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Last login: 4 hours agoEzreader: Annelise is a 37 year old woman in a relationship from Between The Lines, California, USA.; Likes 2,788 pages, 98 videos, 47 photos • 808 fans • Received 255 reviews; Member since Jul 10, 2007

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May 12, 6:11pm: Hello, My Friends~ Thanks so much for visiting. I will be posting my new page in the next couple days, and then writing for it over the week. (Hey! What happened? Who is this woman? Impostor!) See you soon. ~Annelise xo

I want to crawl into the raging sea, and drown in its depths so that I can breathe...~A

~We still are, and we always will be, my SecretE~

_______________________________________________________________________________________________ ______

Sandra Flood "Again" (What Comes ~A): Ah, lovely. It is a rare and wondrous thing when one can find a current day painter who incorporates the traditional values of art and is genuinely painterly. I am not implying that one must be a carbon copier of the masters to produce viable art; I am suggesting that the greatest works of the masters are great for a reason. Flood understands: composition, balance and tension, application of medium, color sense, purposeful use of positive and negative space, and the indefinable element that equates to more than triviality. And of course, for me, there the emotion that is the essential part of what attracts me to a painting. Flood is an introspective studier of human experience. It is as though she is writing a character driven novel with her paintbrush. I love the exact spot where which the figure resides on the canvas. Of course it is common knowledge that a key element to composition is an off-center point of focus. The woman here is placed just one space beyond "that" place, and this adds to the compositional and psychological tension of the painting. The overwhelming blue of this work, almost monochromatic, serves a purpose as well. Psychologically the blue dominates as mood, and compositionally, the predominance of it becomes a backdrop and allows the woman to completely impact and interact with the viewer. Then, there is the red sash tied around her middle. This makes the whole painting work. It is essential to the color composition. Red is a tremendously powerful color full of the symbolic implications. (continued)

Her skin tone is magnificent and agitating. And look at the application of paint. So in the moment. The sparseness of background allows for no distraction of other elements. This work is all about her. There is so much in the gesture of her body. Body gesture is one of my favorite things in a work of art. It speaks of the character's state of being. It can be so powerful. Here, there are both straightforward and conflicting emotions in her gesture, and again, more tension. And then there is her face. The expression on her brow is guiding the voice of the rest of her face. There are her averted eyes, and her pouted lips; but it is the furrow of the brow speaks most loudly of her discontent. What are you looking at or looking away from? Or whom? It is a someone from your before, a someone who haunts you? A someone form your present? Your future? You, alone in a room of blue isolation, with only a reflection of light, not the real thing. Do the walls contain you or close in on you? Keep holding onto yourself. You are all that you have. Tie your red ribbon tighter and maybe the pretty will stop the pain.

Memo To Her
~Annelise 2008

You keep looking behind you to see
What you've lost
So much that what you haven't
Slips away and away
You've made a science of it
But at what cost
Because you've paid the price once
For your unforgivable treason
Why do you keep paying
For the same crime
Time after time
Look in front of you
Can't you see what might be or
Are you so afraid of choice that you will never be free

List of emotions - Wikipedia, the free encyclopedia: Apr 22, 5:52pm 3 reviews acting, poetry, psychology, writing, fashion-photography •http://en.wikipedia.org/wiki/List_of_...; Emotions: Robert Plutchik created a theory of emotions in 1980 which consisted of 8 basic emotions and 8 advanced emotions each composed of 2 basic ones.

Annelise Editorial: Plutchick's is just one of many theories of emotion. I like the way that this theory is laid out. The idea is that basic, or "primary" emotions combine and "blend" into more complex or "secondary" ones. It is very much like the color wheel, and Plutchick's visual organizer of his theory is laid out like a color wheel. I think that not only are there is also another tier of even more complex or "tertiary" emotions. These emotions, as yet without a common nomenclature, would be a mix of a basic emotion with an advanced one. (continued)

The following are some examples of experienced emotions without names. The advanced and advanced opposite, or secondary emotions precede the basic and basic opposite, or primary emotions, in these equations that result in the tertiary emotion. 1) Fear + Remorse = x emotion 2) Contempt + Acceptance = y emotion 3) Dissapointment + Fear = z emotion 4) Anticipation + Contempt = f emotion 5) Dissapointment + Acceptance = g emotion 6) Love + Sadness = we know

