Fun!

That little project got me going on containers. Now I’m working on making a box out of a couple of my paintings that have been in a drawer for a decade or more. In bed last night, just before sleep, I came up with an inspiration for a see-through lid so that the painting-lined interior won’t be hidden. This is fun stuff and all inspired by our recent issue on Alterations.

Our image today is from assemblage artist Mary Bogdan. You can see more of her work here in our on-going look at Alterations.

Mary collects boxes and more boxes to use in her constructs. This piece, entitled “scroll/reset” is 19″w x 14.5″h x 6″d. This is what she has written about it:

Well, Mary, I wish I could touch it, look in that cigar box, ruffle the pages. It’s so *FULL*.

I ran across a fun site yesterday called Box Doodles. Whoa, is this ever right down The PCQ’s alley. On this site, people are encouraged to make quick things out of boxes, but that hardly begins to describe the outcomes. Take a look. You won’t be sorry. The box doodles and Mary’s decidedly more sophisticated box assemblage can’t help but inspire!

Here are photos of the boxes I mentioned above. The first is a craft store box that I covered with vintage paper and old photos and lined with beads and feathers.

This one is literally made from one of my paintings (acrylic) bent into shape and glued. The lid is made from a web of machine-sewn threads (done on tissue paper and later removed) sewn onto more of the painting paper with embellishments of beads and lots more thread in the corners.

thanks, Mary.

See all our Alterations articles
See New Again, an Alterations Challenge
- with more photos of my boxes -
See more of Mary Bogdan’s art: The Tide Series
See all our Collecting articles and surveys

Originally published March 2006 in the Practically Creative blog; edited slightly for re-publication

[-practically mperfect, alterations-]

by Nancy S.M. Waldman

I missed a day (or was it two?) of posts. Some days I just don’t have *it*, you know? I’m busy shovelling out my workspace as it has gotten overwhelmed in the last two months.

When I get inspired, I start pulling materials out of the closets and can’t even think about putting any of it back because I might need it! Since my work room was such a mess, I started working in the tv room and several other rooms of the house. Whoa. Creative energy has a way of spreading, sometimes taking over not only our minds but whole rooms. *grins*

Anyway, it’s time to get things under control again. So that’s what I’ve been doing… as well as working on several small projects - all over the house!

Emma’s robot

Originally uploaded by Lockwasher.

Today’s image is charming, isn’t it? Lockwasher does these great sculptures out of found objects and metal do-dads. Each one has such personality and the craftmanship seems meticulous. I’m very impressed.

I chose this one because it’s made from a fancy tin. And, well, yeah, maybe because this one has a heart. Click on the image to see more of Lockwasher’s bots and rockets. They’re simply wonderful (and inspiring).

Must go work on my space.
Happy Sunday, all and thanks, Lockwasher!

Here are more wonderful robots that lockwasher has created.
See all our Practically Mperfect articles
Here’s a wonderful article on the process of creativity and how clutter enters into it: Mind Space
See all our Alterations articles
See our New Again, an Alterations Challenge
Here’s an article on our human need to GATHER things
(with links to the fun results of our Collectors Survey)

First published on March 5, 2006 in the original Practically Creative blog;
Re-published as written as an informal Practically Mperfect article

[-art, alterations-]

The TIDE Series by artist, Mary Bogdan

All images copyright © 2003, Mary Bogdan; 12.125″h x 11.5″w x 6.5″d, mixed media on abandoned Tide laundry detergent box

All about this series in Mary’s own words:

TideRed -© 2003 - 2007 - Mary Bogdan - all rights reserved

TideRed (open)- copyright © 2003 - 2007 - Mary Bogdan - all rights reserved

TideYellow © 2003 - 2007 - Mary Bogdan - all rights reserved

TideYellow(open) © 2003 - 2007 - Mary Bogdan - all rights reserved

TideBlack - copyright © 2003 - 2007 - Mary Bogdan - all rights reserved

TideBlack (open) - copyright © 2003 - 2007 - Mary Bogdan - all rights reserved

Mary - painter & assemblage artist - says of herself:

I am a “glaneuse”, a gleaner… In scrap heaps of abandoned or demolished buildings, alleyways and flea markets, I find rare treasure. Garbage. Remnants of wood and metal, books, boxes, old paintings, all that have been discarded are interesting to me. My work deals with obsolescence. Each “found” object has out-lived its time and has therefore been scrapped. Dead. I rescue and assemble them with collected items from my own past. I sense the object’s energy guiding its reincarnation to a higher purpose. Art. These artifacts that have chosen me, tell stories of where they have been, where I have been, where I am and where I am going. Stories of passion and anger, strength and weakness, love, hate and fear. Revealing me to me. Mary and her husband, artist Sol Lang, were exhibited recently in New York City at the M!WAA @ NEW ART CENTER ; her images can be seen at flickr.com/photos/marybogdan/

Originally published in the January 2006 issue of The Practically Creative Quarterly, theme: alterations

[-process, journaling, found poetry-]

by Nancy Shepard Metzger Waldman

In the course of researching Altered Books for the January 2006 issue of The PCQ, I couldn’t resist tackling my first altered book. Here is the journal and some photos I made of the process and progress so far.

Take heart other beginners, from the lumpy pages and [way]less than professional results.
It’s a beginning!

ALTERED BOOK PROJECT

First Question—How can I mess with a book?
Tomes are SACRED, aren’t they?

So, I found a book in a give-away bag…Country Walks in Connecticut.

Since I live in Nova Scotia now, I’m unlikely to use it ever again. Plus, it’s well-used already. Dog-earred and warped, it also has a very ugly stain on the cover and through the first 7 pages or so.

It’ll do. It has some lovely maps and black and white photos.

MAKING IT MANAGEABLE

1st step - glue pages together … eeek… it’s not easy for me to get over the feeling that I shouldn’t be doing this. I have to think of it as recycling, renewing, making art out of what has become a book no one wants.

It takes me a couple of hours to glue the pages. I used white craft glue diluted with water. It’s lumpy … but it worked!

NOW WHAT?

Since the book is about trails through the woods, I decide to make the art about a trail through the book….

I jot down words from the page that I like or that seem to relate to each other. The last word on the page is “connects.” This makes me smile!

JASPER JOHNS: “Do something…. do something to that…”

I color the words I want to HIGHLIGHT in CRAYON (goldenrod)… I try covering up the words I don’t want. First I use some brown ink that I’ve had forever. I like that I’m using what’s here … it looks nice on the page but the print shows through. ENTER: “Acrylic Colored Gesso, Unbleached Titanium” That should cover up anything…

I took digital photos of the book so far… then began modifying the photo of the photo on the righthand page. Put in loads of color - played with Hue & Saturation, Brightness & Contrast, Tone Adjustments, and Negative.

Tried to print out on TRANSPARENCIES but my printer objected. Had to make do with card stock.
NEXT I …

until …. VOILA! here are the first two pages:

The found poem on the right hand page is:

It was fun but I haven’t gotten back to it since. I love looking at other artist’s altered books but it may just not be ‘my thing.’ How about you?

Have fun!

Here’s lots more articles on artistic Alterations.

Originally published in the January 2006 issue of The Practically Creative Quarterly, theme: alterations