Date: Wed, 22 Nov 2000 02:57:39 -0500
From: Sequoyah <pendor@mailcity.com>
Subject: ASP-35A

	     A Special Place--Part Thirty-five--The Exhibition

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			    Additional Posting

A Special Place is also being posted at http://go.to/gaywritersguild.
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			   Observations and Such
     The exhibition and recital/concert have proven to be a major task
presenting many difficulties. One of which is the sheer length of the
work. Accordingly, to keep readers from going into withdrawal, I am posting
ASP-35 in two parts. The first, which follows, has the exhibition in
it. The second, which should be posted before too long, will have the
recital/concert.

Many thanks to all who have written asking what was holding up the story. I
hope you have an idea after reading this part.

Many thanks to SAH for his ever faithful editing. Hugs and more to Jim who
understands the importance of surprises and symbols. The ring is lovely and
much treasured.

		  A Special Place--Part Thirty-five--Matt

Gabrielle was wise in the ways of teenagers and, knowing that we had been
out as late as we were the night before, let me and Luke sleep as late as
possible. We barely had time to grab a quick shower--and Luke had to shave,
of course--grab a glass of OJ and head for St. Mary's. As soon as we were
in the Jeep, Luke risked the family jewels to give me a full, open-mouth
kiss and said, "Sarang Hanun Pomul, I can see right now this is going to be
a week with very little love making. Today, Monday, Tuesday and Wednesday
we will be slaving away on the concert and exhibition. And you know
Greywolf--at least--will insist we get a good night's sleep Tuesday because
of the AP physics exam Wednesday. Thursday--are you having practice
Thursday?"

"I had thought we might not, but Paula and Eugene overruled me, so we
will."

"So Thursday after school we'll be right back in the grind. Wednesday we
can leave right after the exam and maybe have a little time together, but
there is so damn much riding on this week and weekend. I mean if we don't
pull this off and get into Oberlin, I guess we'll be separated for at least
the school year..." We both became very silent for what seemed like
ages. "Matt, we have to do this and if that means giving up any love making
this week, we have to go without. Otherwise..." Again, silence. "Anyway
Thursday and maybe Friday afternoon after school, I'll be with Uncle
Michael training the docents and..."

"Maybe Saturday morning we can find some play time because Saturday
afternoon we're at Millie's and Saturday night and Sunday..."

"Well, for me at least, there's something else. Fr. Tom is doing a crash
confirmation course from 7:30 until 9:30 every night this week. That's also
more important to me than I thought it would be. I mean, it's really
important to me..." More silence. "Maybe we can wave to each other as we
pass in the hall at school," Luke smiled and again managed to get in a kiss
without spearing himself on a gear shift or my driving off the road.

"Yonghon Tongmu, when I realized you loved me as I loved you, I thought
life would be one long, romantic journey together. But..."

"Yea, Sarang Hanun Pomul, so did I. I mean, I thought being in love
smoothed the road of life into a super highway. Sure as hell wrong on that
weren't we?"

"But would you trad..."

"Never! Whatever it costs, it's worth it, my beautiful Dark Angel," Luke
said as we pulled into the parking lot at St. Mary's.

Throwing all caution to the winds, I leaned across the console and pulled
his mouth to mine for a long, deep, tasting-my-Luke kiss. "Nor would I." We
both jumped out of the Jeep, me heading for the choir room and Luke for the
Common Hall. Uncle Michael's Lexus was already parked in the parking lot,
but I didn't see Mr. Stephenson's car.

While I was having the choir warm up, Luke met with Uncle Michael,
Mr. Stephenson and the other members of the Fellowship to talk about the
afternoon. Seems Mr. Stephenson had come with Uncle Michael.

Gabrielle, Margaret, Millie and Mom were preparing a picnic lunch for all
of us to have at St. Mary's because we were all going to help get the
exhibition set up.

When Fr. Tom made the morning announcements, he said that the Common Hall
and some adjoining classrooms would be off limits until the exhibition
opened Saturday night. "Coffee hour will be on the church lawn today. And
if you haven't been invited to the Saturday night concert/recital for
family and friends or didn't call in for tickets for Sunday shortly after
it was announced, I'm afraid you are out of luck," he said, "but the
exhibition will be open Sunday evening until everyone has seen what they
want to see and all of you are welcome to come. Also, as I announced in the
newsletter, the bishop will be here for confirmation next Sunday. Because
the Common Hall will be in use, there will be a simple reception for him
and the confirmands in the downstairs hall, but no parish dinner," he
added.

After coffee hour, the family and the Fellowship spread a picnic in the
church yard and had lunch. When we finished, we went into the Common
Room. "John, Luke and I will work with teams today getting the display
panels set up," Uncle Michael said. "Then we will start mounting the
lights. I don't expect we will get much done beyond the panels today, if
that. We will meet here after school each day and those not involved with
the concert will mount the exhibition. We need to have it mounted by
Wednesday so we can begin training docents. Michael and Mary Kathryn, you
need to decide whether or not you want to be docents. Luke wanted to keep
his two special projects a secret until the opening, but decided he would
like for you to be docents which means you will have to see them and keep
them secret."

"I really would like to be surprised, but I also want to be a part of my
brother's big moment," Mary Kathryn said.

"Same here," Michael said.

"Uncle Michael, what if I kept the two pieces veiled until Saturday morning
and have a private opening for the family? Then you could fill in Michael
and Mary Kathryn on anything they need to know."

As heads nodded in agreement, I looked at him and mouthed, "There goes
Saturday morning."

"Sounds good to me," Uncle Michael said. "Well, let's get organized and go
to work."

Uncle Michael had drawn a chart of the placement of the panels and we all
started setting them up. I expected the task to move much faster than it
did, but it was 6:00 before we had them in place and secured. There was
still the task of mounting the special lighting equipment and getting it
adjusted when Uncle Michael called a halt. "I have arranged to have food
and drinks delivered to my place so let's call it quits and go eat and
relax. We got more done than I expected so we are in fine shape."

As soon as we could, Luke and I left school Monday. I was going to help him
and Uncle Michael mount lights until time for practice.

When practice was over, most of the lights had been mounted, but not
adjusted. Uncle Michael ordered in fast food for the crew then Paula,
Eugene and I joined in setting up lights until time for confirmation
class. Since Paula, Jacob and I were not involved in that, I offered to
drive them home. Linda attended class with Bill. "I need to keep an eye on
this wayward Baptist," she laughed as she kissed him on the cheek. Hardly
enough for such a stud muffin, so he pulled her to himself for a real kiss.

"Ah, young love," Paula said and laughed.

Bill actually blushed, then became very serious. "Yea, young love. Matt,
Luke, I want you two to know just how very happy you have made me. I am
discovering young love; I mean real love and, man, it is fantastic. It's
hard for me to believe about myself but, just think, only a few weeks ago
all I saw or wanted--I thought--from a woman was a good fuck. You know,
screw 'em and move on to the next one. Then all I would have wanted Linda
for was as a willing fuck partner. I would get my rocks off without ever
thinking about her. In fact, I have had women whose name I couldn't
remember the next day. I cared nothing for them from the waist up--well,
maybe I'd have to include teats...."

True to form, Linda landed one upside Bill's head--but pulled the punch and
laughed.

"Anyway, now... now... I mean... this love and courting thing is new to me
and I'm a real greenhorn at it. But, man, the learning is sure as hell
great even if it is hard work!"

While I took Jacob and Paula home, Uncle Michael and Mr. Stephenson
continued adjusting the lights. When I returned, all were adjusted. "That's
it for right now," Uncle Michael said. "Final adjustments will be made when
the works are mounted. But it's time for the class to be over and I think
we all need to go home. Ready John?"

Mr. Stephenson smiled and said, "Ready Michael."

"I'll get the lights," I said as Uncle Michael and Mr. Stephenson turned to
go. When they stepped outside, I saw Mr. Stephenson reach out and take
Uncle Michael's hand before the door closed. I smiled to myself. I guess
there really was something in the water at the farm.

Michael and Mary Kathryn were going to ride home with me and Luke since, as
a sophomore, he was not allowed to have his car at school. As we approached
the Jeep, Luke said, "Wild Woman, I'm sure you and Michael are expecting to
make out in the back seat, but I have a better plan. Michael needs to
practice his driving more than he needs to make out. Toss him the keys,
Matt." When I did, Luke took me by the hand and we crawled into the back
seat.

"I hope you two don't expect this to happen every night this week!" Mary
Kathryn pouted. "Time about is fair play!"

And so it was. Tuesday night, Mary Kathryn and Michael got the back
seat. About half way home, Luke said, "You two are going to have to slow it
down back there, you're fogging the windshield!"

"We are not!" Mary Kathryn responded. "It's your unrequited lust doing the
fogging."

Luke laughed, "You're probably right!"

Greywolf was waiting for Luke and me when we got home for a physics review
session. He had us stop at 10:30 saying he thought we were both in good
shape for the AP exam. "Now go to bed and keep the playing around low key!"
he laughed. We were both pretty tired from the past few days and, while we
hadn't admitted it to each other, we were pretty tense about the coming
weekend.

After some snuggling and cuddling, I lay with my head on Luke's chest,
thinking about my love for this man when he said, "Matt, can I ask you a
question?"

"Of course, why do you ask?"

"Well, sometimes I feel like if you don't talk about something it's not
there."

This sounded serious. "Ask away."

"Are you nervous about your recital and the concert?"

I was relieved even though I didn't know what I had feared. "To be honest?"

"Yea, to be honest."

"Frankly, I'm scared stiff. You know what this weekend means for us."

"Yea, that's why I am scared shitless. If we blow this, it's Florida and
New York. Sarang Hanun Pomul, I don't know how I can stand being away from
you for nine months."

"Sometimes that's all I can think about, Yonghon Tongmu. Today at practice,
one of the pieces was almost perfect, but not quite and suddenly I felt
paralyzed. I felt it had to be perfect or we would be separated. I know it
didn't have to be absolutely perfect, but I couldn't convince myself of
that. I guess for the past few days, I have come to realize how much is
really riding on this weekend."

"It's got to work, Matt, but if we allow ourselves to keep getting worked
up, it won't be worth shit."

"I know, and we also need to do well on the AP exam, but I don't feel as
though I can go to sleep. To be honest, Bright Angel, I am tense as hell!"

"I've heard sex is a great tension reliever..."

"Luke, right now I don't think I could get worked up for sex and you know
if I can't, things are really tense. It would just remind me of what's at
stake!"

"Get your running clothes on, Matthew, we are going running."

"Luke, it's night!'

"But the moon is bright. Let's run off the tension!" He jumped out of bed,
grabbed his running shorts and I did the same. We climbed down the trellis
and hit the road. As we approached Michael's place, I noticed his lights
were on. "Want to see if Michael would like to join us? Maybe he can take
our mind off what's happening."

"Let's." We opened the front door quietly and went up the stairs. I tapped
on Michael's door very softly and he opened it.

"Hi, guys. I was just about to go to bed. Whats'up?"

"Michael, we are both so uptight over the weekend and we have AP physics
tomorrow and couldn't even think about going to sleep."

