INK: Issue 7, Spring 2014

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INK! SPRING SPRING 2014 2014 22 || INK!

“We are an impossibility in an impossible universe.”

- Ray Bradbury

As INKredible draws to the end of its second year, a retrospective evaluation is in order. There has been positive feedback, as well as harsh criticism. We saw sparkling spurts of originality, but also feeble variations of banality. There were informative articles, provocative essays, eye-catching stories and touching poems. All of these pieces are parts of the big picture, parts of the theme of our creative endeavor: a constant deliberation on art.

Have we found the answer? Of course not. For now, we can say that we’ve managed to harvest some of the fruits of our imagination; we’ve learned and explored. We’ve used the paints and brushes of our minds and hearts to add to the canvas of our expanding universe, which always has been, and always will be, right here before us.

- The INKredible Team

04 THE INKredible STORY 06 Lolita: Literature on Trial 10 creative writing:

Ode to Bissell The Flip Side The Smith’s Daughter The Best of All Possible Worlds

16 Paul Muldoon: Wise Words 20 MEMORY, ESSENCE, AND THE WORLD WE LIVE IN: Interview with

Darlene Charneco 24 Life in the Art Realm 26 Wynn Design: Handmade Jewelry 28 Ellie Youngblood 30 Stone Carving 32 Izhar Patkin: The Wandering Veil 34 Captain America: The Winter Soldier 36 Photography Showcase SPRING 2014 INK! | 3

The

INKredible Story

This is where it all began.

Jimmy Chung - Also known as In-Q, a modest intellectual, phenomenal writer, and classical guitarist from Korea. We named the magazine after him. Just kidding, that’s a myth. But In-Q has always been around to save the day, and INKredible would not be incredible without him.

Iris Garcia - Sassy theater enthusiast from the Bronx. Iris was always the editor with the complementary perspective, filling in the holes that others of us missed. She made sure to bring the same energy and passion that we see from her on the stage to paper, while at the same time ensuring that everyone who deserved a voice was given one.

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Justin Hung - Philosophical food connoisseur from Hong Kong with a love for creative writing.

A truly impassioned writer and a meticulous reader, Justin has been a great help with the textual edits of INKredible. Had it not been for his initial passion for writing, the inception of this literary magazine may not have been conceivable at all.

Evangeline Warren - The vocal fangirl from New York City who is off to pursue her writing career.

Without her obsession with money related things and ability to keep us on schedule, INKredible would not have seen its success.

Vivian Xiao - Humble artist from Beijing with big dreams and too much optimism. INKredible would never have developed its own special splendor without Vivian’s skillful design and brilliant eye. The magazine truly owes its development and success to her dedicated commitment.

Inception

and Iris, the theatrical aficionado, were easy choices. And there we were, slowly beginning to form our own goal and our own frame of what this magazine was supposed to be.

There will never be a day when we forget how INK started. This’ll make them sound like old men, but years ago Jimmy and Justin wrote for the Writing Block and had their pieces chosen for the next edition. They both wondered what happened to the club after they had sent the works in; the club made no further contact with them about edits or a publication date. At the end of the year, they figured that they wanted to take charge of their works’ publication, so they decided to start their own version of the old Writing Block: INKredible.

Unfortunately, the Writing Block already “belonged” to someone else, so we decided to redefine what INKredible would cover. To be honest, we had some reservations about starting INK, knowing full well that The Record had a set of resources vastly greater than ours. Coming up with something different certainly proved to be an onerous task.

Quite amazingly in hindsight, it was around the same time that Eva conceived a similar idea.

Feeling that the more the better, the three of them gathered to consolidate their projects.

Soon after, they were on the lookout for other “artists”—both Vivian, the master of visual art,

But on the bright side of the story, because of such obstacles, we were forced to be creative.

We were forced to find a podium for a niche in our community. Our magazine started with the same motto we adhere to today: To create, share, and inspire.

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The design aesthetic of the magazine took shape when many different students contributed to the layout of the magazine.

Unintentionally, we created a look that was at once unified and diverse. INKredible represents the individuality and creativity of the Hotchkiss community. The logo of INK comes from a real ink drop that Eva and Vivian created, pictured on the previous page.

The Growth of INKredible The first ever meeting of INKredible happened during the first weeks of the 2012 - 2013 year, when there was an all-school meeting and all of us showed up in really fancy formal wear, which added to the strangely professional aura to everything.

Every subsequent meeting grew less and less decorous, as more people came with fresh ideas and a willingness to contribute.

The Naming of INKredible First, let us state, once and for all, that this magazine was not named after InKyu Chung. There were initially many candidates for the name, which Eva and Iris came up with in the snack bar or dining hall. Most of them were so ridiculous that we don’t even remember them now. All we know is that Iris and Eva wanted this magazine to be incredible, and they simply couldn’t help but select the irresistible pun.

Designing INKredible An inter-school, student-run magazine at Vivian’s former school inspired the intial design of INK. Clear, bold titles and a modern look made the content of the magazine more accessible to young readers. Individual articles had different designs that complemented the articles’ specific themes or content. By drawing inspiration from different publications such as TIME magazine and the National Geographic, Vivian designed the first issue of INKredible.

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The design of INKredible really took shape in the second issue. We were excited to see the wide variety of designs that people were producing; we’re glad that we didn’t start with a template layout, because now the magazine represents creativity and individuality.

Challenges Faced

Future Developments

Money has been a major inhibiting factor of our growth.

Because we had no previous credibility to validate our starting this club, last year’s Stu-Fac was not terribly generous with the budget they granted us. We had to limit the number of printed copies and ask for funds from the library while at the same time pricing our issues so that we could have an additional source of income. Gradually, we’ve proven to be a worthwhile investment, and Stu-Fac has begun to allocate more money for us. The poster sales at the beginning of this year also helped raise a lot of money for the club.

Even in its infancy, we recognized INK’s great potential to become something larger than just a school-based magazine. Our content and growth thus far has been limited within the school. However, we hope to work on getting INK to cover more than just the wonderful art our community produces.

We used to have a free speech section. We wanted it to be a space for students to voice their opinions without being judged. But there was some controversy over granting students the immunity of anonymous publication. We had to take that section away, but the overall magazine still upholds a policy of freedom of expression. We welcome anyone to write anything, and we’ll consider the publication of all kinds of works. At the start of each issue we have a big open meeting to brainstorm all the ideas.

