Better with Time

I intern weekly at an herbal apothecary, and had a sweet interaction the other day. An older gentleman was checking out, asking questions about some herbs, and then shared a bit about his experience as a man who was estranged from his father for most of his life. He spoke with compassion for this man who had not been a good father, but who he had learned to befriend later in life. As his father grew old and needed care, he cared for him. This man spoke about how he could see the young child in this toothless old man father, laughing at silly things in the hospital as he circled closer to death. He spoke about how much he still learns and discovers about his father’s perspective and journey, and with how much less complication he feels love for this man, even after death, as he grows older himself. He sees his father more and more clearly in the mirror.

I have a not-dissimilar relationship with my father. It’s been fascinating growing to understand parts of that person as I get older. It is not through spending time with him (an option I don’t readily have), but through a better understanding of my own evolving self. I see and feel the parts of me that are like him more and more as time moves on.

We are all connected.

We are each capable of hurting others and of being hurt ourselves. We are all capable of forgiveness—a state that at the end of the day benefits ourselves most deeply. We are all capable of learning something new about another person’s perspective, struggles, journey, and life choices. We human beings are not our behaviors, but our behaviors are what we have between one another. Behaviors are the messengers through which we communicate, connect, disconnect, or flag each other about what a relationship between us will look like. Behaviors are learned, practiced, often in need of updating, and also under our control for the most part. We become different people as we grow, change, and shift our practices throughout life. We are not our behaviors, but our behaviors are our legacies. We can invest in doubling down and never letting another person in, or we can face discomfort during confrontation and questioning, and we can adapt, grow.

The function of family throughout life is such a strong and relentless challenge. Family dynamics run deep. One may be able to put space between themselves and family, but those people, your family members, are always there in the world somewhere and we don’t forget them. Family, in all its frustrating, painful, loving, abusive, nourishing, chaotic truths, is ground. It is Earth. It is where we come from, and where we always refer back to as we grow. We search out new families in life—especially and prolifically do the queers, marginalized people, people without traceable/available families, and those without relatives nearby. Finding people to bond with outside of shared DNA is important for all beings. We seek out the families we want to belong to, and the families we want to help create. When we create new families we also recreate ourselves. Part of this seeking is departure from the language we first learned in order that we might learn new tongues, see more of life’s big picture, and establish ourselves in our own image apart from our origins. We belong to one another as deeply as we belong to ourselves, and so we must change from where we began, even as we cling to (or cannot shed) much of our primary teachings.

Many animals, when they hurdle through pubescence, leave home to find another pack. Humans are no different in this respect, especially in our modern era. Animals find another family to join and they establish their own bloodline, still connected to the past. Mixing bloodlines keeps the lineage healthier, more viable.

Mixing bloodlines keeps the lineage healthier, more viable.

This concept in today’s world seems particularly suitable for meditation. What world would we live in if we never left home? What if we were never exposed to other families and ways of being? What if no other cultures or traditions were able to influence and inform our own experiences and interests?

We know the short answer to this. Demographically, the spots on Earth where we see the most diversity in cohabitation (urban areas, especially urban areas with international influences), have a tendency to boast more liberal and progressive communities. Healthy exposure to differences stimulates an open mind. One cannot un-know what they have been exposed to, and it is isolation which leads to ignorance (“ignorance” is an interesting concept to think on, especially when linked to the idea of: to ignore). Education that accurately represents the entirety of the world in its lesson plan allows for students to negotiate a larger portion of the planet comfortably. Travel makes the world smaller and easier to understand. Our behaviors change and update as we come to understand a larger spectrum of perspectives. This is one reason reading improves empathy—it offers exposure to different walks of life without ever having to leave home.

Screen time is a double sided coin in this respect. It’s too easy to point a finger at the screen and blame or praise its worth. The person will always dictate what is wrung from any experience. What is the quality of one’s time with the world at their fingertips? Does one choose the fast food equivalent of never leaving their own region/town/house to navigate their basic needs? Do they have questions and skim through only the first answer they’re provided with, assuming it’s the hard and fast truth? Does one seek out multiple answers from multiple sources in order to better understand the subject they’re looking into?…

We are all connected. Like cells in a living organism, we represent one, yet affect all.

With that thought I wish you a happy Winter and Holiday Season. May your time with family, chosen or of origin, be illuminating and offer you more to work with than you had yesteryear. It takes humility to become a bigger animal. May the new year see each of us expand and grow.

