Showing posts with label tea. Show all posts
Showing posts with label tea. Show all posts

Thursday, May 31, 2012

Potted Palms and Sand Tarts: A Bookish Tea at the Plaza



 
Cup of the Day #105
"Loose Leaf "by Gwyneth Leech
Colored ink on upcycled paper coffee cup

My sister, Kitty Leech called the other day and said, "do you want to have afternoon tea to celebrate?"
"Celebrate what?"
"The launch of the Mermaid Picnic."
Awesome! Kitty's fishy children's tale of a rainy afternoon at the seashore, which she wrote and illustrated, was a work is progress for ten years. Now it had finally met the public.
And not only had it launched, but it got a lovely write-up on the blog Wide-Eyed and Legless: Musings of a Modern Mermaid.

The Mermaid Picnic
Written and illustrated by Kitty Leech

So this called for a major celebration, a really special afternoon tea. We decided that the Plaza Hotel was definitely in order!

A few days later, there we were, in the fish bowl which is the Palm Court, at a beautifully laid table trying to choose a tea. This is the renovated Plaza, of course. I was here for afternoon tea one other time, as a college student a decade or so, or so, ago and it had a faded air back then. But since the doors reopened in 2008, all is brilliant and regal, the stained glass ceiling magnificent, the table settings and service immpecable. I felt only the faintest touch of guilt at coming here without my children to celebrate a book for children.


 

But back to the tea selection. We perused the menu, which proved to be a literary work in itself. How to choose between "a stout and robust blend of February high grown Kenyans and astringent 2nd flush Assam, full bodied and rich" (Breakfast Tea) or "rich and moody off the nose, it opens with malty astringency and finishes with hints of oak cask and a dusting of delicate citrus (Afternoon Tea). I was actually torn between the two Reserve Black Teas: "Golden liquor cups ethereal notes of baking bread, light lingering finish "(Golden Monkey Picked (China)) and the "ultra rare, full round body with light notes of Wuyi Forest Preserve pine smoke". The latter was none other than the Organic Tong Mu Phoenix Tree Lapsong Souchong (China).
I went for Golden Monkey Picked.
Kitty ordered coffee.


Having made these difficult and lofty choices, we turned our attention to the accompanying delights.
Should we go with the Classic, the New Yorker, the Chocolate or the Eloise? This was easier.
They all included cucumber finger sandwiches, scones and pastries. We decided on the Classic.
When it came, I was surprised that the servings were so petite. Sandwiches for very little fingers indeed, and such tiny tarts. We set to with gusto... and only made it halfway through!
But this is New York City. Even at the Plaza Hotel they will wrap for you.

That evening after dinner at home, I set a monogrammed box on the table. "Look," I said, "treats from the Plaza." My two little mermaids never suspected a thing.




The Mermaid Picnic is now my daughter's favorite book. It comes with a recipe for Sand Tarts, the ideal cookie for mermaids on land and sea, and we have successfully made the recipe several times.
Sand tarts are not served at the Plaza, nor is rain drop punch (which apparently Mermaids prefer to tea) but if you bring one with you, she may be able to make do with the "cold cold pink lemonade " featured on the Eloise Tea menu.
 
For more information about tea at the Plaza, including the full menu, visit the official website here.The Mermaid's Picnic is available on Blurb and Amazon.


Tuesday, May 29, 2012

Tea and Textility: A Summit Adventure


Cup(s) of the Day #104
By Gwyneth Leech
Mixed media on upcycled paper coffee cups

As the month of May draws to a close and the temperature starts to climb, it is time for a parting thought of cool Spring. What a remarkably long flowery season it was this year, turbo charged by some unseasonably hot days in March that set everything off at once, then drawn out by weeks of colder weather!



On one chill Saturday of drizzle and daffodils, I persuaded my husband and 8 year old daughter to go with me to Summit New Jersey to catch the exhibition Textility before it closed at the Visual Arts Center of New Jersey. The exhibition statement read: "while there is a strong emphasis on materiality in contemporary art, we have seen an increasing number of artists who share a specific interest in textile-related materials and processes. We coined the word “textility” to describe these qualities and organized this exhibition to explore art that has a material or conceptual relationship to textiles." This sounded like one the Full Brew should not miss!