Instead of assigning specific articles to people to write, we let students choose what they want to write about.

In the future, we’d like to market the print magazine to parents and alumni. We would probably offer a year-long subscription.

We also want to develop the magazine on an online platform. Right now we upload a digital version to Issuu, an online publishing platform, but the magazine is still too printbased to be reader friendly on the web.

Ideally, we will design a web-version of the magazine or a well-designed online blog.

The younger readers of the magazine— students—value speed and readability more than the experience of a printed, tactile magazine.

Message from the Leaving Founders It is our hope that INKredible will continue to thrive and grow under the careful attention of its marvelous writing and magnificent visual design. So we invite you—whether you are a current member of INK, someone who’s interested in potential participation, or any random person reading this simply out of curiosity—to create, share and inspire; there’s no saying what can come of it.

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Literature on Trial

H

umbert Humbert is most definitely a criminal.

He repeatedly has sexual interactions with a young teenage girl; he murders a man as a perverse tribute to his lost love; he derives abnormal pleasure from simply looking at “nymphets”; his libertine imagination frequently takes him through repulsive fantasies; his dark, maniacal obsession with Lolita is as taboo as any personal secret can ever get. In other words, Humbert Humbert is everything that we genteel people of Society surely must find disgusting. It is no wonder that Vladimir Nabokov’s novel made the list of literary works put on trial.

Yet, something about the book tells the reader that this is not a story designed to be hated.

Anyone who has read the book seriously will admit that the novel contains an undeniable element of beauty. Even those who open the first page with the plan of frowning upon every single word of the book will close the last page in a mood of inexplicable empathy and subdued admiration—for here’s the big secret that not many are willing to admit: we can all relate to Humbert Humbert.

The reader’s first reaction to that statement may very well be: “I’m not a pedophile!” But Lolita is not a book about pedophilia. Pedophilia is certainly the most attention-grabbing aspect of the book, but visibility does not entitle a topic to heightened importance. Lolita is, more than anything else, “a meditation on love—love as hallucination, madness, and transformation.” It depicts the extreme version of an emotional experience most of us are familiar with and tests the elasticity of our empathy.

Indeed, the very heart of Lolita’s literary value lies in its capacity to draw readers into a world where they know they would feel uncomfortable, a world

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where we experience our hearts’ revolt against our conscience.

Many would argue that any public podium inherently entails a responsibility owed to the general audience. The analogies extend to movies and arts. Isn’t there a reason why violent movies are restricted to a certain age group and still more violent ones are not permitted at all? Why is offensive graffiti frowned upon and Picasso acclaimed with fervor? The critics’ voices are worth listening to. Nabokov was clearly gifted with an immense tool—his talent in writing. Then perhaps it makes sense for us to expect him to wield that tool with caution, to reach a compromise between freedom of expression and respect for propriety. From this perspective, Nabokov’s description of Humbert’s sexual relationship with Lolita seems irresponsible at best and criminal at worst. Readers might get the impression that pedophilia is a forgivable crime, mistaking the frankness of Humbert’s narration for moral uprightness. They might interpret the delicacy of Humbert’s feelings as proof that Humbert is in fact a victim, not a criminal. Even worse, they might apply these misconstrued notions to real life, using literary beauty as justification for their own criminal actions—and all because Nabokov wrote about pedophilia.

But that is where the learned reader must recognize the glaring distinction between art and argument. As Nabokov himself stressed, his work is not meant to carry moral weight. It is simply meant to be beautiful. To treat Lolita as a subtle and indirect apology for an abominable crime is akin to interpreting bad weather as God’s punishment of humanity. In the world of legality and rationality, we have plenty of voices to guide us. This is the domain

of thesis statements, persuasion, and numerical scales. The logical aspects of social ill have already been discussed comprehensively—though perhaps not thoroughly resolved—because those are easy to represent. They are like pieces of a puzzle: not only does a piece complement another nicely, but it is also easy to notice where a piece is missing. We impose on ourselves systems of values and philosophies as the formulae of ethics; we have frameworks and guidelines for determining whether something is right and, if it is, exactly how right.

Literature, on the other hand, represents that ineffable hiatus left of humanity once it passes through the feeble filter of reason. It tells the untold tales of nuanced perspectives and inner turmoil suppressed by the unaccommodating blanket of Good. Indeed, in the absence of literature, we are forced to dehumanize the subjects of our punishment as mere things. To use Emerson’s language, we would be forced to look upon them as Sinners, not People who Sin.

In his own essay about Lolita, Nabokov stresses the amoral nature of his book and his dislike for “didactic fiction.” His novel stands on the pedestal of art, a pedestal higher than any ethics.

We as readers have an obligation to respect and appreciate the aesthetics of that humanity which we cannot compartmentalize, because pure art is indebted only to the religion of beauty.

... “a meditation on love—love as hallucination, madness, and transformation.”

[Lolita] depicts the extreme version of an emotional experience most of us are familiar with and tests the elasticity of our empathy.

Article by Jimmy Chung ‘14 Layout by Vivian Xiao ‘15

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Ode to Bissell Poem by Hannah Pouler ’16 Illustration by Grace Cheng ’16

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There’s someone on campus who does not belong She’s been here for quite a while Her most loyal friends would say that I’m wrong But she has gone quite out of style Her companions are dressed in the finest of brick While her walls are the color of sand Compared to them, her looks aren’t too slick And her hallways and rooms seem so bland She’s a little too dirty, and a bit too tall (I dare you to climb every stair!)

But to many, this doesn’t matter at all: Despite her looks, they still care When walking past Bissell, you always hear shouts From girls who live in the old dorm The yells are from glee, without any doubt Having fun when you’re there is the norm Walking into a room, you may often find That you’ll never be truly alone Friends always burst in, just to talk and unwind And it makes the huge rooms feel like home Her Dorm Fac are the best: the feeds are quite good And the proctors are known all around For probably having more fun than they should And not scolding when kids are too loud And of course, Bissell Quad: how could I forget Those lazy spring days in the sun Filled with tanning and Frisbee and volleyball nets It’s impossible not to have fun But no matter how much we all love Bissell hall Her time has come to depart Some tears will be shed when she’s not here next fall But knocking her down is what’s smart “It’s been real,” says a Prep, with a glint in her eye “But it’s high time for her to go” So she’ll say her goodbyes (and try not to cry) Oh Bissell, we will miss you so.