"Have you thought about keeping your hands off each other? That might
help," he laughed.

"To tell the truth, we haven't done anything except some cuddling. Not even
a lot of kisses. We have so damn much riding on this weekend..."

"Yea, I thought about that a few times myself. When I kissed Wild Woman
good night, I thought about what it would be like to be separated for
almost a year." Michael was very serious. There was no joking now. "So what
have you decided to do?"

"I thought a good run was in order. Maybe if we get really tired, we can
sleep. Matt asked about your joining us."

"Sure, why not. Let me get shorts on." Honest, we were so used to seeing
each other that way, it hadn't occurred to me Michael was naked. He quickly
pulled on a pair of shorts and we went outside.

Passing through the house, I asked, "What's going on, Michael? I hadn't
noticed when we went in, the place is wreck."

"Well, it's kinda a long story, but basically, Dad was finally woken up to
the fact that he had treated Margaret as a plug in wife and the whole place
is being done over. And of course, the downstairs bedroom is being made
into a nursery. What do you guys think of Kathryn Elizabeth and Mary
Margaret as names for the girls? Gets all my major women in my sisters'
names."

"You're sure about this twin business, aren't you?"

"Positive."

"The names sound fine to me."

"I like them," Luke said, "Now let's run."

After we had been running for quite awhile, Michael asked, "Isn't that the
Richardson's farmhouse?"

"Sure is," Luke answered. "Hell, we've run five miles already! I guess we
need to turn back."

We did and after a couple miles, Michael said, "Guys, let's drop back to a
slow jog. I want to talk." We slowed down and while we were all three
breathing hard, soon we had caught our breath enough for Michael to
talk. "You know I had that strange dream, Matt. Well, I had another one. It
was almost like the other one; I mean, Mary Kathryn was holding a baby, our
boy, but this time I was there. Well, actually, I was standing looking at
the two of them. Well, that's not it either. I was kinda in half--two
halves, I mean. Well, I mean, I was in one piece, but each half was dressed
differently. Both were in black, black robes, but they were different. When
I spoke to Mary Kathryn, she looked up and said, 'Michael, are you ever
going to make up your mind or are you always going to be two halves of a
person? Our son needs a whole daddy, not two pieces of one." I started to
answer, but then I woke up. I was absolutely soaking in sweat and felt that
I was cut in half, but I didn't know why. I didn't understand. Can you make
sense of that?"

"I can't," Luke said. "I mean sounds as if you have a split personality,"
he smiled, "but I have always seen just Michael who is about as together as
anyone I know."

I didn't say anything for the longest time. I seemed to be seeing an image
in my mind, kinda flashing on and off. I could almost get it, then it would
flash off. "I don't know, Michael. I kinda have a mental picture I can't
get clear, but I think Luke is on to something. Maybe not a split
personality, but a split into who you will be or could be. I mean you keep
seeing Mary Kathryn with your son and that's not likely to be anytime
soon--at least I hope it's not."

Michael smiled a weak smile and said, "If there is a son of mind, there
will be a star in the east and I'll be a cross eyed dove."

Luke looked puzzled. "A cross eyed dove?"

"Yea," Michael laughed. "Haven't you noticed the Holy Spirit descending on
the Virgin in the stained glass window at St. Mary's? It's cross eyed!"

I had seen the window since I was a baby and had never noticed, but as soon
as Michael said that, I remembered the dove and, damn, it was cross eyed!
"So your dream is about the future, Michael. And don't put it down as a
'mere dream.' I learned long ago there are dreams and there are dreams. I
think you are almost in touch with something and your dreams are guiding
you. Think about the future and being two halves rather than a whole. I bet
something will come out."

"I talked with Fr. Tom about the first dream the day I went in with you and
he said almost the same thing except he added, 'Talk with your brothers. I
think they are in touch with something I know nothing about.' I talked to
Matt, but didn't go further. I was afraid you'd laugh--and I don't know
why. I knew better. When I told Mary Kathryn, she laughed at first and
said, 'I hope this baby boy bit doesn't mean you're just trying to get in
my pants.' But then she said, 'Michael, it can't be bad because I am
holding our son.' Well, we're at my place. Thanks guys and this is among
us. Ok?"

"Ok, Lil Bro," I said and Luke nodded agreement.

At home, we climbed the trellis, took a quick shower and fell into
bed. After a soft good night kiss, we were both sound asleep in seconds.

Both Luke and I were confident when we met the gang for lunch as were
Eugene and Larry. "Fives all the way 'round?" Jacob asked.

"I think so," Larry replied. The other three of us nodded agreement.

"Looks like Independence may have another distinction," Michael said. "How
many AP Scholars are we going to have this year?"

"I don't know," Larry said. "Eugene and I haven't taken as many AP classes
as Luke and Matt, but I think we'll make AP Scholar with Honor. Luke, how
about you and Matt?"

"If we did as well on ours this year as we think, we'll be AP Scholars with
Distinction."

"Man, we have something to live up to," Michael said.

As soon as lunch was over, I asked Luke, "How about we take an hour or so
before we go to St. Mary's. It's a beautiful day and I hear the falls
calling."

"Sounds good to me, Matt, Babe. Want to ask Eugene and Larry to join us? I
think Eugene could use some falls time. I mean he's under more pressure
than we are and holding up well, but time at the falls would..."

"Sorry I didn't think of that, Luke. Kinda selfish. I was just thinking of
us, I mean, 'Babe, I need your loving!'" I sang. But those two guys... Man,
they have a shit load of stuff. Hey, Eugene, Larry, wait up," I called to
the two who had started out of the cafeteria.

When we caught up with them Luke said, "Look, guys, Matt and I are going to
the falls for an hour or so before we get back to work at St. Mary's. How'd
you guys like to join us?"

"Sure we wouldn't be invading your time together? I know how precious it is
this week," Larry said as he put his arm around Eugene's waist and hugged
him.

"Same for you two. Let's go. Do us all good." As the two walked toward
Eugene's car, Luke said, "Matt, some way or other, those guys need to know
we are all supporting them. I mean what Eugene is facing is terrible and
they have as much riding on this concert as we do."

"Yea, you're right."

By the time we were at the end of the path to the falls, all four of us
were naked and ran to the top of the falls and dived in. We were
immediately transformed form care-ridden adults into normal, care-free
teens--swimming, ducking each other and generally horsing around. We swam
for over an hour, then flopped down on the blankets we had brought from the
Jeep. I guess, given the fact that our love making had been put on the back
burner for awhile, you would have expected some heavy making out, but it
didn't happen. I lay with my head of Luke's chest, listening to his
heartbeat, as he stroked my hair, occasionally kissing me on the top of the
head. Eugene and Larry were doing about the same thing--occasional kisses,
stroking each others hair, rubbing hands over the naked body of the one
they loved. It was a gentle, loving time. The sun was so warm and the swim
and being with my Luke was so comforting, I fell asleep. It seems all four
of us did. Luke woke me up when he pulled me atop himself and gave me the
hottest, open mouth, lots of tongue kiss I had had for what seemed years. I
could feel myself getting hard fast when Larry called over to us from where
he and Eugene were lying, "I can see things are heating up over there and I
hate to break it up, but I think we better head for St. Mary's. A quick
glance at my watch told me he was right.

Practice was near perfect. The PBS engineers asked us to do one of the
pieces again so they could test the taping equipment since it was all
installed by the time we had finished practice. We did the "Hallelujah"
from "Christ on the Mount of Olives." That should have been a good test of
any taping equipment!

After we finished, Larry, Eugene, Paul and I started toward the Common
Hall. As soon as we were alone, Larry pulled Eugene to himself, gave him a
great kiss, and said, "Gene, it sounds wonderful. It is going to be great!"
When we reached the Common Hall, I was surprised at how much work had been
done and how great it looked. Millie had been right when she said this
would be the cultural event of the century for Concord.

A Special Place--Part Thirty-five--Luke

I had gone directly to the Common Hall where Uncle Michael, Mr. Stephenson
and the gang were already at work. Everyone was laughing and having a good
time and obviously enjoying what they were doing. "Greetings, Art Lovers,"
I announced as I entered the Common Hall.

"Luke, I left the mounting of the work in Gallery Three for you. Here's the
key. The door is locked" Uncle Michael said.

I went into the gallery and stood for a long time just staring at the
painting of my Lakota warrior. I was absolutely weak-kneed just looking at
it. It was the very essence of the man I loved with my whole being. Finally
I tore myself away and mounted the picture. When it was in place, I got
Mr. Stephenson and Uncle Michael to come and help adjust the lights. When
they walked in, both stood still as I had done and looked at the
picture. "Luke, that is a magnificent work. It makes me feel honored to be
able to say it was done by one of my students. It really captures Matt's
spirit and, if I may say so, I can see why you love him so. You are a lucky
man to be loved by him. And don't get me wrong, he is damn lucky to be
loved by you. And both of you are lucky--no, I would use a different
word--you are blessed in that you love each other. I hope and pray that
never changes. Sometimes, we get lucky, really lucky, truly lucky when we
least expect it," he smiled as he glanced at Uncle Michael.

"Look, I may be not quite eighteen and I'm really new to this love stuff,
but I'm not blind or dumb. When are you going to announce your new partner
to the family, Uncle Michael?"

Mr.Stephenson blushed as Matt at his best and Uncle Michael laughed. "I
think that has just about been figured out by all of you, hasn't it? I know
Michael is on to us and David would be if he weren't so wrapped up in
making things right for Margaret and himself. You know you and Matt started
the whole thing the night we went to Lexington. John and I talked after we
got to his place-- we love the same things so talk came easy--and I guess
you could say we've been dating, courting, whatever, ever since. We have
the same kinds of values: we both have lost partners. It just came
naturally to me--falling in love again, I mean. I worried about the age
difference, but John didn't. He worried about the money difference, but I
didn't. The only problem we had was when I suggested we move into the
carriage house and he balked."

"I didn't want Michael to romanticize our relationship into his with
James. I knew and loved James. He was a wonderful person, but I am not
James."

"How long until the house is finished?"

"Too long, but the private space, our space, will be done by the first of
June. In the meantime, John and I have talked about the carriage house and
made it--not the one I remember, but one I WILL remember. That's the reason
you haven't seen me around your place very much. I've been camping out
there making sure it's what John and I want and not something I remember
with fondness.

"Did you, by any chance, speak to David about a similar situation?"

Uncle Michael laughed, "As a matter of fact, I did, but it was beginning to
dawn on my baby brother. It's just that he can be slow sometimes."

"When are you moving in. I mean both of you."

"We'll both be in as soon as this exhibition is over. Not that we're not
moved in already for all practical purposes," Mr. Stephenson said,
blushing.

"What John means is we have our bed already," Uncle Michael laughed and
Mr. Stephenson put Matt's blushing to shame.

"Great! Another of my favorite people becomes part of the family." I hugged
both of them and said, "You two are damn lucky too!"

Both said, "Agreed," in the same breath.