Not to mention that an afternoon train adventure is always pleasant, made even more so that day by flowering trees and the blaze of azaleas in Suburban gardens.

 
Jennifer Cecere, Mother 2011
Ripstop nylon

The art center is just a few blocks from the train station, but oh no! my daughter spied the playground across the street from the station as soon as we stepped outside. My husband and I looked at each other. I went on alone.



At the gallery, I was instantly taken with several highly ornamental artworks in the show - two "doilies", one by Jennifer Cecere, and one by Susan Starr, whose scale and unusual materials made a terrific impression, as did a gorgeous wall of fabric-themed paintings by Barbara Ellmann. In addition, an installation by Derek Melander - three totemic towers of gradated color formed from neatly folded second-hand clothing - was a show stopper.

Susan Starr, Dresser Doily, 2005
Hand-cut Mahogany wood veneer

Derek Melander, The Painful Spectacle of Finding Oneself, 2010
Second-hand clothing, wood and steel
 
 
Barbara Ellmann, Wherewithall, 2011, 
Encaustic on 12 wood panels

I wandered around  the galleries quite happily, finding many surprising and engaging artworks in this beautiful show curated by Mary Birmingham and Joanne Mattera, including a couple of rule-based installations by Debra Ramsay with 3-D elements, a new departure in her artwork.

Finally an awareness of increasing drizzle sent me back out the door and down the street to rejoin the others in the playground. They had preceded me to, well, the only other attraction near the train station - Hilltop Burger and Fries. My reception was a little grumpy, but the tea was waiting.

What kept you so long?
Tea brewing at Hilltop Burger and Fries,
Summit, NJ.

Untitled (dishrag), 2010
Ink, correction fluid on paper


In Two, Twice, with Yellow and Green, 2012
Thread, gauze, acrylic, paint, pins

Textility included:

Joell Baxter
Caroline Burton
Sharon Butler
Mary Carlson
Jennifer Cecere
Pip Culbert
Elisa D’Arrigo
Grace DeGennaro
Barbara Ellmann
Carly Glovinski
Elana Herzog
Marietta Hoferer
Nava Lubelski
Stephen Maine
Lael Marshall
Derick Melander
Sam Messenger
Sam Moyer
Lalani Nan
Aric Obrosey
Gelah Penn
Debra Ramsay
Susan Still Scott
Arlene Shechet
Susanna Starr
Leslie Wayne
Ken Weathersby
Peter Weber

For more photos and description of Textility, read Joanne Mattera's blog here and here.
A calendar of current exhibitions at the Art Center of New Jersey is available here.
Directions to the art center here.
 

Wednesday, September 28, 2011

A Week of Tea and Cup Art in the Prow


I embarked on Week One of Hypergraphia at the Flatiron on a sun-filled Tuesday morning. The weather is still hot and muggy for September. Coffee cups floated by outside the windows as the foot traffic eddied around the Prow, many people passing from Argo Café just next door.

Cups of the Day #88
Morning at the Flatiron

Wednesday and Thursday were filled with visitors. I was delighted when Scott Kahn, painter, and Dilys Winegrad, curator, both University of Pennsylvania connections, stopped in and lightened my drawing hours.

The street views in every direction intrigue me - up and down Fifth and Broadway, across into Madison Square Park, both ways on 23rd Street. I can see everywhere, the grid exploded in crazy cubist angles. What a vantage point!

I am getting the measure of the space as a studio, enjoying the light-filled circles of the display platform. I spread out my pens - a welcome donation from Faber-Castell. I discovered their Pitt brush pens with their saturated light-fast colored India Ink several years ago and have used them ever since. They give just the right balance of line and brush mark.

Thursday it poured cats and dogs and cups. Rain lashed the Prow and I felt indeed as if I were abroad ship, riding on waves of umbrellas.

Saturday the sun broke through in time for our reception in the Prow Art Space. I shared my art pens with visitors who tried their hand at upcycling their own coffee cups.

