No. 5, 1948

I have grown increasingly wary of those who are all fluff and no substance. You know the type, he or she is riddled with all kinds of empty accusations, likes to point fingers, and avoids admittance of fault at any cost. All of this is a mask, hiding the true, featureless void that this person is at his or her very core. While mincing words and expressing unreachable promises with charisma, seduced viewers and fans are duped into thinking this person can and will do "great" things.

Immediately, I'm sure each one of you reading this has someone in mind, maybe even someone famous. Regardless of seeming implication — and yes, I, too, have a few people in mind — the intent here is to express an emotion that comes with this frustration based upon an individual. Setting aside the person or persons, the root of this emotion in principle remains almost the same when it comes to works of "art" that really aren't work or art. And as I segue into how all of this relates to this week's piece, I make no apologies for those who may be offended. In fact, I expect a few to feel differently than I but certainly hope what is expressed isn't discarded as rubbish or for lack of knowledge.

After all, art is created to be a visual source of entertainment and meaning for anyone who wishes to gaze upon it. The job of the artist is to ensure his or her works evoke an emotion or message that is relative and understandable. And when it is not, then that artist has failed no matter what anyone else may say.

No. 5, 1948 by, Jackson Pollock (1912-1956), is an 8'x4' painted fiberboard drizzled with brown, gray, and yellow paints to create a nest-like appearance. This particular painting is considered the most expensive and valuable art piece in history (at the time of this article being posted) and sold for $140 million US in 2006.

Hmmm . . . what to say? Okay, on one hand, I think about how marvelous this piece would look in a darker, modern-styled interior office or home especially if bordered by harsh grays and metal trim. On the other hand, I'm void of any impression of what is being expressed other than to assume it must mean chaos and thus this relates to a vast array of stimuli that would vary wildly depending on the person viewing it; therefore devoid of any serious message. Yes, as I've stated many times, there are moments in life where things can get extremely hectic and taxing upon one's emotions but I don't sense that with this painting at all.

My efforts to try and find something in this squiggly mess was like bouncing around a rubber room in a straight-jacket. Here is how my thought process developed: A monkey on 4 cups of double espresso and some paint could do this! → Wait, do I see a figure or shape in there? → Man, if I ever buy a fancy home and go modern with the interior design, this would look sweet over the fireplace! → But it's just a bunch of spilled and sloshed strings of paint with seemingly no meaning in motion. Where can I find the evidence that a stiff breeze or a family member bumped into Pollock while he was flinging paint? Would it have looked all that different?

Yet, have I done what art is meant to do? By studying it and expressing what I may or may not feel and sense, aren't I reacting to art as it is meant to be?

Honestly, I'd rather pay off all my bills, buy a fantastic house along the beach, get that dream car, go on a very long vacation to exotic and historical locations, buy my family some spectacular and needed gifts, and then put the rest into investments and savings than fork over $140,000,000.00 for this, but to each their own. Right?

The bottom line is Pollock has created something that is concretely timeless and awe-semi-inspiring.  While I may find it a bit silly on some levels, I am intrigued on other levels, and I suppose — and admitting — perhaps this is an extremely amazing painting that deep down, I wish I could have.

Or should I head to the local store for a fiberboard, some brown and gray and yellow paint, and a monkey?

Don't give me that look! Someone had to say it.

The Pietà

The Road Not Taken

 Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
 --Robert Frost, 1916

Choices are a God-given right to all mankind and inevitably, each of us will make some that are not ideal and others that will be glorious.  What is left are these moments in the present to evaluate and learn from the past.  Perhaps some of us will enjoy the opportunity to revisit that diverge of roads and choose to take the one we did not the first time.  For others, though, the road chosen has become one-way with no chance of returning.

The Pietà by Michelangelo Buonarroti (1475-1564) is a sculpture of Jesus Christ in the lap of his mother, Mary. Christ is portrayed as deceased, feeble in size and from circumstance while Mary is shown as a younger woman than she was at the time of His death. The piece is a combination of classic beauty and naturalism and is considered one of the most finished and detailed works by Michelangelo.

Much focus has been given to the two subjects and to the implied interpretation of Christ's size and Mary's age. For one, Christ was sculpted to be smaller than was believed and is in a crumpled heap in Mary's arms. Secondly, Mary was sculpted to appear to be about the age she was when she bore her Son for whom she now passionately embraces. The detail of both, however, is incredible and there is much to be gained from spending a significant amount of time admiring the piece.

