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Posts Tagged ‘connection’

Da Nang Cathedral, built for French residents in 1923 and today
serves approximately 4,000 Catholics in the city, Da Nang, Vietnam,
December 2008, photo © 2008-2009 by ybonesy. All rights reserved.




I went yesterday to get an adjustment after the holidays, and I heard Dr. L tell someone that patients help heal one another. That in the treatment room, which contained up to four of us lying on massage tables a couple of feet apart from one another, there was a sort of collective healing energy flowing from one person to the next.

Dr. L, the chiropractor, was saying this—or words to the effect—to a woman who had just left the treatment room. His words penetrated the altered state I tend to slip into the moment I settle face down on the table. I thought of the patient to my left, wondered if, like me, she was channelling all her energy into healing herself. I thought about how energy moved, uncontained, from this thing to that thing. How we were all connected whether we liked it or not.

It’s a fascinating concept, the notion of collective consciousness. I remember during both the 2004 and 2008 presidential elections receiving viral emails suggesting we all pray for our candidate to win. The idea was that our collective power could and would make a difference in the outcome.

That then reminded me of the Catholic ritual of praying the rosary whenever someone dies. How the prayers of the survivors, chanted in unison at a rosary mass, help send the deceased person’s soul to Heaven.

And so this morning when I read a New York Times article about a group of a hundred or so parishioners outside of Boston, Massachusetts, who had held vigil inside an empty Catholic Church 24/7 for over four years, I was struck by the theme of collective spirit. Collective intent. Which really translates into Faith.

In fact, that was the title of the article: “In Quiet Rebellion, Parishioners Keep Faith.” In October 2004, the Roman Catholic Archdiocese of Boston decided to close and sell dozens of churches in the area as a result of a shortage of priests, parishioners, and money. (The latter was exacerbated by a multimillion dollar settlement to victims of sexual abuse.) Parishioners at five of the churches slated for closure rebelled, setting up constant vigil in their empty churches.

The fact that parishioners from St. Frances Xavier Cabrini Church were able to set up vigil is itself a testament to faith. The archdiocese changed the locks in 2004 but unintentionally left a fire door open. Since then parishioners not only keep vigil in shifts around the clock; they also conduct mass, hold rosary sessions, raise money, donate to charities, and open the church to people in need.

In the course of four years of maintaining a vigil church, this collection of parishioners has undergone a transformation. They talk of new opportunity, of the potential for lay people to be more involved in the Catholic Church, to play an active role and help offset the shortage of priests.


I cannot go back to the priest and the vestments and that, I always felt, prince-of-the-church approach. I’ll always be Catholic, but I may not be able to worship in the mainstream Catholic Church.

~Mary Dean, 61, St. Frances parishioner


The big question is, Can the hierarchy of the Catholic Church undergo its own transformation? Can the archbishop find a thread of faith inside the vigil churches that might provide answers to the problems that beleaguer the Church?

If spiritual health is one of the main pillars of a healthy human being, is there not goodness in collective healing, in people healing themselves and one another?



Da Nang from afar, view from my room (Da Nang Cathedral in the distance), December 2008, photo © 2008-2009 by ybonesy. All rights reserved.




Postscript: I started this post wanting to talk about the power of churches from a purely structural standpoint. How is it that a physical building could have such pull on individuals?

I spend hours out of any trip I take to somewhere new seeking out cathedrals, temples, and other sacred places. But what I’ve come to believe is, these places are only as sacred as the faith that sustains them. People make the place. They embue the walls and ceilings with spirituality. The NYT article I came across today hit home that point.

Above is the view from my hotel window in Da Nang, which I visited last month on a trip to Vietnam. I could see a pink steeple in the distance my first morning, and late that afternoon I went in search of the church. It was a Saturday, and there was a mass in progress—a huge funeral, it appeared, with parishioners spilling out into the entryway. I kept a respectful distance.

I think of the many faithful who have lost their places of worship. These are the places we go to be born, to live, to die, and to be born again. To lose one’s church is a profound thing.