Heat built up inside, but we were kept afloat by a vat of iced Hibiscus tea with lemonade courtesy of Argo Tea. Argo Tea has certainly fueled all of Week One. I have thoroughly enjoyed each perfectly brewed cup - no tea bags there.


Week Two is upon me and I am heading out the door for another drawing session in the window studio. You will see me there Tuesdays - Saturdays 11 am - 2 pm, pen in one hand, cup in the other.

Thursday, June 2, 2011

Time for A Refill: the Cups Go to Buck House


"Are you OK? wrote a friend this week. "Are your blogging days over? Of course there's always the possibility that they locked the storefront, turned off the lights and didn't realize you had fallen asleep under a comforting pile of pristine cups-in-waiting."

Locked away with my drawing materials! A lovely thought. But no, I have just been buried beneath all those domestic and mundane things long neglected for the sake of art. And in truth, by the end of six weeks in the window I felt as empty as a used paper coffee cup.

Raining cups in the Hypergraphia window
March, 2011

In early April, I packed up cup drawings for collectors, exhibitions and the Cheryl McGinnis Gallery and felt bereft to see the installation dispersed. After that, I continued to pack: for the Trans Art Conference in Boston, to clear space so I could repaint my apartment and for trips to visit family.

Then a few weeks ago, I found myself on the Upper East side drinking Arnold Palmer's (half lemonade, half ice tea) with Cheryl McGinnis and Deborah Buck at Buck House on Madison Avenue at 94th Street, to plan a second Hypergraphia Cup Drawing Window Installation.

This time it will be a one-day-only event. On June 9th I will be drawing in the window and from 3 - 7 PM they will be serving coffees, cocktails and chocolates. So if you missed it on 38th Street, here is a chance to experience Hypergraphia for yourself. Or if you loved it, please bring or send friends. Summer is here and I am refilled with fresh ideas and the energy to tackle that pile of pristine cups-in-waiting!
See you at Buck House.




Saturday, February 19, 2011

Getting Things All Lined Up

I was cruising the notions stores in the Garment District in search of invisible thread, sipping a large cup of ginger and lemon tea as I walked. The question has been - will the cup drawings be stacked, lined up on shelves or suspended? I already have some clear fishing line from the hardware store and the suspended idea has been shaping up nicely. But, I thought, perhaps the line should be finer? Hence my quest.

Cityscape Cups, by Gwyneth Leech
India Ink on upcycled paper coffee cups

In just the second shop I tried on 38th Street, the Chinese sales assistant had what I wanted - a full spool, designed for sewing machine use. I handed over $6.99 and hurried back to the studio. 

Standing by the window with a set of cups all lined up, I unwrapped my large spool and tried the thread. I could not break it. Good. Then I began to measure it out - very fine, very hard to see. Should be good. 

I started the process of measuring, looping, tying that I have developed this week. In no time flat, I was in a terrible muddle. The thread trailed down to the floor and as I tried to pull the length through the loops it caught somewhere, invisibly, on one of my shoes. As I tried to free it, it caught on the other. I pulled harder, it sprang loose, wound itself into a big knot and I could not see the line to find the end of it. Enough - there is clearly such a thing as too invisible! Into the trash went the spool and I turned once again to my 50 pound fishing line. This, I decided, is the perfect material to suspend 300 cups. Decision made.

Just over a week until the exhibition opens. Load-in is Thursday. Yes, I am ready to go.

Cheryl McGinnis Projects Presents:
HYPERGRAPHIA
Gwyneth Leech, the Cup Drawings
 February 28 - April 1
Fashion Center Window Space at 215 West 38th Street
Monday - Friday 9:00AM - 5:00PM
 The artist will on site drawing and adding to the installation
Monday - Friday, 11:30AM - 1:00PM 

For information and purchase of cup drawings go to 


Set of Black and White Cups
by Gwyneth Leech
India ink on white paper coffee cups

An Installation of Drawings on Upcycled Paper coffee Cups
With Leech's diverse background in painting, video, ceramics, calligraphy, wood engraving and other printmaking techniques, the cup series began as a casual outgrowth of her compelling urge to draw wherever she is. One day, without a sketchbook handy, Leech used what was available in the moment. The curved form, challenge of working with existing shapes, colors, and text, and the infinite possibilities of expressive variation became as addictive as the caffeinated beverage the cup once contained. In addition to raising issues of consumerism, post-consumer waste and environmental concerns the cups are essentially about what drawing is: a conversation between mark making and surface. Building, layering and obliterating through memory, observation and working from within, this meditative process begins with an initial response to each cup and takes on a life of its own.