When the lights were adjusted, my two mentors left the gallery and closed
the door softly behind them, leaving me with the painting. I continued to
look at it and think about the past two or three months and how much had
happened and, indeed, how blessed I was. My love for Matt and his for me
overwhelmed me. Before I knew it, tears of sheer joy were streaming down my
cheeks. I wiped them away, turned and walked to the door. I looked back at
the painting once more before closing and locking the door.

As I entered the Common Hall, Eugene and Larry walked in, arm in arm. They
were followed shortly by Matt and Paula. "How'd it go?" I asked.

"Couldn't have been better," Paula responded. Eugene and Matt agreed.

"Larry, how's your part shaping up?"

"Great! There are some tiny adjustments to be made, but the test tape we
did today sounded very good. Tomorrow we'll make any adjustments to the
mikes--I don't think there will be any to be honest--and start operating
the cameras. We'll tape the whole practice if the mikes don't take a lot of
time and I'll get my hands on the remote control for some cameras. Man, I
am really getting into this audio-video thing!"

When it came time for the confirmation class, I walked outside with Matt,
Paula and Jacob. Matt was taking them home since they stayed after practice
and worked on the exhibition. As we stepped outside, Matt said, "Luke,
isn't that your van leaving the parking lot?"

By the time he said it, the van was turning the corner. "I'm not sure. It
looks like it. But why would it be here? I guess it just looks like ours."

"Must be," he responded. In spite of the fact we were standing in the open,
Matt suddenly kissed me and said, "Be back for you and the wild ones, Stud
Muffin."

"He's not my brand, Matt," Jacob laughed, "but if he were, I'd sure go
along with the stud muffin bit. Wouldn't you, Paula."

"Think I'd have to agree with you, Jacob."

Wednesday essentially saw the completion of the mounting of the
exhibition. Uncle Michael and Mr.Stephenson were going to make final
adjustments of the lights for "Surrounded by So Great a Cloud" after
everyone else had left. Thursday Uncle Michael started training docents. I
was surprised that he seldom had questions of me. It was obvious he had
been listening carefully every time I had answered one of the questions the
gang asked or had made a comment. I think he knew the pieces better than I.

Of course, most of us were involved in confirmation class and that set a
stopping point for work and training. Confirmation class was lively with
questions and since practically everyone involved knew each other, no
subject was closed. Michael raised the question of sex before marriage and
Larry the church's position on gays. Bill was concerned about his
past. There was a lot of discussion of how to live out your faith in a
world which was more concerned with things and sex and appearance than
reality. We had a great discussion on what it means to be religious. We
really got into a lively discussion when Michael talked about his
conversation with Matt about "being religious." I had thought all this
religious stuff would be boring and nothing but a bunch of rules, but soon
discovered that wasn't boring and the rules were not really rules at all. I
mean I had always been taught you do this and you go to heaven and you do
that and you go to hell and suddenly I was hearing that you had to use your
own brain and principles. It was very freeing and scary at the same time.

Wednesday and Thursday nights, Matt slept in my bed. Neither of us were yet
very comfortable making love at my place, but we did have a great time in
the shower and did some major cuddling and great kissing. Frankly, I
suspect that was about all we would have done at his place. By the time we
got home, we were exhausted by both the work and the tension. We didn't
talk about it a lot, but we were both really keyed up over our
projects. I'm sure we would have been had the outcome not been so
personally important to us, but that sure didn't make us less tense! Not a
night passed without our talking about what it would be like to be
separated for a year.

Thursday night we had talked a bit about it when Matt said, "Luke, I don't
worry about our falling out of love or falling in love with someone else if
we end up in Florida and New York. That's not my worry. And I don't worry
about missing you. I mean I know I will and it will hurt like hell and
probably have a major impact on the work I am able to do. I know that, so I
don't worry--I just hate the thought. You know what I really worry about?"

"Well, if you don't worry about our falling out of love with each other or
about falling in love with someone else or about the pain of being
separated, I can't think of anything to worry about. Or, to be honest, the
pain of being separated is enough to be worried about."

"Luke, what I really worry about is being unfaithful to you. I mean we had
done a damn good job--most of the time I think too good a job--of keeping
control of our passion and lust. But you know I am horny, hot most of the
time. There have been plenty of times had you not kept a cool head, we
would have been fucking like bunnies--and I do mean fucking. I am not
likely to be less horny next year than now and there will be no love making
AND I don't think we're going to leave Concord virgins so we will have had
sex, all the way sex. Man, I really do worry about that. I don't know about
you, but I know I will never stop loving you, but I don't know what I would
do if you were unfaithful to me. But I don't worry about that, what I do
worry about is me."

"I don't, Sarang Hanun Pomul. Our love has gotten us over some pretty rough
spots and I'm sure it will keep us faithful. I know that nothing you could
do would stop my loving you. That's just the way it is. But, to be honest,
I don't know how I would or could handle your being unfaithful. But it's
not going to happen," I said as I pulled Matt's body atop mine for a deep,
deep and passionate kiss. "If you're tempted, remember this," I said as I
gave him a kiss which ended only after I was breathing for the two of us
for a long while. Cuddled in each others arms, we were soon asleep. I slept
peacefully, but sometime in the night I woke up as Matt pulled me close and
gave me a special, life-giving Matt kiss.

Friday, during home room, Ms. Jones called me, Matt, Paula and Eugene to
the office. "I had a thought this weekend and came up with a plan. If it is
more than you want to do, please say so; I will certainly understand. Each
year when we have had the spring concert by the ensemble and chorus, we
have had a performance during the school day. This year that was not
planned, but what do you think about doing that Monday? That would also
allow students who might not think it important to see Luke's work."

"I wouldn't commit the ensemble to another performance without asking
them," Eugene said. "They have worked like slaves and I think have enjoyed
it, but after Sunday they anticipated getting on with their lives."

"Same for the chorus," Paula added. "I would certainly be willing. Another
performance is something most musicians look forward to, but these are high
school kids."

"I have only one problem with it," Matt said. "St. Mary's can't hold the
student body and we certainly can't do it without the organ."

"Plus the fact that the whole student body could hardly see the exhibition
at the same time," Luke added.

"Well, it seemed a good idea," Ms. Jones said, "but I can see the
problem. And I do appreciate the fact that you two won't make a commitment
for your groups without checking... I've another thought. What do you think
of this? The freshmen and sophomores will come to school and immediately be
transported to St. Mary's for the concert. Meanwhile, the busses will come
back and take the juniors and seniors to the exhibition. We'll have the
cafeteria prepare sack lunches for everyone and after the first half, we'll
have lunch on the church lawn, clean up and then the juniors and seniors
will go to the concert and the freshmen and sophomores to the
exhibition. Since they are younger, they probably will be ready to leave
before the concert is over, so the busses will bring them back to school
and go back for the juniors and seniors."

"So far as taking care of the students, that sounds fine," Eugene said,
"but now you're asking the musicians to do two additional performances, not
just one."

"It's going to be pretty hard on the docents as well if they have to ride
herd on freshmen and sophomores," I commented.

"Some of the juniors and seniors are no better," Paula added.

"Look, we've all worked our asses off--pardon Ms. Jones, but we have--for
this and Independence will shine because of it. Larry told me last night
the engineers have already gotten a commitment to do two one hour
broadcasts of the concert and an hour for the exhibition. They couldn't
promise, but the producer of the Performance Today was very impressed with
a tape they sent him and there is a possibility he will do at least one
program on National Public Radio. If all that is going on, I think the
students might benefit from participation in what Ms. Jones has suggested,"
Eugene said. "I still won't answer for the ensemble; they will have to do
that, but I'm willing."

"You won't have to worry about behavior. I can assure you of that. You know
Independence's worse students almost always behave like perfect ladies and
gentlemen on field trips. Plus, I will make sure the teachers understand
that I expect them to see that the students behave exceptionally well. And
again, it's your decision--yours and your groups, Paula and Eugene--but I
really would like to have all our students see what being dedicated and
disciplined is about. If you like, I'll have the two groups meet and you
can discuss this with them. If we're going to do it, members of the chorus
and ensemble can report directly to St. Mary's and Mr. Allan will take all
who ride the bus as soon as they are all here."

We all agreed and Ms. Jones announced at the beginning of the first period
the two groups would meet immediately. I went to talk with Mr. Stephenson
to see what he thought.

When we got to lunch the whole cafeteria was a buzz with students
talking. I don't know why the intercom is really necessary. I think I was
the only student in the school who had not heard the whole school was going
on a field trip Monday. Mr. Stephenson had been very pleased that my work
would have more exposure, "Even if it's only high school students," he
said. "All exposure is good."

Just when Matt and I were ready to leave school, Ms. Jones called us all
into her office again. "Thanks for going the extra mile--miles is more like
it. I really appreciate it. Luke, Matt, I know you two are leaving, but
take the rest of the day off--all of you. I've also called down those who
are serving as docents--is that the right word, Luke?" I nodded. "So they
can have the rest of the day off as well. Is transportation a problem?"

Eugene looked at me and Matt and said, sheepishly, "Guys, I know you want
some time together. It's been--I was going to say a hard, but that is not
the problem--a difficult week." Matt was blushing of course and Ms. Jones
was laughing. "But do you think we could hit the falls?"

I looked at Matt, who did his best to look like a pouty kid, but his eyes
gave him away. "Matt, Eugene and Bill all have cars. Transportation is no
problem," I said.

"I've authorized your sign out, so sign out and enjoy. The others will be
waiting in the lobby."

The time at the falls was what we all needed. Before we had been there too
long, Paula started the swimming. Skinny dipping was the order of the
day. "Wonder if Ms. Jones had this in mind," Jacob asked as soon as Paula
started the race to get naked.

At one point, Mary Kathryn was at the top of the falls and I knew I had
been very accurate in painting her as a water sprite. And while I wasn't
into women sexually, I did appreciate beauty and Wild Woman was a
beauty. As I stood looking at her, Matt walked up, slipped his arm around
my waist and said, "I agree. She's a real beauty. And look at Michael
standing behind her. If that's not love, I don't know what is. He is
absolutely worshiping her and she is unaware of it."

We stayed at the falls until it was past the time we would have been
home. Matt's and Eugene's cell phones were used to call parents and all had
said they thought we deserved the break. Finally, Bill took Linda, Jacob
and Paula home. When they had gone, Michael said, "I think you four guys
probably need some time together," and he and Mary Kathryn left, walking
down the path hand in hand, stopping several times for a kiss. That sister
of mine had made kissing an art! By the time they were out of sight, the
four of us headed for the water. After maybe twenty minutes, we all flopped
down on a blanket. "Luke, Matt, I want to ask a very personal question or
two if it's ok," Eugene said.

"Ok," Matt and I said together.

"Are you two still holding out for the big night?"

"We sure are," I said.

"Well, we are because Luke maintains control. I tell you if it were left up
to me, Mr. Larsen would no longer be a virgin," Matt said. "Man, there are
times when I would have crawled his body big time. In fact, that really has
me worried." Matt then told the two about our discussion of next year
should we end up separated. "I am really worried," he said, "that I will be
unfaithful to Luke. I know I don't want to and I know I could never love
anyone but Luke, but I get so hot!"