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flipside THE

“So, what do I need to set up now?”

“You know, just the usual… you’ve arranged for the math tutor, right?”

“Of course I did. Oh, which reminds me, I’ve heard from the other mothers about this great Spanish teacher that you can practice your speaking with. I know you can do this at the hotel, but it’s just good sense to know—” “No worries, I get it. I think that’s a great idea. Oh and I need you to remember to pack the books I’ve told you about, I want to make sure that I’m hitting all the bases.”

“They’re already in the suitcase. Now, just remind me of all the things we need to get done over break…”

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f

f

I

call my mom every other day.

She lives in Korea. This is what we usually talk about; we make plans, very detailed plans for either when she comes here or when I go there. Now I know some people will think she’s just being an ‘Asian’ mother or one of those really high-maintenance ones that eventually force their children into therapy, but she really isn’t. Actually, it is I who generally steers the conversation towards academics, no matter how much I complain otherwise to my friends.

Ever since I started studying abroad in 8th grade, talking with my family entailed ‘plans’ for me. Maybe it was the pressure.

Talking numbers, I knew that an education in a New England boarding school wasn’t cheap, and even though our family was ‘above average’, I knew that we didn’t compare to the people here. Talking name, I must admit that our family prided itself for making up for what it lacked in dollars with brains and ambition. And finally, talking nice, I guess I’ve always been somewhat of a people pleaser, wanting to show that I could take one more bite than I could swallow just to impress. But I don’t think that’s it, if I’m being honest, at least.

At this point, I imagine we’ve all given up the pretense that prep school is as magical as Hogwarts. There are drugs, hormones, gossip, and people, literally everywhere you go. (And no, I did not mean ‘figuratively’.) I know these are all problems that exist in public school too.

But what makes the difference for schools like

ours is that the we, or at least most of us, don’t get a change of venue from school to home as often. And when we do, the transition doesn’t go so smoothly. You see, the school-provided dorm telephone is one of my few connections to my family, but it’s a filter as well. Ever since I’ve come abroad, I’ve slowly started to separate my personal life from my family, and because I live away, there isn’t really much stopping me. If I lived at home, maybe my mom would see my most recent internet conversations open on my laptop while cleaning out my room, maybe my sister would notice me dressing more nicely for a meeting with a guy, or maybe my dad would eventually learn my best friend’s name because she comes over so much. But I don’t, so they won’t.

I guess what I’m trying to do is warn people about the flip side of ‘boarding school builds up your independence and maturity’ because sometimes it doesn’t. I’ve been keeping up this whole façade of ‘I don’t have a social life, and therefore I couldn’t have any social problems’ (that my parents are thankfully clever enough to see right through) for so long just to make a point, just to say, “I can handle things without you.”

And it’s not true.

Article by E-Yeon Chang ’15 Layout by Vivian Xiao ’15

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The Smiths lose track of their daughter quite often. On weekdays, when she comes home from school, she is gone as soon as she finishes her homework and even sometimes when she’s supposed to be doing it.

On weekends, their daughter is always away. No one knows what she is doing except those select few whom she trusts with the tales of her journeys. Oh, and what journeys they are!

Their daughter goes to different worlds. This is all depending, of course, on how she’s feeling that day. The Smiths wish they could be there to keep her safe, but she must travel. She can’t stop. Sometimes she travels back in time to visit merchants in the markets of Venice. As soon as one adventure is complete, she runs, flies on a broomstick even, to the next. It is not known where she got these powers. It could have been somewhere between when she first went into space and her second trip into the post-apocalyptic future, but no one can be sure.

Their daughter can be rather quiet about her journeys. She didn’t make a sound on the night she hopped onto the back of the bad boy’s motorcycle.

Even when she watched that government-organized fight to the death, she was too focused to speak. No, although that was quite a wild time for her, the Smiths didn’t hear.

Their daughter is convinced that the Smiths would be just as nervous and excited, too, had they gone, but she can never really take them on these

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journeys with her. She can only try and explain what it was like meeting the chosen one or being the chosen one or living in a world where the life you lead is determined by a test you take when you turn 16.

The Smiths are fairly simple people, sometimes too simple in her opinion. That is partly why she escapes on these adventures, but not the only reason. Sure, leading a normal life is important, but the Smiths’ daughter can’t help but go on these excursions and become someone more important than she ever thought she could be.

Their daughter doesn’t hate everyday life; in fact, traveling often makes her value normal life even more. Additionally, though her travels may take her quite a distance with all their twists and turns, the Smiths usually find their daughter just in time.

“Dinner!” Mrs. Smith yells, knowing her daughter is probably caught up in an adventure at the moment. Not long after, though, Mrs. Smith sees her peeping out of her room, an excited look lingering in her eyes.

Mr. Smith smirks knowingly towards his wife as they share a glance. “So, my little explorer,” her dad smiles, “what’s happening in your book now?”

“Oh you won’t believe it dad!” she beams.

“There was this monster, and the girl didn’t think she could fight him, but then…”

And just like that, the Smiths are reunited with their daughter again, if only until the end of dinner.

The

Best Possible Worlds of All

“There are no facts, only interpretations,”

Friedrich Nietzsche said. Evaluation is never objective. Pre-conceptions lie so deep in the subconscious that surpassing them is lying. Existence is defined only by its surroundings. Everything is from a perspective. Friedrich Nietzsche said, “In so far as the word ‘knowledge’ has any meaning, the world is knowable; but it is interpretable otherwise, it has no meaning behind it, but countless meanings.” Life is as we see it.

So, what is the most desirable life? What is the best of all possible worlds? It is where each individual sees his or her life as the best possibility; the best outcome of every permutation.

Google Glass.

2064. Virtual reality that you cannot remove. It is part of you, your head. Immersive. You have only seconds of life before it forms. Over you. There is no other way of seeing. No other way of being. No other perspective, and therefore no other existence. There are no conflicts. No one sees conflict, unless conflict is his or her idea of perfection. Brain impulses. Wiring into the ears, the mouth, the fingers, a screen around the eyes. The body is not a body. And there is no way back. This isn’t that movie from 1999. No, The Matrix no longer exists. Or rather, it does, but it is and never will be in the program. It can never be triggered. Never retrieved. In The Matrix there was a way out. But it wasn’t a matrix. There was reality behind the numbers, at least from Keanu’s perspective. Or Laurence Fishburne’s perspective. That was a good movie. But this matrix is complete. No way out. No escape.