Leech's range of subject has no boundaries. Her interest in fractal patterning and the fragmenting and meandering of memory and life itself offers an expansive, flowing, bottomless well of imagery, from figurative cityscapes, flora, fauna, mythological winged creatures, and dance performance to abstracted aerial marsh views, biomorphic forms and purely non-objective design. The list is endless because the work is infinite and ongoing. Unlike working on a flat plane, drawing in the round also affords a connectivity of shapes and continuous movement.

Before any drawing begins, Leech records the date, location and related circumstances on the bottom of each cup after it has been rinsed. Combining traditional and non-traditional materials including Faber Castell brush pens, gel pens, white-out pens, Sumi ink, oil or acrylic paint with encaustic and/or polymer varnish with ultra-violet protection, Leech transforms the ubiquitous paper coffee cup into a chance to hold her imagination and her New York City in the palm of your hand.

Inspired by the nearly extinct art of letter writing, an integral extension of this project is Leech's blog, Gwyneth's Full Brew, featuring cup drawings along with "vivid New York slice of life stories about the vagaries and incidental pleasures of being an artist in this crowded, expensive, crazy and inspiring city." 
  
Artist's Bio
Gwyneth Leech earned her BA at the University of Pennsylvania and a BFA and Post Graduate DA at Edinburgh College of Art, UK. The recipient of numerous awards and grants, including a Glasgow District Council's European Capital of Culture Project Grant, Scottish Arts Council Time Based Media Award, University of Colorado's President's Fund Grant and Elizabeth Greenshields Memorial Award, Leech's work resides in important private and public collections such as the American Museum, Bath, UK; British Broadcasting Corporation; Dumfries and Galloway Regional Council, UK; Edinburgh City Art Galleries; Royal Bank of Scotland; Strathclyde University, UK and the Theater Royal, Glasgow. Museum shows and gallery exhibitions include the Southwest Minnesota State University Art Museum, Marshall, MN; La MaMa La Galleria, NYC; Ayr Art Gallery and Museum, UK; Kilmarnock Art Gallery and Museum, UK; Dundee Museum of Natural History, UK; and the Gallery of Contemporary Art, University of Colorado at Colorado Springs, CO

About Cheryl McGinnis Projects 
Throughout the life of Cheryl McGinnis Gallery, our primary interest has been to engage collectors and patrons with a deeper look at the artist's process by hosting interactive gallery talks, artist studio tours, and Art-E, an educational program for children and adults. As one of the first contemporary art dealers to offer this dialogue, our mission is to expand this conversation. We will open our 2011 season by launching Cheryl McGinnis Projects, a new series of process-oriented installations with related experiential events and workshops that take the artist and viewer outside of the traditional gallery space and into the space and mind of the artist.

To introduce our first pop-up space, we are delighted to partner with Manhattan's Fashion Center Business Improvement District and Fashion Center Space for Public Arts Program with Hypergraphia: Gwyneth Leech, The Cup Drawings, an installation of 300 plus drawings on upcycled take-out paper coffee cups in the Fashion Center window space at 215 W. 38th Street. With our history of representing work about domestic environment, it seems fitting to begin here. Since people are no longer tethered to homes and offices due to the rapid advancements in wireless and computer technology and the nonstop pace of 21st century life, this exhibit explores how, instead of giving up that domestic sensibility, women create a new one wherever they find themselves. Art integrates with life on the go as passers-by, many with their own take-out beverage in hand, will experience the installation of cups growing and changing each day.