Mortal's Ache
~Annelise 2008

How many blows to the phantom soul
Will you be able to take
Until you finally give up or give out or give in
You've nothing left at stake
So when will you once and for all
Just say goodbye to the last daybreak

There is a well worn path and never loved
Which will lead you down to the lake
Along the edges are rocks and flowers
Ready for you to throw and break
Slip off your dress and leave it at the edge
A final reminder of a sort of mistake

Apr 22, 5:51pm: Sandra Flood "Tuesday's Child" (She Is Not ~A): This painting is so powerful for many reasons. One is its absence of color; it is painted simply in umber, black, and white. I am speculating that this may have been the underpainting for a final work which Flood intended to "complete" by adding color to. So-called happy accidents are often an artist's best friend, if the artist is astute enough to recognize a gift beyond her intended vision. Upon seeing the result of her subject without color, she may have decided she had found the voice of this work. The absence of color breeds an ominous presence in the painting that would never have been with color. The brushwork is delicious. The strokes are so apparent: bold and quick, decisive and frenetic. This painting is stunning in its force. The girl confronts the viewer. She engages the viewer. (continued)

There is such an unsettling connection between what is a representation of a person, and the flesh and blood viewer. The girl appears to come to life, hovering just above the surface of the canvas. She is telling the viewer things with her eyes and speaking with her mind. I wonder if the girl sat for the artist, or if Flood painted from a photograph. The interpersonal dynamic is so intense that it would be interesting if it came from the girl in the moment or if it was more interpretive on Flood's part. I need to know what or whom the girl is seeing, so I can know what she needs or wants. Then again, who she is, exists in each of our minds. And what she wants or needs is a refelction of the self. She is each of us. (But I think know what you want little girl, you want to be set free. You might even want to live in color.)

Another Day's Girl
~Annelise 2008

The child asks a question,
"What is full of woe?"
Oh. She does not like the answer.
She wants to be the fair of face.
Or full of grace.
Those were better, and of course she is those things.
And more.
The child was told it was a silly rhyme,
"A day of the week
Cannot define you."
Oh. She wants to believe this.
Born on the cusp of woe and far to go.
The child hangs her head and keeps walking.
A woman's shoes are hard to fill.

Depression (mood) - Wikipedia, the free encyclopedia: Apr 22, 5:40pm 1 review mental-health, psychology, writing •http://en.wikipedia.org/wiki/Sadness; Sadness is a mood characterized by feelings of disadvantage and loss. When sad, people often become quiet, less energetic and withdrawn. Sadness is considered to be the opposite of happiness, and is similar to the emotions of sorrow, grief, misery and melancholy. The philosopher Baruch Spinoza defined sadness as the "transfer of a person from a large perfection to a smaller one." Sadness is a temporary lowering of mood ('feeling blue'), whereas clinical depression is characterized by a persistent and intense lowered mood, as well as disruption to one's ability to function in day to day matters.
Annelise Editorial: Sadness and depression are sister emotions, connected by blood, yet not identical. I see how sadness is similar to sorrow, grief, misery, and melancholy how they are related; yet these are not identical states of being. They are non-synonymous emotions; each has an individual connotation. They are experiences of nuance (Ooooh, nuance!). Sorrow feels like a general sadness connected to an accumulation of life events with regret as a predominating over-layer, or as a sadness related to the state of the world at large. (continued)

Grief, feels like the most basic feeling of sadness that is always associated with loss, either through death or through the end of an intimate relationship. Misery seems to connote a self-inflicted state of being related to how one sees one's own life. It is a feeling of perceived lack of control to do anything about ones unhappy life situation. And then, there is melancholy. Ah, melancholy. This emotion feels very deeply like a spiritual state of being to me. I do not see specific events contributing to the state of of melancholy. It seems inborn, a part of the make up of a particular individual. Melancholy is experienced as a chronic condition, an innate and in extricable part of the person afflicted with this malaise. I understand the theory that when one remains "stuck" in any one of, or a combination of, these states of being, they will exacerbate and eventually evolve into depression. We all have the potential to take in these any of these sadness spectrum emotions, and carry their weight within us. But what I have come to believe more recently is that painful emotions are necessary for human development. Perceived negative states help us to learn about ourselves, and to develop as individuals. So out of pain, will come growth, if one perceives it as a necessary experience. It is inevitable. This may be common knowledge to some, but I'm just talking to myself. I tend to do that...