"The reason I asked was because...well, you know Larry and I have tried to
start over--well, I know I can't be a virgin again, but you know what I
mean. And Matt, you're dad is right once you have started, even with how we
started, it has really been difficult not to go all the way every time we
get beyond the kissing stage. Maybe you need to think about that."

"Look, I know that being without Matt is going to be hard and I am sure
that being without sex with Matt once we have gone all the way will be even
harder. I know we both will be tempted, but that's going to be true as long
as we live. We'll just have to work at it. And when it is all said and
done, if--and I said IF--one of us is unfaithful, we will still love each
other and I am sure we love each other enough to survive."

"Well, I just wanted both of you to know that as hard as it is to refrain
from sex, it is harder after you start. But of course, my only experience
is refraining from sex with someone I love more than I do my life...The big
day's approaching, right!"

"YES!!!" Matt exclaimed, May 31."

"And you have talked with Dr. Bailey?" Larry asked. "We did and I sure wish
we had done before, I mean even after I rap..."

"Let it go, Larry."

"Before we started having sex. To tell you the truth, we both hurt each
other and not just when we were having anal intercourse. I guess we both
thought that hurting was just a part of it and that we had been born
knowing what to do. Have you been doing what she advised you to do in
preparation?"

Matt and I had both read sheets on oral and anal sex Margaret had given us
and made sure we understood them, but we had never discussed what we were
doing in response. I immediately knew that Matt was doing all the things on
the sheet because he turned bright red. I even felt my face getting a warm
glow." Larry laughed, "I guess those blushes answer that question. Well, if
you don't mind, I think I'll take my babe and this blanket and go down
stream a bit for some heavy making out. We have been almost as chaste as
monks since the hectic rush started."

As two of disappeared around a bend in the river, Matt was on top of me,
his hair creating a special world in this special place. He started kissing
me with abandon, his tongue invading my mouth giving me the taste of my
Lakota warrior. As he continued his passionate kissing, he slipped his
Lakota arrow between my thighs and started thrusting it in and out. Since
he was leaning forward, each thrust also gave my Nordic sword a powerful
thrust. I reached behind him and pulled his hips into mine as my fingers
spread his cheeks. I was able to hold him to myself and brush his rosebud
with a finger as he continued humping me wildly. His mouth left mine and he
started sucking a place on my shoulder. Suddenly I felt my finger slip into
him and as it did, he pushed forward, bit my shoulder hard and I felt his
hot seed spill between my legs and over my balls. As he continued erupting,
he bit harder and through clinched teeth groaned loudly, "Yonghon Tongmu, I
love you!" over and over.

His thrusting had brought me close to the edge and his hot seed pushed me
over. I too, shouted as my climax hit me, taking away my breath and making
me see whirling stars, "Damn, Sarang Hanun Pomul, damn!" We lay, Matt still
atop my body, resting from spent passion in the afterglow of the first real
sexual release we had given each other in what seemed like years. Gradually
we recovered and Matt started, once again, smothering my mouth with kisses,
less lustful, but hardly less passionate. "Sarang Hanun Pomul, how could I
ever be unfaithful to someone who gives me the pleasure you give me with
your body? Dark Angel, I cannot even imagine making love to anyone except
you. You are my very life," I said.

Matt raised his head, his hair still covering us, smiled and looked into my
eyes. "You better not because you and your body belong to me. And to be
honest, I feel the same way, Bright Angel." Matt rolled off my body and we
lay, side by side, holding each other and exchanging sweet, gentle
kisses. "Luke, Babe," he said and he looked at me, "at least this time
you'll not have any explaining to do about a hickey unless you're shirtless
then it might be hard to explain teeth marks," he laughed.

As always, it seemed, time had flown by and there were obligations. I
yelled to Eugene and Larry, "If you guys haven't finished for the day, you
better hurry up if you want to eat before confirmation class.

The two reappeared, Larry carrying the blanket, holding hands and stopping
for a kiss several times. "From the shouting, I think we were just about on
the same schedule," he laughed. "Now I suggest a quick swim because I see
the two of you are as big a mess as Eugene and I."

After the swim as we were getting dressed, Matt said, "I really have no
reason to go into St. Mary's with you tonight, but do you want me to go?"

"Of course I want you with me always, but don't you think it would be a
good idea if you spent some time with your family tonight? I plan to eat
and spend what little time is left with mine. I have hardly seem Mom and
Dad for what seems like months. I can go in with Michael and Wild Woman."

"I hate to agree with you, but you're right. What about afterward?"

"Don't get me wrong, Babe, but I think I'll come back and spend the night
at my place in my bed alone. Tomorrow is a big and long day."

"Again, you're right, much as I hate it. See you for a run in the morning?"

"You bet, Lover." I said as I kissed Matt. We agreed since Saturday would
be a long hard day, we'd sleep in until 8:00.

When I left the house with Mary Kathryn for the morning run, the day was
perfect--blue skies, no clouds and bright May sunshine. Matt was waiting
for us at the end of his front walk and we could see impatient Michael
running toward us. When he reached us, he gave Mary Kathryn a good morning
kiss and Matt said, "Ok, ok, let's get on with the serious business."
Michael grabbed Mary Kathryn and planted another kiss on her. "I meant the
other serious business," Matt chided. "Let's run."

Given the day we had ahead, we only ran two miles and when we returned to
Michael's place, Margaret met us and said, "We're all having breakfast at
the Greywolfs'. Get your showers and get dressed and meet there."

"Luke, there's no reason for you to go home," Matt said. "Shower time!"

We showered, taking our time washing each other and, yes, playing around.

When we got down, everyone was present--including Uncle Michael and
Mr. Stephenson--and we made short work of breakfast and were all ready to
go to St. Mary's by 10:00.

When we arrived, the rest of the Fellowship was present, along with Millie
and Paula's and Larry's mothers, whom I had invited. Uncle Michael met us
at the outside entrance to the Common Hall. "I have turned on the lights
and everything is ready, Luke."

"Ok, when we go in, I will unveil the major piece in the Common Hall. After
you have seen it, the docents will take you through the other galleries
until you are ready to go to the final one. There is a work to be unveiled
there as well. I have catalogues for all of you so you can read or ask the
docents or both."

[[Author's Note: I have had a real struggle as to how to present the works
in a manner that will allow you, the reader, to imagine the
pieces. Originally I had the catalogue as a separate document, but realized
that you would have to keep shifting back and forth between the narrative
and a catalogue. I have finally decided to include the catalogue, set off
by [ ] in the narrative. I hope this works. A Special Place--Part
Thirty-five--Narrative Continued will be postedd as soon as possible. it
will include the concert/recital. Patience. It took a long time to write as
well! Sequoyah]

---------------
                            A Special Place--Part Thirty-five--Luke

[AN EXHIBITION OF THE ART OF LUKE HANS LARSEN

It is said that an artist, if asked to explain a work, will simply point to
the work itself. While I believe my work can and will stand on its own,
much of it is extremely personal and I believe that someone viewing a work
will have a deeper appreciation of the piece if some of its history is
known. Accordingly, each piece--or in some cases a collection--is shown in
this catalog and in many cases a simple statement made concerning it as a
piece of art. Following that are comments which you may or may not read as
you see fit. They will, I believe, open a new depth for anyone viewing any
of the works.

There are many to whom I owe much for their help in making this exhibition
possible. However, there are some who must receive public acknowledgment
and my deepest thanks and appreciation. Literally, without their help, this
exhibition would never have been. Mrs. Millicent Willingham demanded that I
produce a worthwhile exhibition and, when money proved a problem, took away
that excuse by providing funds. Further, she handled all the publicity for
the event and arranged for two receptions following the recital concert and
the opening of the exhibition. Mr. Thomas Washington of Lexington Foundry
provided materials and labor for the casting of the three bronze statues in
the major exhibition piece. Without Herr Hans Dietrich the materials and
labor would have been worthless because he provided the expertise needed to
cast the bronzes. Uncle Michael Sanders, who was only recently reunited
with his brother David Andrews, volunteered to place his years of
experience at my disposal in setting up the exhibition and handling any
dealer interested in my work. Finally, Mr. John Stephenson, my art teacher
since junior high, helped me understand that life requires more than bread
and butter; it also requires art. For any acclaim this exhibition may
receive, much belongs to him. And, finally, to The Family who gave me life
in the beginning and continues to sustain it, this exhibition is dedicated.

Luke Hans Larsen



The Galleries

The exhibition is arranged in four galleries. The main gallery is in the
Common Hall and the three smaller galleries are in three classrooms across
the hall from the main gallery.


The Main Gallery

The exhibition's major piece "Surrounded by So Great a Cloud" is set up in
the center of the main gallery. The other works in the main gallery are
described, beginning at the outside entry and moving clockwise around the
hall.]



When everyone gathered around the major piece in the main gallery, I
removed the veil covering it and, as I did, Mr. Stephenson turned it on.



[Surrounded by So Great a Cloud--A Moving Sculpture: The sculpture consists
of three bronze castings--made using the lost wax process; an etched glass
panel--etched using chemical etching, sandblasting and diamond drill
carving; all mounted in a steel framework. The pieces are mounted in a
manner which allows them to be moved by small electric motors in the base
of the work. The bronze castings are of the three families which make up
The Family, my extended family. They are on a scale of approximately
one-to-two and average three feet in height. The glass panel is three by
five feet by two inches thick.

     The Artist's Comments: Of all my work, "Surrounded by So Great a
Cloud" has the most complete history of its evolution available for all to
see. On the reverse of the panels behind the sculpture are the sketches I
made as the idea evolved. These range from formal sketches in a sketch book
to those made on the edge of class notes, to sketches made on school
napkins, to several made with felt-tip pen on toilet tissue! Originally,
the sculpture was to be a single three-sided sculpture in clay with one
side devoted to each of the families which make up The Family. As I
sketched and thought about the project, the concept evolved into the
sculpture you see before you.

     While I was thinking about the sculpture, I ran across an article on
the lost wax process of casting bronze and became fascinated with the
possibility of having the figures cast. I soon learned there were two major
problems connected with using the ancient lost wax process. The first was
finding someone who was expert in using the process and the second was
money. Fortunately, both were solved at the same time when Mr. John
Stephenson, my art teacher, put me in contact with Mr. Thomas Washington of
the Lexington Foundry. While the present foundry does not have the
expertise to do the casting, Mr. Washington asked a retired craftsman, Herr
Hans Dietrich, to look at my clay sculpture. Herr Dietrich graciously came
out of retirement to do the casting, and Mr. Washington provided the
materials and labor. Neither man would accept payment for their work and
the sculpture was made possible through their skill and generosity.