Even Larry Page, Google’s celebrated CEO, is gone—converted, wired, screened. But gone? Gone or more present?

Dead to existence or alive to its best form? Dualism. The best of all possible worlds is not dualistic. The people of the best of all possible worlds do not understand their predicament.

When they understand their predicament, when that perspective is real, that is a different world. An incomplete matrix.

Not just numbers, though. That world has poverty, death, AIDS, cancer, climate change, inequality. Of course, that world may be the world someone senses. That may be their best of all possible worlds. It is this person, the person whose perfect world is imperfect, that is a pioneer—a visionary— or… would have been.

It all reminds you of Rene Descartes.

Nietzsche would hate it. Descartes ended up avoiding the question. It was his perspective. His eccentric idea of God. But Nietzsche, he might respect it. The individual still has power. It is his or her brain, after all, that determines the course of the program. No. He wouldn’t. He would hate it, and he wouldn’t respect it. Unless he was in it, and the program worked against him. Was he in it? Am I in it? How do we know what we know?

Article by Jesse Godine ’17 Layout by Vivian Xiao ’15 SPRING 2014 INK! | 15

Paul Muldoon Wise Words

Article by James Post ‘15 and Carina Zhang ‘16 Layout by James Post ‘15

As both a Pulitzer Prize-winning poet and a member of the band Wayside Shrines, Mr. Paul Muldoon is a rock star in the poetry world—literally. When he isn’t writing or performing, Muldoon teaches at Princeton, is the Poetry Editor for The New Yorker, and heads the Poetry Society of the UK. No big deal.

Handwriting by Paul Muldoon and James Post ‘15

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Find Some Adventure

Mr. Muldoon left some great nuggets of advice for those present at his talk on April 24. His answers to students’ questions were, like his poems, often complex and rife with tangents, but the message was always clear.

If you weren’t there, if you forgot what he said, or if you just need some wise words, read closely.

Be An Eight-Year Old (or at Least Try)

When a seven-year-old boy asked Muldoon about inspiration, the poet referenced the Latin word spiros, which means “breathing in and on.” “The poem is written through you…. You let [the poem] do what it wants to with you.” In other words, the poet becomes a “vehicle” to convey the poem’s unique message.

Muldoon did add, “You have to keep an eye on it, mind you.”

Muldoon also noted that the boy who asked the question is “coming into the prime age of writing poetry—eight.” “An eight-year old doesn’t have any preconceptions of what the world is or should be;” eight-year-olds are old enough to write but not too old to have lost some innocence and open mindedness. And don’t be disappointed if you’ve passed your eighth birthday! One doesn’t need to be eight to attempt to assume a child’s perspective, freely observing the world and delving into the subtlety of the ordinary.

Another student asked about the seemingly inconsistent nature of some of Muldoon’s poems. Muldoon commented that his poems, rather than being inconsistent, were simply exploratory. To Muldoon, writing a poem is an adventure that enables the poet “to learn something about the world.” The writing form shouldn’t be too limited or fixed, and the poet must be open. Muldoon admitted, “I don’t know what I am doing when my poem is being written.” Inconsistency is just an expression of unexpected thought, and that’s what makes a poem “interesting.”

Ideally, what the poet has learned in writing the poem—the “revelation”—can be effectively conveyed to readers. A poem’s revelation, big or small, should leave the readers seeing the world in a different way; “There has to be a reason why you’re in the poem.”

Take a Step Back

Muldoon also writes lyrics, both for his band Wayside Shrines and for personal pleasure. Muldoon enjoys the humbling experience of writing lyrics, something he finds much more “difficult” than poetry. Songs follow mathematical templates that limit and constrict the freedom of lyricists.

Muldoon confided that the danger of writing only poems is that one loses a sense of perspective and “takes every idea as a brilliant idea.”As Mrs. Muldoon has been known to remind her husband, sometimes a poet isn’t as inventive as he might think. Music also allows Muldoon to interact with a great deal of people and escape the “isolated world” of poetry. Sometimes we all

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need to step back from personal thought to reflect on our work.

Muldoon noted that there’s no guarantee that the more poetry one writes, the better one gets. He referenced the case of Mr. William Wordsworth, whose poetry seemed to decline from the masterpiece level of “Tintern Abbey” to what Mr. Muldoon called “drivel” in Wordsworth’s poem “The Thorn”: “I’ve measured it from side to side: ‘Tis three feet long, and two feet wide.”

Another issue that compounds this problem is that nobody wants to tell a great poet that something he has written is bad. Even editors might not correct especially famous poets. Muldoon exhorted that all writers must encourage others to freely and openly criticize their work.

write that poem. In some sense it’s going to be like other poems—ideally it’s going to be like nothing else, ever. One must learn not to think of the poem as getting down the idea, but actually, accepting that one doesn’t have any ideas yet.”

There’s Always a Consensus Don’t Translate

Towards the end of the talk, Muldoon commented on why students sometimes misunderstand poetry. This misunderstanding often arises when they are forced to analyze poems and find ‘hidden’ meanings; “Because of our school situation… we do often hear that the poem is not quite about what it seems to be about.” Many students think that, in order to write poetry, one must translate an idea, or what one wants to say, into what Mr. Muldoon calls “poetry talk”. What’s “problematic” is the idea that “This is the poem, here, but what it’s about is over there.” According to Muldoon, the poem in and of itself should be the idea.

In fact, Muldoon shared that many poets write in a seemingly backwards manner. He says one should tinker around with words and phrases, searching for meaning in the different combinations. Poetry is an “adventure”; one must experiment until the true essence of the poem becomes clear: “You have to learn to

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Muldoon also noted that one can usually trust a “general consensus” about a poem. Although people may interpret poems slightly differently, “What it is that makes people think that [a poem] is good” never really changes; the message and revelation remain the same. According to Muldoon, purely unique interpretations don’t really exist: “... we’re moving towards consensus, always.”

Remember Humility

Mr. Muldoon’s remarks truly demonstrate brilliance, but what might not have become apparent from this brief summary are his humility and personable-ness. He spoke with grace and respect to everyone present, never allowing his esteem or prestige to render him aloof. It was an honor to have him here.

Photo by Jonathan Doster

“W

riting a poem is an adventure that enables the poet ‘to learn something about the world.’