For me, I see a mother whose body expresses her love and anguish for the loss of her Son. Her face, though, appears to be at absolute peace signifying her acceptance and understanding of the sacrifice her Son just made. From a Christian point of view, there is some irony in this moment considering Mary was the one who bore Jesus, while Jesus was the One who bore the sins of man. Thus, a circle of life extending beyond conventional means is on display and pointedly so. Mary, for the sake of this piece and with respect to history, was a wonderful woman hand picked by God to bare His Child.

Christ in this display also creates an irony of circumstance. He is shown in His state upon being taken off the cross yet He is not actually Him. What I mean is that this is merely His body, not Him as a Man. Yet laying across Mary's lap, scars from His torture vividly displayed, He symbolizes His own existence and what could have happened to man had He not laid down His life for everyone else.

Though the subject of Christ's death and sacrifice are a controversial one, it is well documented that He had a choice and even struggled with it. His entire life was meant to come to this point and although He knew it, He was also a man embodied with the ability to make choices through free will given by God. Frost's poem, for me, is something I can envision Jesus saying to Himself as he ascended to Heaven. He had an opportunity to choose which road to take: One that would lead Him away from His purpose in life and mankind, or one that would lead Him to a moment where the sins of every man, woman, and child for all eternity would be paid for in full, by Him. Rightfully so, He-

He chose the road far less traveled,
And it has made all the difference.

The Cheat with the Ace of Diamonds

In nature, there is a peculiar parasite known as a roundworm. Now, there are several thousand different types of roundworms, one of which is referred to as a nematode. What makes this microscopic creature so unique is its deceptive means of perpetuating the species. Basically, the nematode perches itself on a branch or leaf where ants are known to frequent. As the ants come by and discover the roundworm, they are quick to consume it. This might all sound rather anticlimactic but it gets better . . . a lot better.

The nematode doesn't die. Filled with its own eggs and now inside the ant, it is very much alive and situates itself into the abdomen. As it settles inside, the ant's backside begins to turn bright red. Over the years, scientists have suggested that this isn't so much a sign of infection but rather an after-effect of the parasite, and done in an attempt to make the ant more appealing to passing birds. If the ant is brighter and ends up spotted by a bird and is consumed, the parasitic species will continue on. For you see, once the ant is digested, the eggs are harmlessly released into the bowels of the bird which then dispenses the growing larvae through defecation.

Why the gross analogy about this parasite? Because what good can come from deception? Aside from compromising integrity in humans, deception leaves a wake of destructive circumstances to which others will eventually fall victim. The argument can be made that momentary success could be experienced if deception is utilized, but for the most part, it won't last and chances are others have had to endure sudden and unfair consequences.

The Cheat with the Ace of Diamonds, by Georges de La Tour (1593-1652), depicts a scene in which two women are playing cards with a gentleman. Not much a gentleman, though, as the viewer can clearly see he is producing two Aces from behind his belt during a moment of distraction. Furthermore, and ever so intriguing, is the intense setting in which all of this is taking place. Clearly, the maidservant, the courtesan in the middle, and the female on the right are all showing some sign of nervousness and suspicion.

It can be said that the fair lady on the right is a bit oblivious to the deception that is unfolding when you consider her emotionless, somewhat dimwitted expression. Yet, I would argue that de La Tour was suggesting she was about to catch on based upon her gaze. For the rest of the scene, a lot can be offered up for questioning and interpretation. Does the maidservant know what's going on? Is she in on the con? Appearing to offer the courtesan a fresh glass of wine, I would suggest she is either nervously involved or doing her best to conceal the deceiver on the left. Knowing this era, the courtesan is obviously someone of great wealth and/or influence given her intricate hairstyle and provocative clothing. But is she really being duped? Or is she strong enough and smart enough to smell a con? Is she about to fully realize what is going on and take action? Lastly, and admittedly a bit of a stretch on my part, is the male deceiver actually a male or a female in disguise?

What a few fans of 14th and 15th Century French art may not know is that this is a later version of the original painting, The Cheat with the Ace of Clubs. When comparing the two paintings, one can clearly see a less ambiguous scene in the Clubs version as opposed to the Diamonds version.  In the Clubs, the male has facial hair and a much more dastardly stare in his eyes; the maidservant's eyes are less obvious implying she may only be sheepish about interrupting the game by serving the wine. As well, the female on the right sits with a somewhat dumbfounded grin on her face and appears to be looking off the table as if none the wiser. These distinct differences suggest that the intended theme of the painting was to be much more straight forward. When the Diamonds version was revealed, however, further mystery into what was being presented became obvious, and gave you and I--the audience--a chance to really run amok with our interpretations.