     About the time I had decided to cast the statues in bronze, if
possible, I recalled a phrase used in the Mass on All Saints' Day:
"surrounded by so great a cloud of witnesses". The phrase lodged in my mind
and I began to think, not of a cloud of witnesses surrounding me and The
Family, but the cloud of people who surround us with their love and
concern. I very much wanted to capture that idea and honor those as well as
The Family. If I could come up with a way to do that, I would solve another
problem. Elizabeth Andrews, wife of David and mother of Michael, died two
or so years ago. I was struggling with how to include her when the picture
was further complicated by the marriage of David to Dr. Margaret Bailey,
who had earlier been accepted as a member of The Family. The answer came as
I was walking down the street window shopping. I suddenly noticed the
reflection of people in the glass of the window. I would, I decided, do a
glass panel with the faces of those who surrounded The Family. Again,
expense almost eliminated the idea since a sheet of glass large enough to
do what I envisioned and the tools and materials to do the etching were
expensive. When Mrs. Millicent Willingham gave me money to carry out the
project, I was terrified because I had never done work in glass before and
knew I would have to teach myself and, more terrifying, had to be
successful in doing the panel. Fortunately, I loved every minute of the
learning process and was, I believe, successful in carrying it out. Many
citizens of Concord may be seen in the panel and at the top is Elizabeth
who, The Family knows, still surrounds us with her love.

     The final figures are very much as I originally conceived them, except
each family became a separate piece and they were cast in bronze from clay
sculptures. The faces and torsos of the figures are quite detailed, but the
balance of each figure is intentionally unfinished because I believe that
at any point in our life we are "unfinished." The figures, it will be
noted, are mounted on a revolving steel platform around and above which the
etched glass panel, mounted in a steel ring, revolves as well,
"surrounding" The Family.

     At the close of this exhibition, "Surrounded by So Great a Cloud" will
find a permanent home at the James Sanders' Hospitality House where, it is
to be hoped, those staying to be near loved ones in the Concord Hospice
will find themselves surrounded by love and concern.]



As soon as the veil was removed, there was absolute silence in the room, so
much so I wondered what was going on. I soon found out as I looked
around. The expressions on the faces of the people I loved told me I had
struck a chord in each of them. I watched as tears formed in the eyes of
Michael and David. Mom and Dad both reached out and placed an arm around my
waist. Matt walked up behind me and kissed me on the neck then put his arms
around me. Yong Jin and Greywolf were suddenly holding hands as David
reached behind himself and took Margaret's hand in his. Mary Kathryn walked
in front of me and pulled my arms around her waist. Silence still
reigned. Finally Michael spoke, his voice choked with emotion, "There's
Mom, still watching over us all." Once he spoke, others started speaking.

"There's Chelsea and Gladys and Dr. Walker. Without their having watched
over us, this wonderful piece would never have been," Matt whispered. Then,
in a voice tinged with a some anger, he continued, "Luke Larsen, how could
you have ever dared think of taking your talent from us and the world? How
could you have dared take this from us? How could you dare?" The "silence
in church" atmosphere which had prevailed was broken and others started
naming the people in the cloud: Uncle Michael and Mr. Stephenson,
Ms. Jones, the entire Fellowship, Mr. Swartz, Fr. Tom and about a dozen
others.

"Luke, if this was all you had done, your exhibition and your stature as an
artist would have been firmly established," Greywolf said.

After everyone had stood looking at the piece for a very long time--the
glass panel had made two or three revolutions--Mom said, "I think we need
to kinda stay together as we move through the rest of this exhibition". The
Family agreed--of course the Fellowship, including Michael and Mary
Kathryn, had seen all the other works in the gallery and hung back so Mom
and Dad, and all the others could see everything.



[The Family: A series of eleven paintings portraying the members of the
artist's extended family. While there are slight variations in the size of
the eleven canvases, all are approximately four feet high and conform to
the Greek idea of the Golden Section, a height to width ratio which is
expressed by the formula w/h = h/w + h, or about 3/5. All except one have a
similar background, a grayed off-white which helps each figure seem to
stand out from that background. The eleven use the full range of acrylic
painting techniques from what may first appear to be pen and ink drawing
through the delicate colors and edges of watercolor to paint applied in the
manner of oils.

The figures are painted to provide some insight into how the artist sees
the members of The Family, his relationship to each person and often the
person's ethnic background. Each canvas is complete unto itself but the
whole is greater than its parts in that, taken together, the eleven
paintings picture The Family--not just individual members.]



"I think each of you will recognize the subjects of "The Family," I said.



[Beowulf--Jens Larsen: Jens Larsen, the artist's father, is of Scandinavian
background and, accordingly, is portrayed as Beowulf, the great
Scandinavian hero. He is pictured in full battle gear, except for his
helmet which he holds in his left hand. The bloody sword in his right hand
suggests he is resting after having killed another monster. The early
Anglo-Saxons were great metal workers in iron, bronze, and gold. Gold
ornaments were frequently enameled in bright and beautiful colors. To
accomplish the look of such work in this painting, a great deal of gold
leaf has been used, along with extremely high-gloss acrylic paint.

     The Artist's Comments: My father is a modern Anglo-Saxon hero to
me. His monsters--it is true--are not external, but he has done battle
against internal monsters, monsters which challenge his loyalties. I was
extremely interested in including the beautiful "duck" helmet uncovered in
the Sutton Hoo excavations, but to have Beowulf wearing it would have
completely obscured Jens' face. At the same time as I struggled with how to
show his face and the helmet, Jens had what was probably his greatest
struggle and, when I realized he had--again--slain the monster, I suddenly
thought about presenting him as resting immediately after his
victory--helmet in hand. The ornaments and helmet are based upon those
uncovered in the excavations at Sutton Hoo, England, which have provided
much of our knowledge of the skills of the Vikings.]



As Dad approached "Beowulf", he stopped quickly, looked at the catalogue,
looked at the painting and his eyes filled with tears. "Luke, you have
honored me far beyond what I deserve. Matt asks how you could dare think of
taking your life, I ask myself how I could have dared to treat you as I
did. And, my God, I even thought of disowning you. Son, can you--and
Matt--ever forgive me?" He was crying openly, something I had seen him do
very few times in my life.

"Dad, I hope the painting answers your question." Dad wrapped me in his
arms and hugged me so tightly I thought I would stop breathing. "Thanks,
Dad," I said as he released me. He then embraced Matt in an equally tight
bearhug.



[German Tavern Maid--Gabrielle Larsen: Gabriel, the artist's mother, is
German--Bavarian to be exact--and is portrayed as a Bavarian tavern maid
of, perhaps, the eighteenth or nineteenth century. She is dressed in
Bavarian dress--a low-cut white blouse with puffed sleeves and a richly
embroidered skirt and vest. She is shown carrying a tray laden with food
above her head with one hand and steins of beer in the other. The tavern
and patrons are done with light brush strokes in earth tones, only slightly
darker than the background.

     The Artist's Comments: Originally when I thought about a painting of
my mother, I decided to present her as Brunnhilde, the heroine in Wagner's
"Ring of the Nibelrung". In fact, I even started that painting. I had
chosen Brunnhilde to be Gabrielle because of my mother's ferocious loyalty
and devotion to The Family, and her willingness to sacrifice on their
behalf. That incomplete painting is exhibited directly below the final
representation of Gabrielle. However, as I painted, Brunnhilde seemed too
war-like to represent Gabrielle. I then saw her in terms of her care for
The Family and realized she was more like a tavern maid--youthful, joyful,
playful and dedicated to seeing that the physical needs of its members are
met while being a good listener and one who did not allow her personal
concerns to overshadow her concern for family members. Also, I knew that a
tavern maid was there to serve, but that there were limits beyond which she
would not budge--Gabrielle, my mother! Finally, I see my mother as a
beautiful young woman and the tavern maid is surely that!]



When the group moved to "German Tavern Maid," Mom immediately started
laughing. "Luke, how did you know I once wanted to be a tavern maid? Some
of my happiest memories are of going to the tavern with my dad and watching
the maids waltzing around, keeping the customers' hands off while flirting
like mad. It seemed so much fun!" She, then, looked at the catalogue and,
after reading what I had written, "Nice to know your grown son still thinks
of you as a beautiful young woman!" she said as she kissed me. "And I am
really glad you didn't finish the Brunnhilde one. I always thought she was
too serious and a pushy broad." Her laugh proved the tavern maid was an
accurate representation of my mom.



[Water Sprite of the River Falls--Mary Kathryn Larsen: Mary Kathryn, my
sister, is portrayed as a water sprite at the falls on the Sequoyah River
which runs through the families' farms. She is seen here, nude, sitting
atop Lookout Rock, her golden curls blowing in the wind. Youthful,
obviously, but definitely a well-developed young woman. An acrylic water
color technique was chosen to emphasize the delicate nature of the creature
and the beauty of the falls. At the same time, there is enough color and
substance to indicate her strength.

     The Artist's Comments: Mary Kathryn is definitely a water sprite and
no other figure would have done her justice because she is--as water
sprites are--playful, often mischievous and very beautiful. While water
sprites are expected to be nude, Mary Kathryn's nudity is also a nostalgic
look back to the time when the children of the family went skinny dipping
at the falls and, at risk of being strangled by Mary Kathryn and my mother,
that still sometimes happens! A beautiful, spirited young woman, Mary
Kathryn is sometimes known as Wild Woman and even that element can be seen
in this water sprite who is certainly not one of those Victorian
"fairies". This is a full-blooded, full-spirited water sprite. To my eye,
she is completely at home at the falls.]



"Luke, I want to buy that piece on an installment plan!" Michael said as
the rest of the family saw it for the first time. "I figure at a dollar a
week, my great-great grandson will finally get you paid!"

"I hope you four don't think we haven't known that skinny dipping is still
often the order of the day," Yong Jin said. "Luke, it's a magnificent work
and really captures Mary Kathryn's spirit and beauty."



[Runner, A Self Portrait--Luke Hans Larsen: The artist is portrayed as a
runner running down a country road, approaching a huge old oak on the side
of the road. The technique used is essentially that of poster art, but with
greater detail in the setting, especially in the large oak tree. The runner
is running "flat out" and can almost be heard shouting as he runs.

     The Artist's Comments: I have always been reluctant to do a
self-portrait. Somehow or other it has always seemed egotistical to
me. When I realized that the series would be incomplete without one, I
first decided to use the caricature Millie Willingham--who dares defy
Millie?--demanded for the posters announcing the event, but I realized it
was not in keeping with the series. After working very late one night, I
was reluctant to get up and get dressed for the daily run the kids in the
family do together. However, when I got up and got moving, I realized that
the morning run was one of the things which bonded the Gang of Four--the
name the four kids have given themselves--together. And, more than that, I
realized on that morning I was alive. In that moment of realization I was,
in the words of C. S. Lewis, "surprised by joy". When I again approached
the task of painting myself, I wanted to capture both the runner and the
joy I felt. A part of that joy came not only from just being alive, but
also from where I was. For The Family, the old oak shown in the background
is a kind of symbol of our having taken root and growing in the beautiful
area of the county where we live.]



"Luke, do you know the Navajo run to greet the rising sun, shouting because
they are alive?" Greywolf asked. "In fact, on one of their days of
celebration, men run twenty or so miles shouting all the way because they
are alive and are blessed. You are so alive in that painting and, Luke, you
have the depth and strength of that oak. Never forget that. It will serve
you well if you ever begin to question yourself, I mean your strength and
depth of spirit and character."

"Yonghon Tongmu, I'll promise to play "More" for you tonight in exchange
for that picture of the man who makes that song mean so much to me," Matt
said.