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By Gail Wallinga


Gossamer, 36″x 24″, acrylic, oil, tissue paper, & bristles on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Gossamer, 36″x 24″, acrylic, oil, tissue paper, & bristles on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



Breathless, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Breathless, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



Second Skin, 36″x 24″, acrylic, oil, & tissue paper on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Second Skin, 36″x 24″, acrylic, oil, & tissue paper on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



I paint to bring visual form to emotions, interactions, and psychological states that I experience in life. For the past 3 years, I’ve been working on a series that is loosely about the theme of connection. How do we connect or not connect with ourselves or others? What is going on at the point of intersection. Or in the space behind the connection.


Here & There, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Here & There, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



Where We Meet, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Where We Meet, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



Sometimes I have a specific feeling or situation in mind when I start a painting. Other times, I start by spontaneously reacting to the materials that I’m exploring. But either way, the finished painting tells a story or represents a voice in the bigger picture of my theme.

My training as a graphic designer has taught me about color, composition and trusting my decisions. When I paint, I bring all of those skills to the table. I plug into the creative stream where the designer meets the artist to create something that pleases me visually and contextually.


Gypsy, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Gypsy, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



Approach, 36″x 24″, oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.

Approach, 36″x 24″, oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.



I paint once a week for at least 4 hours. Sometimes I’m able to paint twice a week. But I’m often thinking about and working on my paintings while I’m not in the studio. The creative process is fed by my experience as a designer, and is constantly going on in the background of my consciousness.


About Gail:  Gail has been a graphic designer for almost 20 years, and principle of her own business, Wallinga Design, for 14 years. She designed the logotype for red Ravine and is the graphic designer of choice for our various mastheads. Besides her painting and design, Gail has passion for contemporary furniture design, photography, acoustic folk/pop music, and Godiva chocolate.

If you’d like to view Gail’s work in person, she will be participating in the Annual Autumn Show of The Rain Collective, a Minneapolis based confluence of artists. The show is taking place this Saturday, November 3rd, 2007, from 4:00 pm to 8:00 pm in the Casket Arts Building, 681 17th Avenue NE, located in the infamous Nordeast Minneapolis.

For contact information, Artist Statement, and to view more of Gail’s work, see her Rain Collective profile.

              Postcard for The Rain Collective, Annual Autumn Show, 8.5″x 5.25″, designed by Gail Wallinga, photographs Ryc Casati, postcard © 2007 by Wallinga Design. All rights reserved.

Postcard for The Rain Collective, Annual Autumn Show, 8.5″x 5.25″, designed by Gail Wallinga, photographs Ryc Casati, postcard © 2007 by Wallinga Design. All rights reserved.


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Gold Medal Park, July 2007, near the I-35 bridge, Minneapolis, Minnesota, photo © 2007 by QuoinMonkey. All rights reserved.

Gold Medal Park, August 3rd, 2007, blue light from the Guthrie, and the old Gold Medal sign, a few blocks from the I-35 bridge, Minneapolis, Minnesota, photo © 2007 by QuoinMonkey. All rights reserved.


I ended up in downtown Minneapolis Friday night, by the I-35 bridge. I didn’t plan to walk down by the river. But that’s what ended up happening. Liz and I took her Mom into Minneapolis to pick her brother up at the Hilton. The four of us went to Harry’s by the old Milwaukee train station for dinner. Liz had seen a write-up in City Pages.

The chocolate banana cream pie was sizzling and creamy, the Robert Cray a little too loud, the beer bottle chandelier campy, the energy electric. The fresh shrimp appetizer stared back at me from a clean, white plate with beady, black eyes and centipede feet. I had to work too hard to snag the meaty centers. But the butterbeans and ginger dipping sauce were delectable. And we had a good time.

Eat At Harry's, August 2oo7, photo © 2007 by QuoinMonkey. All rights reserved. After dinner, Liz decided to try to drive over the 10th Street Bridge. It was blocked off. So we went over by the University of Minnesota to see what was happening. Things were buzzing: summer students, slow-moving SUVs, curious tourists, and everyday people like us. People who live here and want to steal a fleeting glimpse of what’s happened to their city.