”

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Memory, Essence, and the World We Live In: An Interview with Darlene Charneco

Article and Layout

By Rebecca Li ’16

The Exhibition of Darlene Charneco, ‘Visionmap (The Story Thus Far),’ was presented in Tremaine Gallery from March 28 to April 27, and featured selections from the artist’s ‘Perceptions’ and ‘Weaves’ series.

Intrigued by the human mind and thinking process, Darlene Charneco concerns her works with exploring human beings’ connectivity with themselves, each other, and the world they share. Born in New York City in 1971, Darlene Charneco now lives in East Long Island, where her intimate relationship with nature is also becoming a major source of inspiration.

Q: Tell us a bit about your early life. What inspired you to become an artist?

A: My father is an artist and I think his biggest gift to me was the encouragement to be curious about everything around me. When I was a young girl, we would take walks at the local arboretum where he would enthusiastically point out all the beauty and interesting details he saw. Back home, I spent enjoyable afternoons overturning stones in the front yard to investigate the small worlds underneath. Then we would go to the library together and take out as many books as we could carry (afterwards spilling them out on the kitchen table at home to look through and share). He was a graphic artist by trade. But at night he loved to explore his own art, both realistic and abstract, and I remember watching him create collages in the basement.

He was completely immersed in it and I knew that this is how I wanted to spend most of my time, in this state of inquiry, fascination, inspiration and challenge. At first, I mostly just loved to draw, and I would bring a small sketchbook with me to try to capture what interested me in my surroundings. Gradually, the sketchbook

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became more of a written journal. I wanted to express what I was thinking or feeling about the world around me, not just the way things looked. As I started to understand and relate to abstraction more I became drawn to using sculptural materials for expression.

In college I started making assemblages out of wood parts, which tended to be too fragile and would fall apart, and so I learned to cast and to weld. When leaving college, I was engaged in researching the origins and history of language, and had gotten to a place in my journey as an artist where I knew that the nuanced expression I was looking for was somewhere in the realm of combining words (my thoughts/ questions/journals) and sculptural objects… and I kept experimenting with materials and a series I called ‘The Heavy Page.’

Q: Many of your works deeply explore the relationships between dream, consciousness, and memories. Are there specific experiences that attracted you to this particular theme?

Perception series: Spice/Ardor/Fervor

La Ventana from The Heavy Page series

A: I have had several dreams in the last decade that were so complex and awe-inspiring that I have written them down and thought about them all the time. In fact, I ‘follow’ them as a roadmap of sorts, and I wonder “How are these ‘epic and vivid movie projections’ constructed in my mind with all their details, plots and amazing visuals?” I am fascinated by the workings of the dreaming mind, a mysterious process that seems to run through our vast archives of accumulated information, memories and experiences to construct and explore narratives that can actually make sense (often beyond what I could possibly consciously assemble). I am constantly trying to visualize that process, because I think it is immensely important and affects our behavior in profound ways whether consciously or unconsciously.

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Q: Communication networks in modern society and people’s connection with their environment seem to be some other major focuses of your pieces.

What do you think is your place in the world? What about that of human beings in general?

A: What do you envision if we were to take that process of the dreaming mind and run it Immense Journey- Symbiosis (Detail) through the accumulating memories and experiences of humanity, not just one individual?

It is said that the brain of an infant has approximately 100 billion neurons, and in its first year connections are being created between those neurons, which escalate rapidly to about 1,000 trillion synapses! By the time we are adults, many of our nerve cells are said to be making direct connections with as many as a quarter of a million other cells. I think the parallel is fairly obvious to the growing world-wide-web… with each of us in the likeness of a single neuron, growing more and more interconnected with others and pulsing messages and information back and forth constantly. I feel there is a responsibility when we become aware of this. We may be each contributing to the overall feelings and experience of a larger organism. By what we choose to pulse, we have some input as to what it thinks or becomes. In my most vivid and inspiring dream I was shown that there is an important challenge for us to help it/us become a Benevolent being.

Q: We see a great use of mixed media in your art, where materials like nails, resin, enamel, glitter, and toy parts are incorporated with delicacy and playfulness. Why and how does multimedia add more personality to your works?

A: There is definitely a sense of play in the works, and I use many of the materials to help create miniature worlds that we may enter if we leave our normal modes of scale and perception aside. I have found that many of my ‘Aha’ moments have come when I am able to shift myself to view something familiar from a completely different perspective, and there is a delight in this that I want to also express.

Q:Your piece “The Book of Hope,” where you turn your interpretation of nature into “secret codes,” is intriguing to many. How did you come up with the idea? In what way do you expect it to resonate with the viewers?

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A: The Book of Hope is actually an ongoing series of works, and only one of which (the latest, Page 8) is on view in this exhibition. When I first began writing with nails, I was writing ‘Letters to the Universe,’ asking questions to the Universe by hammering them out in a code of nails (into wood and aluminum sheeting).

Bit by bit, I felt that the ritual of doing this…of asking so earnestly for help and guidance was so effective (I felt ‘answered’ by vivid dreams and visions that sort of helped me along… it was quite a magical feeling) that I felt I should try to create works in this way that could help ‘create the tomorrows that I wanted to see.’ So I started composing and hammering writing texts containing statements of what I most hoped for the world and humanity. This process is very meaningful for me and I hope that Letter from the artist at 27 viewers might be able to ‘feel’ the sincerity and hope in the pages when touching them. I of course hope as well that each and every sentence written in there comes true for all of our sakes.

The Book of Hope Page 8 (In Progress) The Book of Hope Page 7 (For Africa)

The Book of Hope Page 8 (Re-Nature)

Q: I know you have two pet snails back home. How are they doing?

A: Ha! Yes, the snail family is doing well, thank you. Well, it became a family of four for a while. We watched two of Sebastian and Pecunious’ children, Junior and Princess, grow up from itty bitty snail babies. Once you watch snails (or any living beings most likely) for a while you can really detect different personalities. Princess is the smallest yet sassiest and boldest of the bunch, climbing up on the other snails shells for a better view and being quite the explorer. Unfortunately Pecunious (snails are hermaphrodites…but we somehow thought of her as the mother) passed away this past winter so now it is a family of 3… but they seem to be getting on well. They enjoy organic Romaine lettuce the most, and occasionally indulge in organic carrots or apple. They also seem to enjoy their new bamboo stick ‘bridge.’