I planned to give Matt the painting if he wanted it, but I couldn't miss
this. "I'm sure you wouldn't dare add something to your program at this
late date but, Sarang Hanun Pomul, it's a deal!" I laughed, knowing that
the program for tonight was fixed in concrete. Nonetheless, I couldn't
resist kissing the one who inspires me to sing "More".



[Lakota Medicine Man with St. Michael--Patanka St. Michael Greywolf:
Greywolf is the head of the Greywolf family and, while it is never
discussed or even mentioned, head of The Family as well. Here he is seen as
a Lakota medicine man, illustrative of his Lakota background, dressed in a
buffalo robe complete with a buffalo head. His well-known long hair is
shown hanging free and his face is painted in a traditional pattern of red,
black and white. He carries an eagle's claw in his right hand and burning
sweet grass in his left. He has several eagle feathers in his hair and
wears a choker of bone and pipestone. His chest is covered with a
breastplate of bone. The technique for this part of the painting is similar
to an oil painting which allows for showing great detail. Standing behind
Greywolf is St. Michael--done with a much lighter touch, but with great
detail as well. St. Michael holds a shield to protect, not himself, but
faint figures seen in the background, and he stands with sword raised.

     The Artist's Comments: There was never any question of how Greywolf
would show up in this exhibition. His name made it very clear. Raised by
his Lakota grandfather until the grandfather's death, Greywolf was taken in
by an uncle who abused him horribly. Eventually he was rescued by an
Episcopal priest. After it became clear he needed healing from the abuse of
his childhood, the priest took him to a Lakota medicine man. Near the end
of his stay with the medicine man, he went on a vision quest during which
he was given his Lakota name Patanka. While the word means buffalo, it
means much more to the Lakota. Patanka, for a Lakota, holds the fullness of
one who protects the weak and provides for all. When he returned to the
priest, he sought baptism and was given a Christian name which resonates
with his Lakota one--St. Michael, defender of the weak and struggling. No
greater honor can be bestowed on a Lakota than being given an eagle
feather--this is the reason Greywolf is shown with several in his
hair. Should anyone doubt that Greywolf is well named, they need only ask
someone who was present when the former principal of Independence High
School made derogatory statements about a young man before the entire
student body!

     To the best of my ability, the symbols and clothing of Greywolf as a
medicine man are correct. I knew what he was to be in this series of
paintings, but assuring the accuracy of the representation required
considerable research. I hope I did it well.]



There were no comments on Greywolf's picture for the longest time. Then
Greywolf said, "Luke, you must have done some serious research because
there couldn't be a better representation of a medicine man. I must say,
though, I'm afraid you have given me more power than I have, but I think
Matt has inherited the spirit of a medicine man..." He was silent for a
moment, then said quietly, "One of my greatest wishes is that you and Matt
will have an opportunity to meet a real one. They have powers--great
powers--which I don't understand, but don't need to. The power is just in
them."



[Korean Mother--Yong Jin Greywolf: Yong Jin is Korean. She is shown here in
a hanbok, the national dress of Korea. Each stage in a woman's life
dictates the color and trim of the hanbok. Yong Jin is shown as a Korean
mother. Her hanbok is a deep, rich blue with white bands embroidered in
purple at the end of the sleeves and around the neck, announcing she is the
mother of a son. Her hair style is that of a married woman. Her dress and
hair style both show she is yongban, a member of the Korean aristocracy.

     The Artist's Comments: Because Yong Jin is obviously a lady, I chose
to show her as yongban, a member of the Korean aristocracy, regardless of
whether or not her Korean bloodline supports that position. She is dressed
as the mother of a son--again, not only because she is, but also because it
characterizes her. She is the mother of a son for whom she sacrifices, but
also for whom she has high expectations and on whom she places high
demands--gently, but firmly. But Yong Jin is not just the mother to
Matthew, she is also a demanding mother to the other sons and daughter of
The Family, never expecting or accepting less than the best any of them has
to offer in any of their life's endeavors. As a teacher, she expects and
demands the same of her students. She is shown laughing because, as she
once said, Koreans are the Italians of Asia and her frequent laugh, sense
of humor and enjoyment of conversation support the claim.

     Originally I planned to show her standing before Namsan, the sacred
mountain in Seoul, done in an ink and brush style. While that style is seen
often in Korea, I changed my mind after seeing a picture of Kunjongjon,
part of the Kyongbokkung palace complex. The use of the Korean decorative
coloring, Tanchong, used on the building is especially beautiful to me. The
seemingly simple yet complex patterns are painted in vivid colors of red,
orange, blue, yellow and green, plus others based on iron compounds. The
very brilliant colors and seemingly simple yet complex patterns were Yong
Jin for me. Thus, she is shown before the Throne Room of Kyongbokkung which
is decorated with Tanchong.]



"Obviously, more research, Luke. And I am glad you placed me before
Kunjongjon. It means so much to anyone who loves Korea. One day the whole
complex may, once again, be freed from the Japanese building erected to
stop the flow of chi and, maybe then, Korea will be whole again. And I
appreciate your ignoring my "tainted" bloodline. I am proud of it even
though it makes me a mongrel to most Koreans.



[Shaman--Matthew Sarang Hanun Pomul Greywolf: This portrait of Matt was an
extremely simple one to conceive, but very difficult to execute. The
painting reflects Matthew's Lakota and Korean spirituality in that it is of
a divided shaman, one side a Korean shaman and the other a Lakota medicine
man. Unlike the painting of Greywolf as a medicine man, which is done in
great detail using color, this one is done entirely in black and white,
appearing as a pen and ink drawing. Except for the face, the work is almost
an abstract. The two sides blend together in the face so Matthew is clearly
visible, but the balance of the painting is vague and unclear because
Matthew's vocation as a shaman is--to me and, I suspect to him--vague and
unclear.

     The Artist's Comments: There has never been any doubt in my mind that
Matthew Greywolf can perform magic since the first time I heard him play
the organ. And as the years passed, I sensed a great depth of spirituality
in Matt. Once, when he told his mother he could sense a presence before a
person came into the room, she told him he was from a family in which, for
five hundred years at least, there had been shaman--odd in Korea where most
shaman are women. Later, when Greywolf spoke of a Lakota medicine
man--another version of the shaman--I sensed a resonance within Matthew
with that tradition. As soon as I thought about doing The Family, I
realized Matthew would have to be presented as a dual shaman.]



"As I said," Greywolf commented when he saw the painting of Matt, "I think
Matt has inherited some, if not all, of the power of a medicine man."

"He definitely inherited power from his Korean shaman ancestors," Yong Jin
said confidently. "More than that, I am convinced he has also empowered the
Gang of Four. That explains how all four knew about their conception."

"Well, I can't come up with a better explanation," Jens said.

"I was sure when Luke told me he knew when Matt was approaching. Now with
Michael's positive statement that Margaret is carrying twin girls..." Yong
Jin mused.

"She certainly is," Michael was quick to state.

"I guess this is as good a time as any to make the announcement," Margaret
laughed. "I found out yesterday that he is at least half right. I am
carrying twins."

Kathryn Elizabeth and Mary Margaret to be specific," Michael said in a
definite no-questions-allowed voice.



[An American Pioneer--David Andrews: David Andrews is of Scottish-Irish
ancestry which goes back to before the founding of this nation. The
fiercely independent people from which David sprang settled in the
mountains of Appalachia and eventually some members pushed westward. The
painting is done in the style of Norman Rockwell, to many THE painter of
American life and ideals. Long dismissed as "just a commercial artist",
Mr. Rockwell's work has recently won wide acceptance and acclaim in the art
world with exhibitions in major American cities. David is dressed in
buckskins and is wearing a coonskin cap headgear like that made famous
years ago by the movie "Davy Crockett". He is leaning on a Kentucky long
rifle, peering off into the distance as though listening for danger or
hearing a call to adventure.

     The Artist's Comments: This is the only work in my exhibition which
consciously seeks to imitate another's work and style, but when I decided
David had to be portrayed as an early American pioneer, Norman Rockwell
immediately came to mind. While Mr. Rockwell worked in oils, this--as most
of my painting--is done in acrylics, but using the techniques I would have
used had I been working in oils. I chose to present David as a pioneer, not
only because of his background but also because, as a male nurse, he
pioneered in that field. Further, David was a pioneer in getting the first
serious EMS team and equipment for Concord and the surrounding areas.]



"Luke, I see you don't miss a trick do you?" My granddad would have been
proud of that painting and the fact that you chose the pioneer image. He
never grew tired of telling me stories of those folks who struggled,
demanding freedom in--and a living from--these mountains. Thanks," David
said.



[Guardian Spirit--Elizabeth Andrews: The painting of Elizabeth is is the
only painting in the series which has a different background. Here, instead
of the grayed off-white, it is a blue so pale it may appear at first as
white. The figure is almost invisible, having been done in a blue only
ever-so-slightly darker than the background. The figure is of Elizabeth
Andrews as she appeared in her most robust youth. She is seen standing on
Lookout Rock at the river falls, looking down on four figures playing on
the beach--The Family's four children at six or seven years of age. Careful
examination will reveal that Elizabeth is smiling, happy, observing the
children at play.

     The Artist's Comments: How does one paint a spirit? How can someone
who is no longer alive be portrayed as a presence as real as a living
person? This was the problem presented to me when I approached a painting
of Elizabeth Andrews. After years of happiness with little heartache or
pain, it almost seemed The Family was required to pay back bills when
Elizabeth discovered she had cancer. Her struggle was brave, but the
disease wrapped her in pain and took her from us--first because of her
disease and pain and then, finally, when her death released her from her
suffering. Yet, to a person, we know Elizabeth is still a part of us,
loving and watching over us. As I thought about how to go about the task, I
recalled many happy moments with Elizabeth, but kept coming back to the
idea that she was watching over us. It was this which reminded me of the
times she stood on Lookout Rock at the top of the falls, watching over the
four children playing below. That was Elizabeth. In deciding to convey the
idea of her as guardian spirit, I saw her--faintly--in that place watching
over us in happy days. To achieve a distinction from the living family, I
decided to change the background color of this canvas and to use the
slightest possible difference in color between the background and the
figures. It was only when I had finished the painting and was examining it
that I noticed Elizabeth was smiling.]



"Luke, I'm really glad you included Mom. I wouldn't have thought of your
doing so, but I should have known you would," Michael whispered with tears
in his eyes. "I know she watches over me. Most of the time I don't think
about her as much as I did, but I do miss her terribly at times."

"And you should," Margaret said as she placed her arms around Michael's
shoulders. It was the first time I had ever seen her really seem like a
mother to him. He buried his face in her shoulder and had a good cry as
David embraced the two of them.



[Greek Warrior--Michael Andrews: Michael is a handsome young man in every
sense of the word and he is a warrior for justice and right. This painting
joins the two. On the usual grayed off-white background is seen a Greek
style vase in black with white decorations, Michael as a Greek warrior,
spear raised, fighting off a snarling dog--the dog of prejudice and
injustice.