Should you get the chance to compare the two paintings side-by-side, relish the opportunity! It is not often such subtle changes in art can be clearly seen and felt. What also makes this an extremely entertaining piece is the chance to speculate and wonder; the chance to dig into our ability to interpret art, and the evocation of theme and emotion. Much like every other piece of art I've attempted to write about, this one too reveals a chance to learn a little bit more about life. Because, in essence, we've all been deceived merely by the first iteration of this masterpiece. In this case, though, I'm willing to accept de La Tour's con with open arm or arms.

Pierrot, formerly known as Gilles

Do you ever look in the mirror at yourself and ponder about your life?  Standing there naked, completely vulnerable to everyone but no one, you face you without any other element of life to skew who you are, what you look like, where you are going, or where you have been.

It is difficult to not be philosophical in this moment.

Life is wrought with ups and downs.  Each of us moves along our own path through life and along the way, we will inevitably encounter others.  And in that course, we'll inevitably encounter others who have their own perspectives and "words of wisdom" based upon their experiences on their path.  I think one thing in common we all have are those moments where we stop to gaze upon ourselves to contemplate who we have become.  Questions about success, attractiveness, and appeal begin to swirl inside our heads and for some, it's enough to reach out to someone we trust to see if we can gain a new perspective.

For each of us, there will almost always be someone else who expresses true satisfaction with who he or she is.  But I find myself wondering, isn't he or she human just like me?  Doesn't he or she also doubt past choices?  Questions motives?  Wonders, what if?

What if?

Pierrot, formerly known as Gilles by Jean-Antoine Watteau (1684-1721) is thought to be the painting of an Italian actor named Belloni though some scholars and critics have felt it was a self portrait of the artist himself.  The painting was originally titled Gilles but was later changed to Pierrot to better portray the subject matter.  It was bequeathed to the Louvre in 1869 where the indicated title was applied.

Standing awkwardly on a mound in the middle and just above the perspective of the viewer is a comic actor who is surrounded by his stage compatriots.  Each seems preoccupied either by the donkey, something off in the distance, or with the silliness of the circumstance.  This particular piece is yet another example of what you initially see isn't exactly what may truly be going on.  Upon first glance, one could surmise that the Pierrot in the middle is standing at stage attention as if about to enact a scene.  Of course, I'm one who has to take a deeper, more meaningful look at the man's face and eyes and I see something different.

I see a troubled man.  Someone who is not completely content with his life or being the center of attention.  His face seems to be puffed up as if to imply he's on the verge of tears.  And his eyes tell me he's desperate for relief.

This is an incredibly powerful, enigmatic, and provocative piece.  Though our subject seems to sport a slight grin, is wearing what could be determined as fine garments not meant for those with lesser success, and is surrounded by others who share in his accolades, I can't help but feel sorry for him based upon my own perspectives.  I am sure most who would encounter this man would cheer his accomplishments and praise his work but for me, I see the face of a man staring at himself naked in the mirror and wondering how he got to where he is.

And that's just it.  Levels of success will always be relative.  I cannot specifically recall ever meeting someone who has become what he or she truly wanted to be.  There might be some out there who claim to but honestly, we're all humans, we all make mistakes, and along the way, our paths could very well diverge in a new direction and away from what was originally desired.  In moments like the one captured in this painting, there is no sense of failure or depression, just a moment of utter disappointment and pondering of what could have become.  What would his life be had he done this or that?

What if?

The Declaration of Independence

Few people know that the United States of America was actually formed 235 years ago on July 2, 1776 when the Continental Congress voted to declare independence from Great Britain.  Though independence was officially approved, it wasn't officially documented and announced until July 4, 1776 when the actual wording of the declaration document was completed and signed.  Written mostly by Thomas Jefferson, the declaration gave an official recount for why the US was declaring independence and was created in reaction to the one year old American Revolutionary War.

Those who were present and signed the document were:  From Delaware, George Read, Caesar Rodney, Thomas McKean, from Pennsylvania, George Clymer, Benjamin Franklin, Robert Morris, John Morton, Benjamin Rush, George Ross, James Smith, James Wilson, George Taylor, from Massachusetts, John Adams, Samuel Adams, John Hancock, Robert Treat Paine, Elbridge Gerry, from New Hampshire, Josiah Bartlett, William Whipple, Matthew Thornton, from Rhode Island, Stephen Hopkins, William Ellery, from New York, Lewis Morris, Philip Livingston, Francis Lewis, William Floyd, from Georgia, Button Gwinnett, Lyman Hall, George Walton, from Virginia, Richard Henry Lee, Francis Lightfoot Lee, Carter Braxton, Benjamin Harrison, Thomas Jefferson, George Wythe, Thomas Nelson, Jr., from North Carolina, William Hooper, John Penn, Joseph Hewes, from South Carolina, Edward Rutledge, Arthur Middleton, Thomas Lynch, Jr., Thomas Heyward, Jr., from New Jersey, Abraham Clark, John Hart, Francis Hopkinson, Richard Stockton, John Witherspoon, from Connecticut, Samuel Huntington, Roger Sherman, William Williams, Oliver Wolcott, and from Maryland, Charles Carroll, Samuel Chase, Thomas Stone, William Paca.

