There's kind of a remarkable quote from Wyeth hiding in the middle of the story. It goes:
Much of Wyeth's work had a melancholy feel _ aging people and brown, dead plants _ but he chose to describe his work as "thoughtful."
"I do an awful lot of thinking and dreaming about things in the past and the future _ the timelessness of the rocks and the hills _ all the people who have existed there," he once said. "I prefer winter and fall, when you feel the bone structure in the landscape _ the loneliness of it _ the dead feeling of winter. Something waits beneath it; the whole story doesn't show.
"I think anything like that _ which is contemplative, silent, shows a person alone _ people always feel is sad. Is it because we've lost the art of being alone?"
Hopper and Wyeth, in my mind, seem interconnected...both painters of empty spaces, time, and solitude, one of the city, the other of the country. Now, in the mind's eye, one sees "Christina's World"...but there's no figure in the foreground. Just the hill, the house in the distance, and a space where the grass has been flattened.
Steve Patterson has written over 50 plays, with works staged in Portland, Los Angeles, Chicago, Detroit, Austin, Tampa, and other U.S. cities as well as in Canada and New Zealand. His works include: Waiting on Sean Flynn, Next of Kin, Farmhouse, Malaria, Shelter, Altered States of America, The Continuing Adventures of Mr. Grandamnus, Bluer Than Midnight, Bombardment, Dead of Winter, and Delusion of Darkness. In 2006, his bittersweet Lost Wavelengths was a mainstage selection at Portland Center Stage's JAW/West festival, and, in 2008, won the Oregon Book Award (he also was an OBA finalist in 1992 and 2002). In 1997, he won the inaugural Portland Civic Theatre Guild Fellowship for his play Turquoise and Obsidian.