     The Artist's Comments: As a part of the application for a summer art
camp I attended two years ago, applicants had to submit a "study of the
human body". When the campers arrived, I was somewhat chagrined to discover
I was the only one who had done a nude! Others had drawings or paintings of
hands, faces, sketches of other parts of the body and only one other had a
full figure and it was a pencil drawing of a draped woman. I had done a
nude of Michael in charcoal and pastels. I recalled that work and decided
that, in order to show both Michael's physical beauty and his passion for
justice, there was only one possible answer: the painting you see--Michael
as a Greek warrior. Preliminary sketches I did were not satisfactory for my
concept but, as I was trying to decide on what approach to use, my sister
asked me a question about "The Odyssey" which she was reading for an
English class. When she showed me the passage, I noticed a small
illustration of a Greek vase on the page. The idea of a Greek vase painting
came to me and, at first, I dismissed it as pretty far out. However, as I
started sketching, I came to see the possibilities. When the painting was
finished, I found it struck the very note for me that Michael in his
youthful eagerness for right does in reality.]



"There's a real man and he's mine, all mine," Mary Kathryn said as she made
a great pointing gesture toward the painting and pulled Michael's lips to
hers for a mouth-filling tongue kiss.



[Mother Watching Over a Sick Child--Margaret Bailey Andrews: The painting
of Margaret was done as a period piece. The scene is a bed in a log cabin
with a child lying, back to the viewer, half-covered, and a woman,
Margaret, sitting beside the bed. She is seen in profile by the dim light
from a fireplace and the candle sitting on a table beside the bed. The fire
and candle cast a glow over her face and the bare back of the child. While
the child is obviously a nearly grown young man, she sees him as a
child. What can be seen of her face expresses both her deep concern and her
boundless hope as she watches into the night. The colors used are muted
earth tones illuminated by the warm glow of fire and candlelight.

     The Artist's Comments: The world knows Margaret Bailey Andrews as a
doctor, and that she is. However, The Family came to know her in more than
a professional role when she was called upon to help save the life of one
of the family's children, me, who lay near death. While the child in the
painting is obviously a young man, the concern shown by Margaret is that of
a mother watching over her child. I chose the setting to reflect Margaret's
own heritage as a child of mountain pioneers--as is her husband David--and
the courage of those women who left the comforts of the "civilized" part of
colonial America to follow their husbands and families into the
wilderness. The darkness surrounding the two is intended to indicate the
seriousness of the situation, but the glow of fire and candle suggests hope
and happier days ahead.]



Millie, who had been standing behind The Family, said, "Beautifully done,
Luke. Beautifully done. And for those of us who know you, there is no doubt
who the young man is. Margaret, you did the world a great service when you
kept this young fellow alive."

"I was only a part of what kept him alive, a very small part. Matt has to
take most of the credit. He may not be a medicine man or a shaman, but no
one will ever convince me otherwise," Margaret responded.



[The Artist's Comments on the Series: When I first thought about painting
the members of The Family, I intended to do rather traditional, almost
photographic, likenesses but the more I thought about it, the more it
became a spiritual journey into what The Family is and means to me. I
realized, as soon as I started painting, that I had undertaken a major
project--since the entire series had to be completed in a three-month
period. Often it seemed I would never complete the paintings but, when they
were finished, I realized that I knew and loved The Family as I had not
done before. That, alone, made the exercise worthwhile for me. I hope the
results are worthwhile for the viewer.]



"Luke, I don't think I have ever known a family who has been honored as
much, and certainly not more, than you have honored yours in these
works. Not only are the paintings and the sculpture outstanding art--and
while I'm no expert, I know they are--but they also speak of a deep love
and affection not often found among today's families, I'm afraid,"
Ms. Wright said.

When we had finished with "The Family," all those present read their
catalogues and spent time where they wanted looking at the rest of the work
in the main gallery.



[Exercises, Techniques, and Methods: On the wall opposite "The Family" are
displayed works by the artist produced as required exercises in art classes
and art camp, experiments with techniques and tools, and application of
various methods. These will be described briefly beginning near the back
wall and moving clockwise.

A Vase: Done as an assignment in a pottery class, this is the only example
of wheel thrown pottery found in the exhibition and the only one owned by
the artist. He says, "I must have thrown a ton of clay before I achieved
anything worth keeping. When I had created this pot, I was finished with
trying to throw pots." The pot stands twelve inches high and is similar in
shape to American Indian pots. The glaze has a white slip underglaze
covered by a terra cotta color opaque final glaze which has been engraved
to allow the white slip glaze to show through. The design is based on
pre-Columbian Mayan patterns of circles and curves.

Michael--A Nude Study: This charcoal and pastel study of Michael Andrews
was part of the inspiration for Greek Warrior in "The Family"
series. Michael is shown standing, arms outstretched, in the exuberance of
youth. His strength and physical beauty are apparent, as is his joy at
being alive. (Artist's note: This sketch is the property of Mary Kathryn
Larsen and was graciously loaned by her for this exhibition.)

The River Falls at Night: Another class assignment, this time for a
photography class, resulted in this picture. The assignment was to capture
a night scene. The artist chose not to do an obvious one--a brightly
lighted scene--but to attempt to capture a special place, the river
falls. The final print was the result of several night's experimentation
and at least half a dozen rolls of film. The length of the exposure is
evident from the track left by the rising moon above the lip of the falls.

Lifeline--A Montage: "Using anything you like, create a montage of your
life. You may use photos, magazine pictures, objects. The only two rules
are you may not leave any of the background showing and you may not use
words except those found on objects or pictures." This was a semester-long
class project in my junior year. The result was much larger and more
complicated than I anticipated but, when I started gathering materials for
it, I found so many things I wanted to include: one of my first baby shoes,
my first book which bears teeth marks proving I attempted to read it with
my mouth, school pictures from the first grade on, magazine pictures of a
bicycle, a report card from sixth grade, a picture from my junior high
prom, a note from Greywolf to my dad telling him Matt and I had been
showing off in Matt's new Jeep and he was grounding us for six weeks, a
number of matchbox cars from a collection I started in grade school and
continue to the present, and many other things. The actual time line
follows a serpentine route over an entire sheet of plywood.

Costume Designs: These are sketches for some of the costumes designed for
Independence High School's Drama Club's 1993 production of "Macbeth". Shown
are the battle costumes of Macbeth and Macduff, Macbeth's costume as king,
the costumes of the three witches, Lady Macbeth's costume--worn at the
beginning of the play, and her sleep walking costume.

     The Artist's Comments: Asked to design the costumes for "Macbeth", I
really didn't know where to begin. In the light of the fact that I was
given a free hand, I looked into how the play had been costumed in recent
productions, some using modern dress. I quickly decided to go with the time
of the setting and started research into the dress of the period. The
acrylic watercolor sketches are the result. The major characters' costumes
are pretty much what one would expect, but the witches offered an
opportunity to experiment. One is dressed in a filmy grey and black costume
which looks much like rags. Another is dressed in a distorted version of
court dress with the expected bright colors and careful fit changed to
muddy browns and yellows and the fit made loose and askew. The third witch
is dressed as a temptress in a clinging gown of translucent green. All
characters are shown on the set which was also my design.

Life, Death and Transformation: This is a highly abstract oil, one of the
few in the exhibition, which uses color to signify the three stages in this
spirit journey. Moving from left to right and bottom to top, life is
symbolized by green, death by black and transformation by yellow. The paint
has been applied to the canvas with a palette knife in geometric shapes and
swirls. Each stage blends into the next, moving from the rich green in the
lower left corner to the almost-white yellow in the upper right corner.

     The Artist's Comments: Having gone through a near-death experience and
a transformation, I sought to convey something of that experience through
painting. Clearly, I came to understand, it was possible only through a
metaphor, an abstract, in which colors represented the journey I had
taken. I chose green, the color of life, to represent my life before the
experience. It is the color of spring, of growth, of life itself since we
are utterly dependent upon the green of plants for our life. The paint has
been applied to the canvas with much texture as life is many textured. When
I first conceived of the painting, I thought of using black for death, but
recalled the actual experience where death appeared as darkness, but not
simply black--it was a smoky darkness. The paint has been applied to the
canvas in great swirls as if drifting smoke. This is most noticeable when
the color gradually lightens to a dark gray. As with death, my initial
choice of color for the transformed life was different from the final
choice. Initially I had chosen red, the color of blood. However, as I
thought further, the proper color was yellow, the color of
light. Accordingly, the transformation aspect of the painting ranges from a
gray, smoky yellow where it mingles with death to the very bright and light
yellow of the full transformation. Here the paint has been applied in a
manner that suggests rays of light.

The Fellowship of the Rings: A pen and ink drawing of the right hands of an
Independence High School group dedicated to elimination of prejudice and
discrimination. All ten selected Hopi overlay rings as a symbol of their
fellowship. The rings are shown on the hands which form a circle, a
fellowship circle.

     The Artist's Comments: Originally calling themselves by the somewhat
arrogant name "The Select Few", Michael Andrews, Mary Kathryn
Larsen--sophomores, Linda Randolph--a junior, and Matthew Greywolf, Paula
Wright, Larry Watley, Eugene Willingham and myself--seniors--were a group
of high school friends. Contrary to custom, Michael was persuaded to run
for student body president, usually seen as a junior privilege. During the
campaign, Bill Lance joined the group after Michael's campaign posters were
vandalized. Two of the group had purchased Hopi overlay rings which were
admired by the others and all decided to select and wear Hopi overlay rings
from the collection of Mr. Swartz of Swartz's Jewelry Shop. Bill Lance,
very angry over the vandalizing of Michael's posters, announced he was
withdrawing from the campaign in support of Michael Andrews. When he made
the announcement on the school TV, Bill displayed his ring and announced
that he was a member of "The Fellowship of the Rings" and the name
stuck. Not a part of the original "Fellowship of the Rings", Jacob
McAllister joined the group after the election. The pen and ink drawing was
done from many sketches made during lunch which the group eats together.

Mentors--Michael Sanders and John Stephenson: A pencil drawing of Michael
Sanders and John Stephenson shows the two men working while setting up this
exhibition.

     The Artist's Comments: This is my latest work. Mr. Stephenson has been
my art teacher since junior high school. Uncle Michael has been an art
dealer in Charleston for many years and is a graduate of the Chicago Art
Institute. When he came to live in Concord, he offered to help mount this
exhibition. During breaks, I sketched the two men and then, from memory and
the sketches, did this pencil drawing of the two at work--my two mentors.

Prom Queen--Paula Wright: This full-length portrait is of Independence High
School's 1995 Prom Queen, Paula Wright. The figure is done using acrylics
as one would oils. The figure stands alone on the canvas before a
background of white with the faintest tinge of green. She is dressed in a
red Korean hanbok with accessories and hair style which might be seen on a
young Korean bride.

     The Artist's Comments: Paula did me the honor of being my prom date
for this year's prom. Her dress was kept secret until I arrived to pick her
up. Yong Jin Greywolf and my sister Mary Kathryn had decided she had the
coloring and poise to be beautiful in Mrs. Greywolf's hanbok. Needless to
say, they were correct. After this exhibition, this portrait is a gift to
Paula's mother, Ms. Sandra Wright.]