Below you will find two versions of the document, one is the original and the other is an official facsimile of the original document.  These documents are being featured because we are celebrating our great country's birthday and because the work of these men and this document are incredible feats and considered masterpieces.

The Original Document

 A Detailed Facsimile of the Original Document

IN CONGRESS, JULY 4, 1776
The unanimous Declaration of the thirteen united States of America

When in the Course of human events it becomes necessary for one people to dissolve the political bands which have connected them with another and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security. — Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

He has refused his Assent to Laws, the most wholesome and necessary for the public good.

He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.

He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.

He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their Public Records, for the sole purpose of fatiguing them into compliance with his measures.

He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.

He has refused for a long time, after such dissolutions, to cause others to be elected, whereby the Legislative Powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.

He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.

He has obstructed the Administration of Justice by refusing his Assent to Laws for establishing Judiciary Powers.

He has made Judges dependent on his Will alone for the tenure of their offices, and the amount and payment of their salaries.

He has erected a multitude of New Offices, and sent hither swarms of Officers to harass our people and eat out their substance.

He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.

He has affected to render the Military independent of and superior to the Civil Power.

He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:

For quartering large bodies of armed troops among us:

For protecting them, by a mock Trial from punishment for any Murders which they should commit on the Inhabitants of these States:

For cutting off our Trade with all parts of the world:

For imposing Taxes on us without our Consent:

For depriving us in many cases, of the benefit of Trial by Jury:

For transporting us beyond Seas to be tried for pretended offences:

For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies

For taking away our Charters, abolishing our most valuable Laws and altering fundamentally the Forms of our Governments:

For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.

He has abdicated Government here, by declaring us out of his Protection and waging War against us.

He has plundered our seas, ravaged our coasts, burnt our towns, and destroyed the lives of our people.

He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation, and tyranny, already begun with circumstances of Cruelty & Perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.

He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.

He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.

In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince, whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.

Nor have We been wanting in attentions to our British brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.

We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States, that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. — And for the support of this Declaration, with a firm reliance on the protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes, and our sacred Honor.

Elephant Drinking, Amboseli 2007. Killed by Poachers, 2009.

If someone has not said it to you yet, welcome to Earth. Here we have a veritable cornucopia of climates, cultures, geographical marvels, natural colors, and opportunity. Whether you set foot into a bustling metropolis like New York City, walk through a forest of 1000 year old trees like Redwood National Park, or brave arid, migrating sand dunes like the Sossusvlei Dunes of Southern Namibia, you are sure to experience life and nature in all their majesty. Yes, Planet Earth is an incredible place to reside and on behalf of all of that brings peace, creates awe, and floods the senses with inspiration, intrigue, and hope, I'm delighted to make your acquaintance and pray you will enjoy your stay.

(I felt it was time to take a break from all the negativity and sorrow from all that surrounds us on a daily basis. For the most part, I think we've all had enough of the partisan bickering, over-hyped media, doom-saying, and selfish demands for attention. It's about time we take a moment to soak up what makes living on Earth a blessing and an incredible fact to behold. Pushing aside man-made nonsense, my hope is this particular entry will bring you comfort, a sense of humility, and wonderment. And to reiterate this notion, please, by all means, share something amazing in the comments below. I have visitors from all over the globe who come to my page and of all the entries I've completed, this one in particular is meant to garner reaction. If you would be so kind, take a moment to jot down your thoughts or memories that coincide with how magnificent it is to be an Earthling.)

© 2011 Nick Brandt. All Rights Reserved.

Elephant Drinking, Amboseli 2007. Killed by Poachers, 2009. by Nick Brandt (1966-) is a sepia toned black and white photo of an African Bush Elephant taking a much needed sip of water. Snapped along the banks of an unknown water source in the Amboseli National Park in Southern Kenya, the largest land mammal on the planet has been captured in fantastic detail. Through careful focus and processing, the majesty of this creature is vividly portrayed and gives the viewer a deep sense of awe and singularity. Despite his many years and imperfections, and though he stands with ears protectively cocked to monitor for danger, he seems to be entranced by the moment and in his ability to freely quench his thirst.