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m l a e R t r A e h t n i Life Article by Sophia Wang ’16 Layout by Grace Cheng ’16 Photos by StefenTurner.com and Greg Lock

Mr. Noyes’s life has always been intricately connected with art, one way or another. Ever since he was a kid, Mr. Noyes has had a passion for all forms of art. Everything that involved imagination and creation entranced him. Since his father owned a workshop, he was exposed to the art of craft-making at a young age. He would sit by a corner of the workshop and lose himself in craft-making with his knife, the only tool he was allowed to use as a kid. He was also quite an expert at doodling and drawing. “Whenever something needed to be drawn in school, I would be the one to do it,” Mr. Noyes reminisced.

However, Mr. Noyes never formally studied art until he came to Hotchkiss as a lower-mid, where he met Blanche Hoar, an art instructor who changed his perspective about art. “Before coming to Hotchkiss, I had the ability to draw, but I did not know what it really meant to be an artist.” Mr. Noyes remarked on the beginning of his art career. As an incredibly talented art student, Mr. Noyes expected to receive the senior art award at graduation. But, he didn’t receive the award. A student who just started art in his senior year won the accolade. “I was shocked and disappointed when I did not receive the award. But then Ms. Hoar came up to me after the ceremony and calmly stated, ‘You understand why I didn’t give the prize to you.’

Something clicked inside me. I realized that I had relied on my talents and did not push myself hard enough. Although the student who won the award may not have had as much experience or natural talent as me, he poured his heart and soul into his piece.”

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This experience inverted Mr. Noyes’s views on what it takes to be a truly successful artist. “Talent is vastly overrated, and it gets in the way of learning.

It brings you success early on, which may seem great at the time. But you stop taking chances and testing unfamiliar waters. You become bored and static.”

Now, as a teacher, Mr. Noyes always strives to push his students out of their comfort zone and challenge themselves, not only in improving their artistic skills, but also in boosting their self-confidence and passion in art. “I think many teachers would agree with me that the ultimate goal of teaching is not the content of a certain subject. It is to help students become confident, independent thinkers and develop true passion for what they are doing. My favorite thing about being a teacher is watching students come alive when they discover their passion and develop confidence in their ability. This is what education is really about.”

Besides being an art teacher, Mr. Noyes devotes half of his time to the Fairfield Farm as the school’s farm coordinator. Mr. Noyes established FFEAT (Fairfield Farm Environmental and Adventure Team) five years ago as an afternoon extracurricular activity for students interested in farm work and the food system. Now, Mr. Noyes is in the process of collaborating with the science department to devise the biology part of a new Prep science course, which will involve hands-on research at the farm. Students will learn about local food and functions of the dining hall

to gain a better understanding of how our local food system works. “The farm will be a crucial part of this curriculum,” Mr. Noyes said, “I am very excited that the farm can be utilized inside the classroom.”

Apart from his duties at the school, Mr. Noyes’s time is filled up with a wide array of activities, such as making paper-mache masks. During a workshop that he participated in the 1980s, he discovered his passion for paper-mache masks. He especially loves to use African tribal patterns to embellish the masks. “I love using my own hands to create both practical and aesthetically appealing objects.” However, the process is not easy. Each mask usually takes him around 70 hours to finish. “Making these masks is extremely tedious work, but at the same time highly satisfying,” Mr. Noyes remarked. Over the years, he has created six masks and is still planning on making more.

Mr. Noyes also has an insatiable thirst to engage with nature and animals. He loves watching shows and reading books on everything about animals. His vast knowledge about animals also comes from his experience as a deer hunter. “Many have asked me, ‘Why would you hunt and kill animals when you love them so much?’ For me, hunting is not about killing. It’s about watching. I love simply being out in nature, observing the animals. It’s a marvelous experience.” For a Habitat for Humanity fundraiser, he built a birdhouse, which was nestled on a “tree” composed of branches and twigs with a lifelike pileated wood-

pecker resting on the “trunk”. The birdhouse was sold at the highest price during the fundraiser. “This project took me an extremely long time to complete. During the time when I was building it, all I could think of was working on the birdhouse. I relished every single moment of the process.”

This avid enthusiast in handicraft not only built a house for birds, but also a house of his own. Though not an expert at architecture, he obtained basic knowledge from his brother-in-law. He and his wife devised the blueprints of the design of the house and worked with a local contractor for construction. The final house is filled with interesting designs, such as the LED lighting in the bookshelf.

“Since we always lived in Hotchkiss housing, my wife and I never owned a house of our own. In this house, there are many little touches that just belong to the two of us.”

His wife owns a studio creating polymer clay pieces. She holds craft shows and exhibitions all over the U.S. “We met in Middlebury. And we have been married for 31 years now.” When I asked him what brought them together, a mischievous light shone in his eyes as he replied, “It was art.”

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When did you start the store and how far has it come since then?

Ms. Wynn: When did I start my store? Doron, do you remember?

Mr. Blake: Beginning of last year, January 2013.

Ms. Wynn: Oh yeah, that’s right! Anyways, the store’s come along way more than I thought it would; we have made almost 700 sales since we first opened! I never expected the store to be this successful.

What inspired you to create the store?

Ms. Wynn: I started my store because I love crafts, and I love having things to do with my hands.

I used to do a lot of big projects like quilts. But then I had a kid and I didn’t have time for huge projects like that, and jewelry is something you can accomplish. I just adore gemstones; I love holding and touching them.

Mr. Blake: It’s mostly just an excuse for her to buy gemstones.

Ms. Wynn: It’s true; I love gemstones! But getting back, I love making jewelry for my friends and family and making custom projects. I think that my vision for the store was that it would let people who don’t have hundreds of dollars to spend get real jewelry. I only use real gemstones, and I don’t use any plated metals. I only used solid or filled metals. All the pieces are meant to last a long time and they’re all real. I got pieces that are in the $30 range that they can get for a special occasion. It makes people feel special that they have a piece of jewelry that’s a real piece of metal or gemstone. I know it makes me feel really special for sure!

How do you make the jewelry?

Ms. Wynn: My stuff is all wire racked, so I don’t do any forging or anything like that, but that would be so cool for me to do one day. First, I pick a stone and a wire, and then I measure the chain to where I need it and the stones go on the wire. It’s a pretty simple process; it doesn’t take too long, but some designs take a long time.

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Did you teach yourself how to make the jewelry?

Ms. Wynn: I taught myself by going on the Internet and using tutorials. The Internet is just so great for crafters because you can get anything you need.

