Showing posts with label Against the Light. Show all posts
Showing posts with label Against the Light. Show all posts

Thursday, January 12, 2012

Under the El


by Gregg Chadwick

Under the El

Gregg Chadwick
Under the El
30"x20" oil on linen 2012

Chicago is a city of pulse and rhythm.  The city itself is a song. It clangs and roars by day and whispers laments at night. 

Standing under the El on a hot August day, listening to the hum of traffic echoing off of steel, concrete and flesh inspired my first painting of 2012. Chicago seemed to soak up the light last summer, lending the streets a shimmering presence much like the wet Parisian boulevards in Gustave Caillebotte's Paris Street, Rainy Day. Caillebotte's masterpiece hangs in the Art Institute of Chicago, just blocks from the El.  Standing in front of the painting last summer, after coming in from the heat, I felt my heart beating -providing an audible rhythm to Caillebotte's figures stilled in the silent air.








Gustave Caillebotte
Paris Street, Rainy Day (Detail)
83.5"x108.75" oil on canvas 1876-77

The Art Institute of Chicago
photo by Gregg Chadwick




Gustave Caillebotte
Paris Street, Rainy Day
83.5"x108.75" oil on canvas 1876-77

The Art Institute of Chicago
photo by Gregg Chadwick

Tuesday, February 23, 2010

Spreadsheets Can Save Him

Spreadsheets can save him
by Kent Chadwick

Where’s the pattern? What ratio will show
he’s getting better, that he’ll breathe again
on his own? The ventilator pushes
puffs of warm air through our son’s trachea
every time his brain asks for oxygen,
into his second set of lungs, damaged
too soon by pneumonia, scarred and stiffened.
The machine ka-shooshing eighteen or more
times a minute to make Luke breathe when he
needs, and it graphs his breath, reads his volumes,
scoring the resistance—centimeters
of water pressure—ready to alarm
and warn of dangers, displaying seven
variables in LED orange
with each breath, repeatedly—and I stare.
My hope has fallen to this new machine,
that maybe, maybe its gentler aid
can coax Luke’s lungs into recovery.

What numbers, what ratios show progress?,
something the doctors no longer expect.
Is it peak pressures to tidal volumes?
89 to 760
Or his diaphragm’s nerve activity
to the ventilator’s support level?
62, 70 to 1.5
What is significant? What is just noise?
So most every night at ten I write down
forty numbers, take them back to the room
where we are staying that evening—hotel’s
or friends’—enter them into tables, graph,
color, and label them to find something
that the intensive care doctors have missed
and I could show, “See this! He’s improving.”
Spreadsheets can save him.

But Luke gets annoyed
when he sees me staring at the machines.
He mouths, “Stop looking at those.” But he means
“Look at me.” He doesn’t hope in numbers.
And the truth’s blurted out, when Luke crashes,
by the respiratory therapist bagging
him, pumping up his oxygenation
with her hands, squeezing life into him for
another day, worried, focused on him,
forgetting I’m in the room, forgetting
all the euphemisms: “His lungs are bricks.”