Continuing our commitment to arts education, we will host seminars for adults at the Metropolitan Museum of Art, and provide drawing workshops for children with Gwyneth Leech at our gallery space on Saturdays. We feel strongly that the more we expose children to art, not just the making of art in school, but to visual thinking in museums and galleries, and working with professional artists during existing exhibits, the better chance we have of creating future generations of cultured, critical thinking adults, which is desperately needed in a time when young people are spending hours surfing the net , texting and watching reality television. Workshop and seminar schedules will be available at Cheryl McGinnis GalleryArt-E and on the Cheryl McGinnis and Art E Facebook pages. 
  
For information and purchase of cup drawings 


Thursday, February 10, 2011

Fear of Shopping: Upstairs at Bergdorf's


On a whim, I entered Bergdorf's on 5th Avenue the other day and went upstairs. I look at the windows regularly, never miss them a Christmas. But inside I have not been above the luxury-packed ground floor for decades. I felt a little breathless as I ascended the narrow escalator.

Cup of the Day #68
Tower of Modified Greek Cups
by Gwyneth Leech
White-out, India ink and encaustic on
blue and white printed cups

The last, and only other time I was uspstairs in Bergdorf's was on a
day trip from Philadelphia with my mother and older sister. I was no more than 13. We came up several times a year to go to MOMA and galleries on 57th Street.

My mother loved beautiful department stores and saved up her money to buy lovely clothes that lasted for decades - classic pieces chosen with an unerrlng eye. In Philadelphia, if she could, she shopped at Bonwit Teller or John Wanamaker's. In New York City we only looked at things: art in museums, big buildings, shop windows. Maybe we bought lunch. On this day, after MOMA, we were up 5th Avenue looking in the windows at Bergdorf's, and the dresses were breathtaking - long, silk, simple Empire lines, but exquisitely hand-painted. Mother studied them, absorbed and suddenly we were inside and up the escalator to Dresses on the 2nd floor.

We were ushered to a dressing room and a sales assistant carried in several of the dresses we had seen in the window. Up close, they were even more beautiful. I don't remember the designer, but I vividly recall the feel of the peach-colored silk and the intricate painted patterns.

"Wow, mom, you will look great in those!" I exclaimed.

"No, dear, I want to see them on you."

The assistant stood there, holding the dresses. She made no signs to leave, and suddenly I understood - she was going to dress me!

I was engulfed in deep mortification.
My mother waited, my sister waited, the assistant waited.
There was nothing for it. Off came my clothes to reveal JC Penny's undergarments - mismatched, old and full of runs. This was worse than being hit by a bus!

The sales assistant was impassive. My mother and sister didn't look at me. Over my head went the dress, and the buttons were fastened. Then it was my sister's turn. She, of course, had on her best underclothes.

Clad in floor length gowns, we stood there in front of the mirror, transformed into fashion plates.

How much are they? my mother asked.

"$3000 a piece," replied the assistant.

I was frozen with fear. How would we ever get out of this store?

With unruffled calm, my mother said, "Well, I have to ask their father first. Do you have a card?"

A few minutes later we were in our own clothes and walking briskly down the street. "Mom, what are you going to do?" I asked, consumed with anxiety. She said nothing.

A few blocks away she stopped at a pay phone. Was she actually going to call dad and ask? She dropped in coins and dialed.

"I regret that their father says no," was all she said before hanging up.

My sister's face filled with genuine disappointment. I felt a surge of relief and admiration; who knew my mother could be so cool under pressure!

"Well girls," she said turning to us with a smile, "shall we go get a cup of tea?"

Upstairs at Bergdorf's, 2011
Photo by Gwyneth Leech

Thursday, February 3, 2011

Mrs. Edith Eshleman Peacock Comes to Tea


I am imagining Louise Eshleman McCollum and her sister, Mrs. Edith Eshleman Peacock taking tea together in Louise's drawing room in Bloomsburg, Pennsylvania. It is the 1920's but I see them still in stays, voluminous dark dresses, and Mrs. Peacock must be wearing a large hat with a dead bird pinned on top. The table is laid with a crisp, monogrammed linen cloth and the china is fine white, with a gold rim and monogrammed too. The tea is poured out from a heavy silver pot.

