&THOU CATS

Breaking the radio silence and writing my first post of the year. I remember promising a Midsommar musing and I think that requires more processing than I thought. The end of the year progressed into a series of events that culminated in a 10-day holiday.

Some quick updates:

• Signed up for a one year membership at the local climbing gym that also serves as an office space and normal gym
• Changed my sleep schedule to align with the rising and setting of the sun
• Stopping work at 5pm on the dot
• Got a fancy electric toothbrush that syncs to an app on my phone so I can track my toothbrushing data
• Getting over technophobia that I didn’t realize I had? Who knew that joking about being a luddite meant that it was somewhat true?
• Restarted a “5 Year Diary” practice and decided to use it to note daily gratitude as well as what happened and what I did that day.

Overall it’s been 10 days into the new year and I already feel more balanced—emotionally, physically, and mentally. I hope to keep this up when school starts again, especially since it’s my last semester and I proved to myself that I can pass even when I do a normal amount of effort.

Anyway, here are some photos from my holiday and this last weekend when we went hiking (really just walking) upstate!

From the plaque:

Anila Quayyum Agha, Pakistani-American, b. 1965

All the Flowers Are for Me, 2019
Laser cut lacquered stainless steel and bulb, edition 2/3

All the Flowers Are for Me is a sculptural cube that creates an immersive experience for the viewer. The piece hangs from the center of the ceiling with a light bulb situated inside that casts delicate lattice-work patterns on the walls of the room. Anila Quayyum Agha sourced the patterns from mosque architecture similar to the designs found at the Alhambra fortress in Granada, Spain. Thus, the artist merges sacred space with secular elements. Though Agha’s work references Islamic architecture, it is not about religion. Instead, it highlights the wonder of a space’s influence on thoughts and emotions. The sculpture and environment this work creates are inclusive and welcoming to everyone.

Chrysler Museum purchase – 2020.31

Both pieces of art created by Jacob Afolabi, Nigerian, b. 1940. Both pieces are linocut on paper.

Top artwork: “Iya Ewe,” ca. 1975

Bottom artwork: “Slavery,” ca. 1960s

on loan from National Museum of African Art, Smithsonian Institute

We went to the Chrysler Museum of Art (it’s free!) to check out Black Orpheus: Jacob Lawrence and the Mbari Club. It was my first time here and I would recommend it if you have time to spend in Norfolk. It’s small-to-medium and manageable in an afternoon. They also feature local artists as well as hold glass-blowing workshops.

And this is me, looking out, from within. A sentiment I deeply vibe with. This is a really narrow cave at the bottom of the overlook hill on Little Stony Point. We went maybe halfway inside of it before all the ghosts of supernatural horror movies caught up to us. We also didn’t have a flashlight which may have contributed to goosebumps. Anyway! From what we saw it looked like someone painted the inside of it a hot pink.

I’ll end this post with some YouTube links to music I’ve been listening to:

Holiday, Turnstile, from their album GLOW ON. This is a hardcore punk band that wanted to make an album where every song inspires dance. It’s also what lead them to mainstream radio success. This song and Underwater Boi are really catchy though I like the entire album so much that I find myself screaming “It was a holiday” at any moment of the day. I’m also listening to all of their older stuff!

Hannah Sun, Lomelda, from her album Hannah. She’s an indie singer-songwriter which is my favorite genre of music that I emulate when I need to process emotions with a guitar. This song is vulnerable, nostalgic, and sticky in a wanting way. The way she sings—switching between highs and lows in seamless succession—vaguely reminds me of Joanna Newsom. Regardless, Hannah and M for Empathy have been on repeat this season.