Mom and Yong Jin got a great kick out of playing "do you remember" as they
looked at the montage. Ms. Wright exclaimed over the painting of Paula and
actually squealed when she read that it was to be hers. When she did, she
ran over and hugged me and gave me a huge kiss. "Just wish you were
available," she laughed. "If Paula didn't grab you, I think I would try to
interest you in an older woman!" Having been around Matt too long, I
blushed.

Uncle Michael and Mr. Stephenson forgot where they were, I guess, as they
stood before the drawing of the two of them. They were holding hands like
two teenagers. "Your first sale, Luke," Uncle Michael said. "I'm offering
$1,500 for the drawing and if someone else wants it, I'll pay $100 more
than their highest offer. That is mine and John's for the house. And I want
'Life, Death and Transformation'. I think there will be several offers for
it, so we'll wait about setting a price, but I want it."

"Uncle Michael, I feel I should give the oil to you for all you have
done. And I am definitely giving you and Mr. Stephenson the drawing. It's
your housewarming present. I would be honored to have you accept it."

"Luke, we would be pleased and honored to accept, wouldn't we, John?"

"Indeed we would."



[The Second Gallery

The Second Gallery is located across the hall to the left.

Retrospective: This gallery contains examples from throughout the artist's
life and needs no explanation.

     The Artist's Comments: A retrospective? A not-quite-eighteen-year-old
with a retrospective? That was a question I asked when it was suggested by
my mentors. Both reminded me that a retrospective traces the development of
an artist, regardless of age. Accordingly, Uncle Michael and Mr. Stephenson
asked my parents and members of my extended family for anything they might
have for this exhibit. The two men made the selection and mounted this
display. In the retrospective, you will see a crayon "drawing" made before
I started going to school, a Thanksgiving turkey made from a hand print in
kindergarten and other things I drew, made and painted since I was three or
so until the present. It is a kind of "empty the attic" exhibition which I
hope you enjoy.]



I knew the general public would not get the kick out of the retrospective
members of The Family did. They were all soon busy playing, "Do You
Remember When?"

"There's Luke's masks of the three other kids," Mom said. "Remember when he
did those? The first time he was doing Michael, he forgot to oil his face
well and we had to chip off the plaster. Michael was doing his best to
scream and yell, but his face was all sealed behind plaster!"

"There's his first oil. He painted that in Matt's room--I can't remember
why" Mom said.

"I do. I had told him if he did it in his room I'd bust a bottom," Jens
laughed. "And with good reason."

"I learned that when I went up after it was finished and Greywolf and I had
to get paint remover to clean up the floor. But the painting of the barn is
good. It never looked like a child's work," Yong Jin said. "And how old was
he? Eight or nine as I recall," Yong Jin said, still looking at the picture
of our red barn.

Other such comments continued as the retrospective took on the appearance
of a retrospective of the life of The Family.



[The Third Gallery

The Third Gallery is located across the hall to the right and contains what
must be termed commercial art.


Posters:

Macbeth: This poster for Independence High School's 1993 production of
Macbeth shows Macbeth and Macduff meeting with the three witches on the
heath. The figures are done very realistically and the lettering is of the
period.

A Midsummer's Night's Dream: Done in watercolor, the poster for
Independence High School's 1994 production of "A Midsummer's Night's Dream"
captures the fairytale-like nature of the play. The characters are shown in
the famous forest practice scene with Bottom in the donkey's head.

Campaign Poster: Michael Andrew's campaign for student body president at
Independence came at the insistence of a group of friends following his
bold stand against prejudice. Michael was the first student to challenge
the principal's derogatory remarks concerning a former student and
spearheaded a service of repentance and memorial for that student, Gregory
Burnette who, because of prejudice, took his own life. The poster shows
Michael jumping hurdles--he is on the track team--and his slogan: "No
hurdle too high for Independence with Michael running!"

Concert and Exhibition Posters: These have been seen all over town. Done in
blues, they are caricatures of the three leaders of the concert/recital and
of myself: Paula Wright, Eugene Willingham, Matthew Greywolf and Luke
Larsen. The lettering was chosen from a serif font discovered in a book of
18th-century font designs.

The Recital/Concert Program Cover: The decision to use lettering as
decoration resulted in this cover. The background is a rich ivory and the
lettering is done in an iron oxide brown. The very fancy cursive font was
found in the same book as that used for the posters.

The Exhibition Catalog: The cover for the exhibition should have shown one
of the major pieces from the exhibition. This posed two interesting
problems. Two of the pieces which might have been on the cover were to be
kept secret until the opening of the exhibition. "The Family", which might
have been used otherwise, did not lend itself to photography. The final
decision was to utilize the caricature of the artist already used for the
poster announcing the combined concert and exhibition.


The remainder of this collection are caricatures done in pastels and
charcoal.

Millie Willingham, shown in her full glory with her J. D. and branch in
hand. (Author's note: For all of you who do not know, J. D. is Jack
Daniels, a Tennessee sour mash whiskey--and if you're old enough or a real
rock and roll fan, Janice Joplin's drink--and branch--as in branch or
creek--is the southern expression for water added to sour mash whiskey.)

Fr. Thomas of St. Mary's, shown in full vestments, but racing to the front
of the church for service, late as usual.

Gladys and Chelsea of ICU, shown dressing down an unknown doctor.

Mr. Ron Mitchell, shown explaining a calculus problem to a group of
bewildered students.

Bill Lance, ladies man and jock, evidenced by the lipstick on his face and
his basketball uniform.

Ms. Jones, shown in her principal's office, laughing at some student prank.

Linda Lipinsky, shown in full battle array ready to do battle with any male
who does her wrong.

Jacob McAllister, shown extending his hand to Michael Andrews after the
student body election.

Herr Dietrich, shown examining the clay models for "The Family" bronzes.

Mr. Tom Washington, shown looking over a bronze casting.]



Again, those looking at the pictures revealed their own interests as they
looked and chatted among themselves. "Luke, I'm pleased you chose to put my
drink in a Jack Daniels' glass. Don't own one, but would hate to think
someone might get the idea I drink Kentucky bourbon," Millie laughed
merrily.

"Luke, I almost stole that caricature of myself before my mom saw it, but I
guess she's seen worse. At least the lipstick is on my face!" Bill grinned.

"Luke, are Mr. Washington and Herr Dietrich coming to the exhibition?"
David asked. "It would be a pity if they didn't."

"Mr. Washington called earlier in the week to say Herr Dietrich was ill and
he didn't know whether they would make it or not. He called again and said
when he told Herr Dietrich he thought he was too ill for the trip it was
like magic medicine. He was up and around the next day. They drove over
yesterday and spent the night so Herr Dietrich wouldn't become overly tired
and they will be spending tonight here as well. I tried to get them to stay
with us, but Mr. Washington felt that a hotel would be best. But they will
be here."

"Even if you couldn't see his face, everyone who knows him would know you
captured Fr. Tom," Linda said. "It's the 10:59:59 sprint to the back of the
church for the 11:00 service, sure enough."

"How many times have I seen that look on Ron Mitchell's face," Greywolf
laughed. "Calculus is so simple to him he just can't understand how
students don't get it."

"I appreciate the scene you chose to put me in," Jacob said. "I really
learned a lot from the election. Frankly, I think it is my finest moment to
date--I mean acknowledging that the better person won. And it was the
beginning of friendships I will remember always."

Linda just looked at her caricature and said, "What can I say? It's me all
right."

And so the conversations went.

After everyone had seen all they wanted to see, I said, "Ok, if you will
all gather in gallery four, there is another unveiling."



[The Fourth Gallery

The Fourth Gallery is located directly across the hall from the Common
Room.]



When everyone was present, I lifted the veil from the one piece which was
absolutely not for sale--ever. There had been silence when "Surrounded by
So Great a Cloud" was unveiled; now there was the sound of sudden intakes
of breath when I unveiled the only work in the fourth gallery.



[The Fourth Gallery contains a single painting "Matthew Sarang Hanun Pomul
Greywolf": The medium is acrylic, but the technique is one used with oils.
Done in great detail, the painting is a full length, life-sized portrait of
Matthew Sarang Hanun Pomul Greywolf. He is dressed as a Lakota warrior in
moccasins and a breech cloth of white buckskin which emphasizes his
darkness. Aside from these, he wears nothing except a headband, choker, and
arm bands of red and black bead work--the colors of a warrior. Shown in
profile, his face is also painted in a red and black pattern suitable for a
warrior. In his hair, which is loose and streaming in the wind behind him,
are two eagle feathers--a mark of honor, and especially so for this young
warrior. Clearly visible on his cheek is a scar received in his battle to
save a life while risking his own--the mark of a true warrior. He is
looking into the distance, seeing what others may never see.

     The Artist's Comments: Once, while walking with Matt across the meadow
from the falls on the Sequoyah River, a stiff breeze came up and caught
Matt's unbound hair, causing it to stream out behind him. In a flash, I saw
him as a true Lakota warrior. The sun highlighted the scar he had received
when he gave no thought to himself in order to save my life. I knew I
wanted to capture that picture and struggled off and on for several weeks
trying to do so. I did sketch after sketch without success. Then, one night
after I had been working for some time, the portrait you see suddenly
flashed in my mind. I grabbed my brushes and started painting furiously
before the mental image disappeared. I painted until sunrise, working
without stopping. I painted until I had captured the spirit of Matt. When I
laid down my brushes, the picture was complete as you see it. Not another
brush stroke was added.]



After the initial intake of breath, silence descended upon the gallery.
People moved, as little as possible, to allow everyone to get a good view
of the painting. I was afraid to look up and see what was going on.
Finally, when I did, I saw tears streaming down Matt's face. Greywolf had
become a Lakota chief, standing proud, looking first at the painting, then
at his son, then back at the painting. Yong Jin was teary eyed as was
Gabrielle. Dad stood, looking like Beowulf, acknowledging another great
warrior. The silence was finally broken by Millie who whispered softly,
"Greater love hath no man..." Matt moved across the room quietly and stood
before me, looking at the painting as he reached behind himself and took my
hands. The silence descended again after Millie's statement and lasted for
at least five minutes--it seemed a year--then everyone started talking at
once, all wanting to tell me how great the painting was. Matt knew how to
let me know and, in front of everyone, took me into his arms and gave me a
deep, passionate Matthew Sarang Hanun Pomul Greywolf kiss.

"Beautiful job, Son," Dad said. "I am proud of you beyond measure. Matt,
you have a fantastic mate. Love him for your lifetime." I could hardly
believe my ears.

Almost everyone wanted to look at something a second or third time so it
was almost 1:00 when Uncle Michael closed and locked the doors. "Everyone
is invited to my place--I guess I need to say our place, mine and
John's--for lunch." And that was how the newest couple was introduced to
the family.

******************************************************************************
I certainly hope that each of you were able to imagine the works in this
exhibition. In writing this section I have discovered that even though I
can't draw worth diddly, describing a work of art is a poor way to display
it. Maybe one day someone will become Luke Larsen long enough to do a
painting. Who knows?

Remember,you write, then I write. pendor@mailcity.com
Sequoyah