the night we saw the trading tortoise

The Trading Tortoise, project by artists Monica and Souther Salazar, came to town. We went of course! But what to trade, what to trade? Turned out our 100 year old, well travelled, well loved Dutch-Chinese rice scooper. It's been around the world and was a fitting time for departure from our (too) small home. And... an origami finger puppet born on the street corner in that very moment by the name of Han Foldo, who left Sam's possession the mere evening after creating it. An object from an old life departs, with one from the new.

(ps/ Sorry guys that the scoop is a tad big for a travelling, single sedan Trading Tortoise. I thought of that. But, it's a beautifully tough item. Chuck it around, stuff it full of treasures, strap it to the top of the car until it reaches it's next destination... the scoop will not mind.

...But ok, next time I will follow Han Foldo's lead and stick with paper.)

We waited in line for enough time to make new friends, evolve a new chapter to our objects' stories, and in the end came home with a trade of a lovely handmade paper flower, and a doll called Martin Sheen. Hey, and books!....

waaaay past bedtime

Thanks Monica, Souther, and Mark too. You guys are awesome. We will always remember the night we gathered under the stars on a University Heights front lawn to meet the traders in the Tortoise. 

When our trades are logged I will post it here, but in the meantime, click here to know more about this delightful project.

"I will never make an accidental photograph"

'But still, why masks? Well, “the idea of a person, a photograph, say, of a young girl with a title ‘Rose Taylor’ or the title ‘Rose’ or no title at all becomes an entirely different thing,” Meatyard once said. “ ‘Rose Taylor’ is a specific person, whether you know her nor not. ‘Rose’ is more generalized and could be one of many Roses—many people. No title, it could be anybody.” And in the same way, a mask “serves as non-personalizing a person.”
And why would someone want to do that? In an essay on Meatyard’s work, the critic James Rhem quotes one of his sitters, Mary Browning Johnson: “He said he felt like everyone was connected, and when you use the mask, you take away the differences.” '

Via: http://www.smithsonianmag.com/arts-culture/Ralph-Eugene-Meatyard-The-Man-Behind-the-Masks.html#ixzz25dmmeeyO

Shows are over for the summer, but for more Ralph Eugene Meatyard, please see:
http://www.peterfreemaninc.com/exhibitions/ralph-eugene-meatyard/
http://www.philamuseum.org/exhibitions/762.html