Play On My Friends,
~ Creature

My writing takes time, research, and consideration: it is my art.
Please help me continue by joining my Patreon campaign, Donating, or booking a professional or educational Session with me. Thank you!

Connection and Consent: A Gallery Exhibition and Performance

Photo by Juan Carlos Ruiz Vargas of my performance, “Listen, No Speaking, Touch”, as Medusa at Pulqueria los Insurgentes, Cuidad de México, September 6, 2018. This performance was part of The Scarlet Tongue Project/El Proyecto de la Lengua Escarlata.

I have been asked by one of my favorite artists to install a piece of art and to perform during the opening event of a gallery show running the month of November and into December. Please come by, there are some really fabulous artists on the bill and it would be great to catch you at the opening on November 15th:

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Ourselves
An exhibition of transgender and non-binary artists making work about the trans experience

Exhibition: November 5- December 6
Reception: November 15, 5-9pm
University of Rhode Island, Providence
80 Washington St, Providence, RI 02903

Curated by Caleb Cole Artists:
Chai Anstett, Sam Bodian, Ria Brodell, Eli Brown, Caleb Cole, Leah Corbett, Arlo Crateau, Catherine Graffam, Jamezie Helenski, Rob Lorino, Cobi Moules, Lenny Schnier, Austen Shumway, J. Turk, Creature Karin Webb

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The installation and performance I’m bringing to this show is an iteration of the work I started this month in Mexico. I’m excited to bring my work to a third type of venue — from club space, to black box theater, to art gallery!

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“Listen. No Speaking. Touch.”
by Creature Karin Webb

Installation: A small nook area is set up/created with red fabric walls, it is warmly and dimly lit (as possible). Inside the nook there are 2 chairs and a small side table set with roses, a basin of water, with a stack of washcloths nearby. Scattered around the table, chairs, and floor are rose petals. Each petal is marked with a fingerprint of blood from the artist. There is a small swatch of red fabric with thread revealing a number of stitches already stitched in, the needle still attached, is prepared for more. The shape taking form on the fabric is the figure of a person. On the floor, a chalk circle surrounds the space (alternatively this can be taped or painted — whatever works best with the venue’s floor and traffic patterns).

Performance: The artist is dressed in comfortable, casual, sensual clothing. Outside of the circle on the floor, presented toward the audience, the artist places three signs: “Listen”, “No Speaking”, and “Touch”. The artist takes their place within the installation on one of the chairs. There are a few iterations of this performance which include different “offerings”. I am proposing “Washing” for this venue. The water basin and stack of wash cloths are used. Participants who wish to interact with the artist are welcomed non-verbally into the circle to sit in a chair. The entire one-on-one performance within the circle is non-verbally conducted. There is no expectation of what will happen or not happen. The offering to wash or be washed is physically present, though it is the connection between the two participants which is impetus for all action which occurs. This is a study in non-verbal communication, connection, desire, and consent. Performances with each participant vary in length. Each connection the artist makes over the course of the performance while in character (participants, audience members, etc.) is marked as one added stitch to the piece of red cloth. Eventually the form stitched will be stuffed with petals saved from each performance, and as the work continues, stitches of beading will be added until the object is complete.

Statement: I’ve been meditating on this piece of art and performance for a few years, and I began it’s practice in la Cuidad de México on September 6th, 2018. So far I’ve performed and installed this project in two different venues: the Mexican nightclub, “Pulqueria los Insurgentes”, and in a Mexican theater space, “La NaBe foro”. Both of these performances were created in collaboration with artists during an artist retreat as part of The Scarlet Tongue Project. Installation and performance at the University of Rhode Island will be my third venue. I plan to bring this piece to many venues of varying type and size throughout the next few years. Please write me if you have interest in booking this performance, other of my work, or to bring me to your venue as a speaker or educator: Contact