Other Names
~Annelise 2008

I know well what we must say
And you know well what we try to seem
Those noble words that spill from our lips
Barely taste the truth of what we mean

We speak about the real and of the right
As you and I dance around temptation dreams
We call one thing by the other while another
Hangs in our midst untouched yet not unseen

Both
You know
And I know
The name
Of this
Thing

Apr 22, 5:29pm: Sandra Flood "Allison" (Facing That ~A): Here again Flood represents her subject as a singular being, alone in a room. First I will speak to the phenomenal sense of composition Flood has. I love the sparse background, the simplicity of color, and the strong shapes, both positive and negative, in this painting. These things allow the woman to be the point of focus. There is no excess that would lead to distraction. Two of the strongest points of impact of this painting are the perspective from which we are allowed to view the woman, and in the gesture of her body. The point of view allows us to view this woman from a place where we would not see her if we were sitting in the same room with her. It is though she is unaware of our presence, making this moment even more genuine. This decision by the artist is not only compositionally significant, but also psychologically.

Seeing from above is like seeing into, from a higher place, a place of truth. Her body masks what she wants the world to see. But as a voyeur, we see her for all she is. Her body is hunched over and drawn inward from her core. Her arms are crossed, as she almost looks to cling to herself. Are you all you have? Her nearly crossed legs clamp onto one of her arms, as they too turn inward. This is a psychological juxtaposition to her relatively bare physical attire. Is there someone else in the room with you? Who are you looking at with your listening look and cut off body? Are you listening to yourself? Have you ever? Do you have anything to say? You do! What are you protecting? I think you are afraid. But I don't remember what you are afraid of. Tell me!

Under Siege
~Annelise 2008

There is a certain type of woman,
Of course you know her well,
Who lives to hide beneath the bridge
She's built between the earth and hell.

(And when you come around)

Oh she will turn the other way
And twist her rope of prayer,
Reaching out with neither hand nor voice.
Hope, a river, stretched out and bare.

(And you keep fading away)

Compassion - Wikipedia, the free encyclopedia: Apr 22, 5:22pm 1 review buddhism, writing, fashion-photography, pyschology •http://en.wikipedia.org/wiki/Compassion; Compassion is an understanding of the emotional state of another or oneself. Not to be confused with empathy, compassion is often combined with a desire to alleviate or reduce the suffering of another or to show special kindness to those who suffer. However, compassion may lead an individual to feel empathy with another person. Compassion is often characterized through actions, wherein a person acting with compassion will seek to aid those they feel compassionate for. Acts of compassion are generally considered those which take into account the pain of others and attempt to alleviate that pain.
Annelise Editorial: Most of our experiences with compassion are, of course, with regard to our fellow human beings. Compassion involves taking into account the pain of others. This instinctual (?) need to alleviate the suffering of another being is a natural and simple act. It is an act of giving which does not take away from the well being of the giver. In other words, both the giver and receiver of compassion benefit. It is easy to be selfless in this respect.

However, when one must make a compassionate decision for oneself and another, and this act will cause emotional pain, then the selflessness of compassion becomes not so natural, and much more difficult. For example, suppose that one is having a head versus heart dilemma. One knows (logic) what is right but one wants (emotion) the opposite. The head must override and make the compassionate decision for the heart in this case, for the ultimate good of those involved in such decisions. One must hurt oneself to do the right and compassionate thing. One must also watch another hurt in making the same decision. One must hope that the pain of the heart as a result of the right decision will ultimately lead to a place of peace in the long term. One must hurt to be compassionate with the self. One. One. One. Goddamn general term. (Two.)