We couldn’t see much. But we did pass by the blue and yellow media tents precariously perched on the edge of the University Bridge. There was a lot of neck-craning navigation through slow-moving traffic. People seemed unusually eager to let us in. Kind. Polite.

Grain Belt Chandelier, August 2007, photo © 2007 by QuoinMonkey. All rights reserved. Later, we dropped Liz’s family off at the door of the downtown Hilton. We were tired and knew we wanted to get home. But we were so close. So Liz took a chance. “Wanna go down by the river to the parkway?” she asked. “Yeah, let’s try,” I said. Liz has amazing luck with parking. She found a spot under the gangly shadow of the Ceresota sign, right across from the old Whitney hotel. We grabbed our cameras and started walking down to the Mississippi.

It had taken me a few days, watching endless loops of media coverage, to figure out that my favorite part of West River Parkway was no more. The closest we could get was a short span of road under the Gold Medal Flour sign, next to the Mill City Museum and the Guthrie Theater. There were groups of people gathered on a little outcrop across from the Stone Arch Bridge. They stood two by two, talking one on one, quietly discussing what they were seeing.

There was pointing and head bowing and quiet honor. Shared solitude. Silent prayers, inner mourning, deeper understanding. Solidarity. The I-35 bridge over the Mississippi had caved into the river. And yet we were still here. All that was left were the bright lights, twisted beams, and green vertical V’s of mangled metal. Everything else was under the river.

The 10th Street Bridge was standing behind the collapsed bridge. The illusion was that it stood in front of it. We walked past the Guthrie, down to within a block of the Red Cross building. A twenty-something policeman with a green flashlight, blue cooler, and yellow tape, roped us off from going further. It would be a long time before I drove the Rebel on that stretch of road again.

From the last barrier, we could see the section of the bridge that had smashed into the parkway. It stood brightly lit through the dark foliage that covers the river banks. I’ll never forget the woman on the news who had gone under the bridge on the parkway seconds before it collapsed. Her account of the deafening noise, immediate silence, confusion, horror, disbelief, and helplessness, will stick with me always.

Ceresota, August 2007, photo © 2007 by QuoinMonkey. All rights reserved.

Ceresota, August 3rd, 2007, on a walk to see the I-35 bridge, Minneapolis, Minnesota, photo © 2007 by QuoinMonkey. All rights reserved.


Liz and I walked silently back to the car. We took a few photographs, and checked in with each other when one of us would stop to stare at the river. My camera battery died. I wasn’t much in the mood anyway. I was taking it all in. And trying to hold the enormity of it. I’m not there yet. But the cover of night offered solace. By the time we were ready to leave, there were only a few people milling around near the Stone Arch Bridge.

We slowly walked up the hill by the old mill ruins. Liz snapped a few hundred ghostly orbs. We didn’t realize until we looked at our photographs this morning that bright blips of ghostly light were peppered throughout her photographs. The Spirits of the old mills are restless.

Perhaps they are shaken up by what they have seen. Or are surfacing to offer comfort to the living. There have been countless accidents and fires on that stretch of the Mississippi. Minneapolis grew up on her banks; she’s suffered a new scar. Loved ones have been lost. They are holding up the sky.

While we were driving home through the city that night, I realized how much I love it here. I was not born and raised in Minnesota. And it took me a long time to feel like I fit in. But after 23 years, this is my home. I love the Midwest. And Minnesota. I love Minneapolis.

I was surprised to feel the tears well up in my eyes this morning when I looked at the night shots of our town. I felt a strange sense of pride.

The pride has always been there, a hidden undercurrent. But Friday night, when I stared at the swollen Mississippi, quietly holding the severed, crumpled aorta of our city, the root was unearthed. I tapped into a vein of strength: a deep layer of connection and community; a place I know I belong.

Saturday, August 4th, 2007


Bridge To Nowhere – The Great Connector posted on red Ravine, Sunday, August 5th, 2007

-related posts:  Fear Of Bridges, Minneapolis At Night, Natural Wonders: A Pentagram

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