They have detailed tutorials with pictures and videos and tips, and it’s just so convenient! I love the Internet; it’s taught me so many things.

How did you decide what type of jewelry to make?

Ms. Wynn: I think if people are interested in being successful on Etsy, you have to create a brand, a niche for yourself. You have to have a style, and you have to decide on a couple things that will characterize your style in order to attract people.

I decided on mine by the styles that I liked. I only use semiprecious and precious gemstones because I like to make sure that the jewelry is very sparkly and pretty. You also have to take pictures, so I had to learn camera skills and composition and all these different skills for my store. I also see what people’s favorites are, and that’s how I sometimes get ideas for new designs.

How does your husband help you with the store?

Ms. Wynn: He takes care of my kid all day long; he does my taxes. But I mean quite seriously I think that the way that he helps me is that we have the kind of marriage where we equally contribute. I can work on my full-time job which I love, and also work on my hobby which I also love. He makes the space for me to do what I love.

How did you and Mr. Blake meet?

Ms. Wynn: We met in high school at Exeter when I was a Lower Mid and he was an Upper Mid, and we got together the next year. We were friends who realized we were just more than friends, and we stayed together during college and made long distance work. And then we moved in together for four years and eventually came to Hotchkiss. It’s pretty funny how we met each other in boarding school and now we teach at a boarding school, so we know how it feels being a student here.

Mr. Blake: We wrote a lot of letters to each other back and forth, and I think the letters really helped our relationship.

Ms. Wynn: He writes great letters.

Mr. Blake: I used to, now not so much. Oh, and remember that girl?

Ms. Wynn: Oh yeah, in Lower Mid year.

Mr. Blake: Emma had to chase away a very rabid Lower Mid out for me, and that helped galvanize me to make my move. That’s when I realized that she’s available, so I went for it. And we’ve been together since then.

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An Interview with

Ellie Youngblood ’10 On Taking Ownership, and Life as a Farme r Ellie Youngblood, a member of the Hotchkiss Class of 2010, recently graduated from Carleton college and is now a full-time employee as manager of Fairfield Farm, also known as the Hotchkiss farm.

In her junior year at Hotchkiss, Ellie went to the Chewonki Semester school, where she came to have a better understanding of her place in education. “I realized how important it is to have a tactile component to learning,” she said. From her two contrasting experiences at Hotchkiss and Chewonki, Ellie learned how to selectively engage with her own education. “The most rewarding way to approach education is to have rationale behind things, or view pieces of education as units that are contributing to a greater whole that you want to learn more about. This approach allowed me to take ownership over my decisions, thus making them stronger and more dynamic. Having intention is necessary; otherwise you get pushed into different classes or categories or sports without ownership. By senior year at Hotchkiss I was very much in a blissful state where I felt confident in my decisions.”

Ellie’s hands-on approach to education led her to pursue a biology major at Carleton college. “Even though I took little biology at Hotch-

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kiss (I took stream ecology, which I knew I liked, but I had a hard time putting it in the context of biology), and science was not my strongest suit.

At Carleton I found that all my interests fall in biology. So I studied abroad sophomore year in a program for applied science, which was an important thing to do early on in my college career to gain footing and find how to make the things I love a reality in my Carleton curriculum.” At Carleton, Ellie worked in the greenhouse, which was used for growing plants for biology research.

“We experimented with ways to more efficiently grow plants that wouldn’t use as much man power, such as hydroponic growth, where you have a plant that is rooted in water instead of soil. Other methods include aeroponics, when the roots are misted with water, and aquaponics, when there’s fish in the water. It was fun to experiment with alternative ways of growing things and to question simple things like why we have beds on farms with straight lines and soil; having the freedom to explore that was really fun.”

Ellie and a fellow student also started a student-run farm at Carleton that sold its produce to the dining services. Though her work was difficult, she continued to foster her passion for farming. “Just the fact that we only had two people

to do all the work and not a lot of machinery came secondary to the other problems. There were two major issues with student farm. First, the farm as a self-sustaining business was about five-thousand dollars in debt when we first started the job. And on top of that, we had to make both of our salaries, which was nine-thousand dollars. We always had to make more money in subsequent years to gain a little every year for a cushion. The other challenge was that Carleton was very insistent that the farm be ready for important visitors. They wanted to be able to use it as a promotion tool whenever they wanted; therefore it needed to be pristine. It looked like the White House garden: tidy and weeded meticulously. By the end of season there were no weeds growing anymore.”

Outside of school, Ellie spent many summers working at a farm in Kent, where she grew up. “The woman who owns that farm is a lifelong friend and mentor, a brilliant woman who I owe everything to.

She took me on and was receptive to teaching me.

Once I proved I cared enough and wanted to be educated, she took the time to teach me rather than have me just working and weeding. She taught me how to find creative solutions to fix things. It was very empowering that everyday there was an issue to solve, and I only had a certain amount of resources. Finding a way to fix problem—that’s what I love about farming.”

Ellie started working at the Hotchkiss farm on April 1st, 2014, where she has continued to pursue her passion. “I am very lucky to be doing what I’m doing. I’m lucky to have this security, and I feel that I am capable of making a living out of farming. My

job is different from other farmers. The farm here has an educational component. FFEAT would be so different if I was making money off of the amount of produce we have. Working at the farm here is not just about bringing food to this place but also about being engaged in this community. I love how I can relate to both students and teachers easily. I’ve remained close with many teachers here since I was a student, so becoming a staff member has been very easy for me. Everyone thinks it’s very logical that I’m a staff member now. Now that I am in charge of the farm, my perspective shifts quickly from working for someone else to working for something I’m deeply motivated about. When you’re just working for someone else you look forward to leaving, but when you’re working for yourself, you want to get as much done as possible.

I’m working in small chunks of time that never seem like enough. I start to bear the burden of the success of the farm; every day for the last three or four weeks I’ve had a dream about the farm.”

Whether in the academic setting or outside of academia, Ellie has taken ownership over her own education and work. She serves as an inspiration for many of us who are still finding our place in school and in the world. Her story reminds us that in order to do fulfilling work, we should make decisions grounded in our own goals, apply our knowledge in hands-on projects, pursue passions no matter what difficulties we may face, and take ownership over the work that we do.