Crucify
~Annelise 2008

Why do you give just to take things away
Why do you make me wake to see another day
Why do you watch me and turn your back
You leave me to fend for myself with your life attack

Why do you give me blood just to watch me bleed
Why do you make me breathe then leave my soul in need
Why do you lend me a voice that can do nothing but cry
You give me so freely then delight when pretty things die

Apr 22, 5:19pm: Sandra Flood "Valentine" (More Than you Knew~A): Oh, yes! This work is my favorite of Flood's paintings in terms of color palette, shape in composition, and brushwork. I love how her use of a nice wide flat brush (those are the best!) lends immediacy to the painting. There is an effortless, almost careless appeal in the paint application. The way the paint is applied helps to defined form down to basic, decisive shapes that are in part defined by the brushstrokes themselves. This work is simple, but not in a rudimentary way; it is simple in a sublime way. The color is so viscerally appealing: the coffee and cream like browns and whites, and then the powerful impact of strategically placed red. Psychologically, this work is nowhere near as placid and subdued as the compositional elements. The calming effect of the composition may throw the view off guard. (continued)

The woman is very strong in her stance and expression. Her body, seated, reflects calm and control. Her crossed arms indicate a protectiveness or guardedness. Her neck and the way she holds her face are so confrontational, yet apathetic. There is a very interesting blend of emotions here. Her emotions are as complex and raging as the composition is simple and beautiful. Nice juxtaposition. These things draw the viewer into the work and keep one totally engaged. So, your painting is called "Valentine." Why do you hold it this way? Why do you hold yourself that way? What do you think of the one who has given this heart to you? (You had better be quiet now. Don't you know that you are screaming?) You return the gift with your silent deadly crimson lipped kiss.

Life In Measures
~Annelise 2008

First there nothing but
The way you felt.
And then one, by one, by one
You began your life of consumption,
Liquid and hard.
Next came a ride with no breaks
And your division playing
Game of more, and more, and more.
You lost count each time,
And over the years,
Of one, then the other after that.
So you calculated
Your redemption strategy
With the remainder being twice
The tragedy, and again
You chose the next course of action.
As you wait, and wait, and wait,
For life or distraction.

acceptance definition - Dictionary - MSN Encarta: Apr 22, 5:11pm 1 review linguistics, philosophy, poetry, fashion-photography, pyschology •http://encarta.msn.com/dictionary_/ac...; Definition of "Acceptance"

1) willingness to believe: willingness to believe that something is true
2) coming to terms with something: the realization of a fact or truth and the process of coming to terms with it
3) toleration: the toleration of something without protest

Annelise Editorial: I don't like to accept things that I don't like. I don't like having no choice but to accept. I know I need to accept the things that I cannot control and over which have no choice. It is part of life. I know I have to accept the things I find unacceptable. But I don't have to like it.

Holding On
~Annelise 2008

I am there in one way
But I am here
Alone
Where this is untouched
And that is touched

Apr 22, 4:59pm: Sandra Flood "In the Wind" (It Speaks ~A)

This Lament
~Annelise 2007

Your blue is too close yet not close enough
To see shapes shift and take form in the wind
Showing this face then that and giving reason
For the green earth to die and taste of its sin

I am burning to death and giving in
I am drowning in the ocean deep within

Your seasons turn and strip off their masks
To alter air and fire and water and ground
Changing color and contour with no warning
To hide in shadows and speak without sound

hope definition - Dictionary - MSN Encarta: Apr 22, 4:51pm 1 review linguistics, philosophy, psychology, writing •http://encarta.msn.com/dictionary_186...; Definition of "Hope"

1) (verb) want or expect something: to have a wish to get or do something or for something to happen or be true, especially something that seems possible or likely
2) (noun) confident desire: a feeling that something desirable is likely to happen
3) (noun) wish or desire: something that somebody wants to have or do or wants to happen or be true
4) (noun) (archaic) trust: a feeling of trust

Annelise Editorial: Understanding a concept is one thing, yet feeling is another. Do we as humans need hope to survive? As a species? As individuals? What benefit does hope bring to ones sense of well being. Is having hope what emotional and mental well being is? What if hope is false? Does that make a difference? Or is hope a perception like everything else? Is hope innate or learned? Beyond definition, really, what is hope, the intangible? It is an essence. It is a siren. It is a trickster. It is alive. It is elusive. It is a giver. It is a taker. It is a seductress. It is heartbreaking. It is painful. It is false. It is a shadow.

Surrendering
~Annelise 2008

Take my soul and all I am
My body and my heart
And give me all that I can stand
Then tear me clean apart

I am ready to go to the other side
With angels and demons both
It is on this earth that I cannot abide
A god's parasitic host

Take each piece and part away
This illusory game
Keep yourself the break of day
In stone carve my name

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