“Listen. No Speaking. Touch.” is a meditation on the artist I’ve become, the human I am presently, and the rules I’ve needed to break or ask permission to explore along the way. Its performance is an invitation for viewers and participants to grow with me, to experience communication non-verbally, to offer, accept, to hold boundaries, and ultimately to risk being present with another human intimately. “Listen. No Speaking. Touch.” elicits recollections of the ways I (and many people) have been marked, whether by society, socialization, or specific people, throughout our histories in ways which disrupt our naïveté and the fairy tale of what connection, love, sex, romance, and friendship are “supposed to” look like. We struggle, in this society, to find our way within a culture which promises personal rights and opportunities, yet enforces repression of individual expressions of identity through violence, non-consensual acts, systematic poverty, refusal to acknowledge the needs of minorities, through institutionalized bigotry, and largely through fear. We are beautiful as we are, marked though we may be. With “Listen. No Speaking. Touch.”, I want to create space for individuals to connect with me, the queer artist, in basic ways which allow curiosity a chance—by way of simple actions and silence we might discover co-creation. “Listen. No Speaking. Touch.” also invites one to explore thoughts and feelings around current discussions of the #MeToo movement. As we practice and/or witness non-verbal negotiation one becomes more attuned to the subtleties of a language which is physical and energetic, and must begin to take responsibility for the ways we are able to “Listen”, to understand the desires and boundaries of the people around us. We are complicit, we are aware, and we must take responsibility for the moments we create with one another, positive, negative, neutral, and complicated.

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Many of the artistic opportunities I engage in, and frequently the ones I believe in the most and want to continue to cultivate, are unpaid events. The work I create that is paid usually doesn’t break even and rarely profits for the materials invested and travel expenditures acquired. I don’t have the luxury to consider time and labor costs for my endeavors: rehearsals, tech time, actual time spent developing, creating, and performing, or installing a piece. I have been a professional storyteller since age 11 and have a degree, a certificate, and an entire year of Master’s work under my belt invested in my performance career, as well as decades of touring, producing, artistic direction, directorship, teaching, and troupe management under my belt. To date I’ve performed in almost all of the States, in four countries, and on two continents.

The reason I do what I do is because I believe in humanity and I believe in the power of an engaged community. I believe culture moves toward meaningful progress and improves conditions for under-privileged people because individuals “do” something to push these important conversations forward. My writing of this blog, the performances I bring to stage, the visual art I create, and the subjects and ways I educate are all part of how I, as an individual and an artist, bring my personal resources to the table to try and effect change. I made a choice early on in my career to work for my own creative brain and to develop a performance/artistic aesthetic and mission of my own, and to speak with my own voice to the audiences I find. Rather than audition for the theater community at large, I believe that as a queer person, as a woman, and a person who comes from and lives in poverty, that my voice is needed in contrast to the straight, white, cis, ableist, middle-to-upper class, patriarchal environment we are governed by and exist within.

If you admire or are inspired by any of the ways that I produce as an artist or educator I ask you to become a patron of mine and contribute to my Patreon campaign. My patrons are the only steady (ish) source of income I have, and they are the reason I’m able to invest in my art further and further as time moves on. I currently make about $450 a month. This is the base pay I live off of, supplemented by whatever other gigs I am able to book, and some months there are very few or none. I would like this base of patronage to grow so I can spend more of my time creating my art, producing, teaching, and performing, and less of my time trying to book paying gigs outside of my primary focus. I publish paid content through my Patreon page six times a month. It’s possible for you to pledge at whatever level you wish and to cap the amount that you pay if you desire to. Any amount helps. Please donate, and please share. Thank you.

Play On My Friends,
~ Creature

Support my writing on Patreon. For one time Donations: Support the Artist or email.
This writing takes time, research, and consideration. It is my art. Thank you.

Neverlast

I am the barren uterus and the fertile hands

Touching your parts

Your heart

Your anxieties when the world falls down

I am the oxygen blown into your mouth for fun and flirtation

Teaching you resuscitation

Energy for creation

And the universe spins quickly toward its destructive end

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You look dizzy commenting on my bigness

A private wish for simpleness, or is it ignorance

Careful, I hold you with space enough to shift and grow

You’re still afeared of atoms somehow seen so differently: the ones defined as “you” and “me”

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On our backs, deep in the Temple of Wilderness

Hunting quiet tenderness

Resigned to the endings all around us as we make

Crushed bugs, empty bottles, theories of interconnectedness, loud noise, CO2 for the plants nearby to bloooooom, our fucking fucking us back with the story of forever which is this feeling of pleasure — an instant that echoes on and on — radio waves rattling our brains even today, as wars wrapped in voices projected from yesteryear we still hear say:

I TOO WAS HERE!

DO YOU RECALL?

RESSURECT!

REMEMBER ME!!!

… our only answer is orgasm

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We fall from fairy folly

Petals after rain

Sown Earth and fast Decay

Beauty romantically impressed

Realistically one day

The end

Away

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Play On My Friends,
~ Karin

If you like my blog, please check out my Patreon Page and support me. For one time donations click here: Support the Artist

~Thank you.

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