Article and Layout

by Vivian Xiao ‘15

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Stone Carving

As Michelangelo once said, “The sculptor’s hand can only break the spell to free the figures slumbering from the stone.” The goal of the stone-carver is to display that true beauty of the hidden statue, which waits to be discovered. In addition, the artist may lavish the pulchritude of the carving process as the fine shape begins to emerge from a mere slab of rock. While the procedure requires significant patience and assiduous hard work, I, as a stone-carver, have come to see meaningful beauty not only in the end creation, but more importantly in the process of discovering my stone’s true form.

The relaxing ambience of the art classroom not only allows for maximum concentration, but also holds beauty in itself. The blending harmony of familiar noises such as the crisp snap of a chisel chipping of rock, the rhythmic scraping of a rasp, and the soft whisper of the sandpaper provides an unwinding atmosphere, a tranquil place for my mind to focus. As I work, I can see tiny specks of dust flying in the

calm, morning light from the window, and when I handle my work, I can feel the progress I have made.

The most fascinating aspect of the stone-carving process is how each tool contributes to the success of the final product. Each tool has a significant impact, which dramatically changes the figure from before the tool is used. After the initial chiseling, a simple slab of stone transforms into a rudimentary outline, losing a great deal of its mass. During the filing process, I can feel and

Sculpture: 4 1/2 x 4 x 4 1/2, Soap Stone Swirl 2013 The Scholastic Art & Writing Award Competition Gold Key

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Sculpture: 4 1/2 x 3 x 321/2, Soap Stone The Dreamy Turtle 2012 The Boston Global Scholastic Art & Writing Award Competition Silver Key

picture the figure emerging from the deformed chunk, which gains depth and complexity as the finer features begin to blossom. Finally, through the six textures of sandpaper, the figure becomes visible, with each finer level of sandpaper adding its own smoothness and brilliance.

In the end, I can revel in both a creative piece that reflects both hours of diligent work as well as something greater than a work made just for exhibition. For instance, my previous three projects, a fish, turtle, and hippo, represent three values—enthusiasm, sagacity, and courage, respectively—which I strive for. I truly enjoy stone-carving not only because I take pleasure in working diligently to gradually expose my artwork, but also because it acts as a way for me to express a part of my identity.

Sculpture: 4 1/2 x 3 x 321/2, Soap Stone The Yawning Hippo National Gold Medal

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I must admit that when Mr. Noyes announced that the Prep Humanities art classes were visiting MASS MoCA, my friend and I were not all that pleased.

We are what one could call art snobs, willing to look at all work, but only appreciative of painters (and sculptors) like Michelangelo, Raphael or Pissarro.

We were preparing to stand in front of a piece and try our hardest to convince each other that the said piece actually deserved to be called art.

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Our snobbish preconceptions were warped and shattered the instant we stepped into Izhar Patkin’s The Wandering Veil. Although The Wandering Veil is not as contemporary as some of the other installations, like Sol Lewitt’s A Wall Drawing Retrospective; it is an extraordinary and innovative collage of years and years of devotion, observations and patience.

The Wandering Veil is currently occupying the largest indoor installation gallery in the world. This installation is a collection of many different media, with the main centerpiece of the show being the great number of immense rooms, walled with breathtaking ink murals on pleated illusions (tulle curtains). The murals have a ghost-like look to

them, and the term ‘illusions’ seems fitting. Although some murals depict bustling life and storms, it feels as if the world of the paintings is muffled and distant.

Created over the course of 30 years, each room of Veiled Threats tells a story, some filled with travels, memories and love, others of death, exile and grief. Every room is connected to a poem, written by Agha Shahid Ali. The poems are riddled with metaphors, and when read aloud, have a gravity to them that absorbs sound; you do not dare to speak.

The murals have a ghost-like look to them, and the term ‘illusions’ seems fitting. Although some murals depict bustling life and storms, it feels as if the world of the paintings is muffled and distant.

Personally, the most moving and silent room was The Dead Are Here (Chapter 13 from Shahid’s elegy From Another Desert.) I had walked into this room alone.

When I entered, I was standing in front of strangers’ tombstones, decorated with boughs, laden with pink blossoms, of cherry trees, which cast glowing shadows. I felt like I was watching over the only marks left of brave soldiers, for even those who held memories of them were gone.

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Photography Showcase Layout by Vivian Xiao ’15

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Franton Lin ’14

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Cole Billik ’17 40 | INK! SPRING 2014

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Mingxi Li ’14 (left, above) Mia Grindon ’14 (bottom right)

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Mohammed Moro ’14 (top left) Moom Janyaprasert ’14 (bottom left, right) 44 | INK! SPRING 2014

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Sylvie Robinson ’16 (top left) Helen Shapiro-Albert ’14 (bottom left) Cady Stanton ’16 (right)

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Alex Gotsis ’15 (top left) Betsy Li ’14 (bottom left, right)

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Maria Xu ’15 50 | INK! SPRING 2014

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Mingxi Li ’14 (top left) Miley Xiao ’17 (right, bottom)

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Cover Photo by Betsy Li ’14 Contents Photo by Betsy Li ’14 Special Thanks To Alex Gotsis ’15, Darlene Charneco, Paul Muldoon, Emma Wynn, Doron Blake, Charlie Noyes, Ellie Youngblood INKredible is a student-run Hotchkiss Arts publication established in 2012 by Jimmy Chung ’14, Iris Garcia ’14, Justin Hung ’14, Evangeline Warren ’14, and Vivian Xiao ’15.

Email: inkredible@hotchkiss.org Facebook: facebook.com/inkrediblehotchkiss Issuu: issuu.com/inkredible

Issue No. 7 Editorial Board

Club Advisor Layout and Art Director

Spring 2014 Jimmy Chung ’14 Iris Garcia ’14 Justin Hung ’14 Evangeline Warren ’14 Vivian Xiao ’15 Brad Faus Vivian Xiao ’15

Layout Team

Mariah Bell ’17 Grace Cheng ’16 Emma Franklin ’17 Sidney Lee ’17 Rebecca Li ’16 James Post ’15 Vivian Xiao ’15

Contributing Writers

Karen Ahn ’17 Mariah Bell ’17 E-Yeon Chang ’15 Jimmy Chung ’14 Jesse Godine ’17 Bobby Kwon ’16 Rebecca Li ’16 Grace Matthews ’17 Chloe Otterson ’17 James Post ’15 Hannah Pouler ’16 Sophia Wang ’16 Vivian Xiao ’15 Carina Zhang ’16

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