The qualities that make this an award winning photo are relative but here is what I've come to appreciate: As stated above, the jaw-dropping detail! Wow! Brandt clearly has an eye for capturing moments where nature collides into an amalgamation of life and element and at the most poetic moment possible. It is absolutely appropriate that this photo be toned and processed as it has and despite not being a photographer or photographic genius, I can say that there is nothing left anyone could have done to package up as much emotion and statement as this picture has. Frankly, I'm a bit ashamed I am unable to describe how amazing this photo is and makes me feel. Crudely put, though, it has caused me to completely disregard the latest goings on and news that have plagued my internet searches for months. This photo has pushed me away from repeated distractions of negativity to remembering how lucky I am to live on this planet; how humbling it is to be one of billions of living creatures all unique, expressive, and special in their own way.

When was the last time you marveled at the world around you? It's a fairly simple process and with so many choices, it's not hard to find a resource that will help you remember how sublime it is to be a resident of Earth. Just in case you were wondering, and other than taking full advantage of the internet, here are some of the resources I regularly enjoy: Google Earth (I've lost countless hours zooming in and out on various regions of the planet and absolutely love this free program), documentaries (typically via Netflix, I will watch just about anything but thoroughly enjoy David Attenborough and National Geographic), and Wikipedia (is there no end to what is collaboratively documented on this site!?). You don't need to use these and as a matter of fact, I would much more prefer if you and I could experience this stuff first hand! But no matter how you gain perspective on how wonderful life is and can be, I hope you will at least take a moment to now. And don't forget to share!

Mercury Attaching His Wings

Winston Churchill once said,"When I look back on all these worries, I remember the story of the old man who said on his deathbed that he had had a lot of trouble in his life, most of which had never happened."

It's not uncommon for most individuals to experience a high amount of stress and concern about their lives.  Whether it's about a relationship or a job, most humans wind themselves up with worry based upon their very nature to be defensive and protective.  I picture the mental conflict as a contrast of visions.  One vision is of a cat being held upside down a few feet off the ground.  If the cat is let go, it will right itself almost immediately gently landing on its paws without injury.  But, in an opposing vision, if that same cat was dropped into water, it would panic and struggle.

But is that cat not already wet?  Much the same, how much of the worry many of us experience is fruitful, yielding any kind of positive result?  For me, over the years my worries have pretty much led to nothing more than a loss in sleep, higher blood pressure, and very blunted reminders I need to chill out.  More often than naught, however, such moments of overwhelming worry can lead to positive change and action.  Moments where once reality sets in and it is discovered worrying hasn't changed a thing, optimism can step in and a plan of approach can be formed.

Mercury Attaching His Wings by Jean-Baptiste Pigalle (1714-1785) is the sculpture of the Roman god preparing to take flight.  With a gentle gaze upwards and a slight smirk on his face from under his winged hat, Mercury begins to fasten his winged sandals to his feet.  There seems to be optimism in his eyes despite the implied impatience with his body and I find myself asking why?  Why did Mercury feel the need to prepare for a hurried flight?  What did he experience just moments before and how did he get to this point?

Pigalle's attention to detail is remarkable and something he became known for.  With this piece, the Romanticism influence is fairly obvious yet, again, I can't help feeling there was a deeper meaning for portraying this mythical being in such fashion.  This was Pigalle's official submission to Académie Royale in Paris and obviously, to make it into the prestigious organization, he would need to set himself apart from the many others attempting to enter.  There is grace in the flow of Mercury's body as he twists to put on his talaria without looking, and the bends of his legs and at that angle seem to suggest he's ready to lift off from that position.  However, with each sculpture like this one, there is a story that leads up to this point, and one that completes it.  I think Pigalle had quite a story leading up to this point.

Mercury was known for being a messenger as well as an entity who was erratic and unstable.  Seeing beyond just the pleasant sculpture of a handsome, Roman god, I see an individual who is captured in a moment just after something important, something alarming, perhaps.  As an example to what Churchill stated, here is someone frozen in time who would not allow worry to dominate his emotions or actions.  Clearly, something had inspired Mercury that he needed to get moving and almost certainly, this "something" could have easily led to stress and frustration.  But he was a man of action and thus, Pigalle has created a statue of a god about to do what he was best known for.

Winston Churchill also once said, "Attitude is a little thing that makes a big difference."  And that's what it comes down to.  If one's attitude is to find the negativity in all things, then one will find himself embroiled in frustration and worry.  But if one is capable to seeing something challenging as an opportunity to take action and make a difference, then one is sure to enjoy that same gentle gaze and subtle smile no matter the circumstances.  All one has to do is don the right attire and maintain focus on what is most important.