Cup of the Day #66
by Gwyneth Leech
India Ink on white paper cup

Louise's husband, Alfred Fowler McCollum is an inventor / mechanical engineer and self-made man. He is descended from a long line of Scottish-Americans going back to rebel John McCollum of Argyll, who was thrillingly banished from Scotland to New Jersey in 1685 for his part in an uprising against King James II. Two revolutionary soldiers grace her husband's family tree. 

For her own part, Louise has a family of whom to be deeply proud. Her father, Benjamin Eshleman operated a coal mine and was a Civil War veteran. Her mother, Elizabeth Pott Eshleman bore 15 children, of whom 13 have lived to be adults, including the sister Edith who sits across from her. 

But above all, it is her Grandfather Abraham Pott of whom we think: founder of the town of Port Carbon, PA, pioneer industrialist who was famous for finding coal veins, the first to figure out how to burn anthracite in a stove, used it to run the first steam engine in Schyulkill County, built a canal, invented coal car mechanisms and built a railway from studying one in a book, never having seen such a thing in real life. He was born in 1799 and lived to be 96, his life spanning the whole Industrial Revolution.         

Before him were three full generations of John Potts - all in the iron business and more Revolutionary War soldiers - descendants of Willhem Pott who arrived in Philadelphia in 1734. And to ice the cake, all these fine men of action and industry - husband, father and fore-fathers - were Free Masons right back to 17th Century Britain.

Sterling Silver English Teapot 1845

So now I am back to imagining that afternoon tea in Bloomsburg. The ladies are not happy. In fact, they are disconsolate. Years ago, Alfred had decided that each of their three daughters would receive higher education. Elizabeth, the eldest, attended the Normal School in Bloomsburg and trained to be a kindergarten music teacher. Martha, middle daughter, went off to Philadelphia to nursing college.

And the youngest, Katherine was allowed to go to art school! The School of industrial Design in Philadelphia. What did she do there? She bobbed her hair, donned a racoon coat and became a Flapper. And now a letter has arrived announcing her marriage to Michael Gallagher - a fellow art student - in a City Hall wedding!! Yes, you heard the name correctly - Michael Gallagher, Irish. Even worse, he is the son of a coal miner - not a coal prospector like Grandpa Abraham, not a coal mine operator like daddy Eshleman - but the son of an immigrant Irish pitman. And how can it be, that into this family of staunch Free Masonry should come a Roman Catholic? This is what comes of over-educating young women!  

I can only imagine how much worse the ladies are going to feel when the first baby - my mother Louise - arrives at full term, several months too soon. 

It cannot be said that the rift was ever really healed. Katherine and Michael Gallagher, the young artists, managed to be independent, lived on their wits and their skills as illustrators, and had friends who helped them find jobs and places to live. They never left Philadelphia and they never spoke of the past. My mother recalls that her grandfather Alfred McCollum was generous, and had sent the newlyweds dark heavy furniture to fill their home. But of the nature and opinions of my great-grandmother Louise and all of the 12 great-great-aunts and uncles, I can only guess.

Porcelain service, with McCollum monogram
from the house in Bloomsburg, Pennsylvania
Family collection

Thursday, January 27, 2011

Just About the Worst Cup of Tea


I have been going out to Barbara Ellmann's studio in Long Island City 
a lot over the last few weeks. She is facilitating the long-term preservation of my cup drawings through an encaustic process. 

Cup of the Day #64
Boiling Cup by Gwyneth Leech
 India ink on brown and white paper cups

I stand by her giant west facing windows all day, dipping cups in a molten solution of beeswax and Damar varnish. Then I slowly fuse the surface of each cup with a heat gun. Slow is not my usual way, so I have been learning to be more methodical and careful as I go, gently heating the wax surface rather than overheating and causing the wax to run right off the cup.

Barbara has a lot of tables in her studio because she teaches workshops for R & F, the encaustic paint manufacturer, on a regular basis. It has been wonderful to have the space to spread out the cups, and to walk around and see them in different lights. I began to stack them into tall structures the other day, tantilizingly totemic towers of ornamentation. This opens a whole window on scuplture!

I will be installing the massed cup exhibition in just over a month, so I am pressing on with treating the nearly 300 cups I have so far. A few more days should see the job accomplished.


Dipping Cups in Barbara Ellmann's studio
Long Island City
January 2011

The trip out to Barbara's studio on the N train is full of interest. Emerging above ground just before Queensborough Plaza, the train ascends along curving tracks that wind through the neighborhood, providing close views of water towers and the graffitied upper reaches of warehouses. From the elevated platfrom at 39th Ave-Beebe I descend a long narrow flight of stairs, and walk a few blocks to her studio. On 39th Avenue a new vista spreads before me across Long Island City to Manhattan, dominated by the red and white striped stacks of a power plant they call Big Alice.

There are a few small delis and bodegas along the way. I have tried each one but have found neither good coffee nor good tea. It is Litpon tea bag territory, served everywhere in the same thin blue and yellow patterned paper cup. The Lipton is bearable if two teabags are used, but getting exactly what I want in a deli-land of little English has proved difficult. Yesterday, already inside the studio, I took my first sip to discover that instead of two tea bags, milk, no sugar it was one tea bag, no milk and two sugars! Sugar in my tea was a bitter disappointment. But Barbara's electric tea kettle and her stash of Chai tea bags saved the day.

Sunset through water towers,
from the studio building
Long Island City
January 2011

Monday, January 24, 2011

Tea Leaves and Letters


I am drinking tea at home this morning while penning a letter on paper to my 86 year old uncle who does not do computers. For as long as I can remember, my favorite implement for both writing and drawing has been a cartridge pen with a calligraphy nib. The letters loop happily from the free flowing india ink, and with the tweak of a curve, the line has a pleasant way of turning into drawing.

Cup of the Day #63
Blue Ribbon Cup by Gwyneth Leech
India ink on white cup

I studied calligraphy at school and the gesture of the curves we practiced over and over remains a habitual and surprisingly productive start to many of my cup drawings. Perhaps it is a response to the  curve of the cup surface itself, or just the pleasure of "a line going for a walk", as Paul Klee put it. Needless to say, my note-taking in meetings turns quickly to drawing. It helps me concentrate at the time, but the pages are often not much good for review.

My mother had a book of fanciful alphabets in her studio library - ornate calligraphic meanders that I tried to copy when I was kid. When my parents moved from their large house in Philadelphia, I got the book. I wonder if I can figure out where I put it in the storage unit we rent?

The storage unit is in a six story windowless building on 43rd Street, a four block walk from the apartment. It is stacked with a near cascade of portfolios, rolled canvases, framed artwork, shipping boxes, storage boxes of letters, photographs and videos, Christmas ornaments, camping equipment, inherited whatnots and linens, and boxes of books. Storage Wars would find slim pickings here, but it all means something to me - I think.

The other day, a man wheeled a trolley past while I had the door open. He glanced in and said, "Ah, moving madness."
It is true. All this stuff represents several moves to smaller apartments, as well as that major downsize when my parents sold the large family house in Philadelphia. I am terrified to dive in there, but I want that book!

Meanwhile, the letter to uncle is already a page of drawings. I have to start over.
First, I will go put the kettle on again and make another cup of tea.

Cup of the Day #63B
Calligraphy Cup by Gwyneth Leech
India ink on white and green printed cup

Saturday, January 1, 2011

New Year's Greetings: May 2011 Be a Rich Brew


Brought in the New Year at home on West 47th Street in Midtown drinking orange spice tea. From blocks away at midnight came the primal roar of the crowd in Times Square as the ball dropped. The glass walls of skyscrapers were illuminated with reflected fireworks and a great whoop and cheering came from tenement rooftops all around. 

 Cup of the Day #56
by Gwyneth Leech
Colored ink on white paper coffee cup 

The merriment subsided and for hours people made their way home through the
slush-clogged streets of a city still digging out from under a snow storm. Glad to be home and warm.


Here's to a creative and prosperous 2011 filled with hot drinks and new stories!