Sedna: Plumbing the Depths

Sedna (graphite, watercolor & ink)

Sedna, goddess of the arctic sea, controls the sea mammals and the balance of life and death in the cold north. Her transformation from beautiful young woman to a hag-like goddess is told in many conflicting tales throughout the Arctic peoples.  I have put together a condensed version here:

Sedna began as a beautiful young woman, courted by many suitors, but none pleased her father. Then a mysterious stranger appeared, claiming to be a great king in the north, and convinced her father to let them marry. Sedna went to live with her new husband only to discover that he was a cruel Skua (sometimes it is a Raven) in disguise. She called for help from her father who came to her aid and as they escaped in a small canoe, the angry Skua sent a terrible storm to topple them. Sedna fell into the water and clung to the side of the canoe to keep from drowning. Her father, fearing that they might both die, cut her fingers off so she sank down into the icy depths. As she sank, her severed fingers became seals, walruses, porpoises, dolphins, polar bears, whales, and sea otters. She became an important figure for the hunters of the north who relied on her generosity to survive. If Sedna felt slighted, she would call her sea animals to her and the people would starve.

The subject of this piece had been haunting me for over a year.  I have several sketches, even another painting started, but in the midst of this exploration I felt called toward exploring a new style.  I combined mediums and explored the contrast between realism and symbolism.  I even went with more muted colors rather than my usual saturated hues.  But what haunted me wasn't the new mediums and techniques it was the story.  How did I relate to it? Why did it speak to me so strongly?  Many interpretations speak of Sedna as a symbol of overcoming victimhood.  It can be a powerful story for that and at one time or another we can all relate to such a theme.  This theme didn't speak to me in that way.  I kept thinking of the nature of creativity and how Sedna could be viewed as such.

My relationship to Creativity started out as something joyful and powerful.  As a youth, I spent many many hours creating. I won awards for my work. I had shows in schools and in the local community.  When I was young, if someone asked what I want to be when I grew up, my answer was an enthusiastic: "an artist!"  However, as I grew into my teen years, my dream of becoming an artist was tested.  Common responses to my career goal were: "That's just hobby.  What are you going to do for a REAL job?  No one can be an artist for a living. It is time to grow up!"

This began the separation between me and Art.  As I grew older, and the messages that I could not be an artist grew stronger and more insistent, I found my life grew darker and less enjoyable.  I wandered aimlessly for sometime.  Then, when given the opportunity to go to Pratt in the Fashion Design program, I turned it  down. Afterall, how could I choose such an irresponsible career! I gave up on my art entirely then for almost a decade.  This, I think of as severing Sedna's fingers and sending Creativity to the icy depths.

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This decade was the darkest of my life.  Depression became who I was.  I felt lost and empty.  Each year grew worse and worse until it became clinical and I was hospitalized.  During that darkest of darkest moments, I found a glimpse of Creativity.  It began in an art therapy group (which I was resistant to at first) and grew into a daily practice of putting paint on paper.  I was reaching out to Sedna.  But it was an arduous journey.  Like the Shamans who must travel through many obstacles to reach her, I too had to plumb the depths and face many difficulties.  After all, having shut Creativity away for so many years, She was not trusting of my intentions.  What if I refused Her again?  Since my reconnecting to Creativity, I have had to do a lot of work, a lot of personal healing, work and healing that continues to this day.  The Shaman may reach Sedna at the bottom of the ocean, but then he must turn around and go back.  It is a dangerous journey both ways.

My relationship to Creativity is better than it has been in a long time.  But it is being tested again.  Is this the return journey?  Many obstacles are being thrust before me, just at the time when a career in art is taking off.  This is a test, I know it.  As I make this second leg of the journey, maybe Creativity wants to retreat out of fear of being abandoned. I know I must communicate to Her that I will not cut her away, even when there are many voices around me saying I should.  Continuing to communicate to Her, respecting the process, sharing my work with others, staying true to Her are all keys to keeping Her favor.  I believe working on this painting was my assurance to Her that my commitment to Creativity will not waver, even while I find ways to remake a life in a very uncertain world.  I have yet to figure out how it will work out, but one of my current mantras is: "Not Knowing is Okay"

This may not be the perfect interpretation of Sedna's story. It may not even be the correct one, but for present moment, it is the interpretation that makes sense to me. 

DoAn


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Walking the Spiral: The Morrigan

The Morrigan: The Dark Mother

I recently listened to the audiobook The Creative Fire by Clarissa Pinkola Estes, in which she discusses the cycle of creativity.

Most people think of the artist as being moved by flashes of inspiration or asking for a blessing by the muse.  Estes explains that creativity moves in a continuing pattern of rising and falling.  This has been my experience of creativity.

After I completed the painting "Boann: transformation of a goddess" I felt I had reached a zenith.  I felt inspired by this new insight into my artwork and I felt wiser and more aware as a result as well.  It wasn't long before I felt a slow decline from this highpoint.  My creative work slowed. While I felt more connected to the spirit of the work than ever, my connection to the act of painting felt strained.  Suddenly, that light of inspiration grew dim.

The Morrigan is a dark figure in Irish Myth, probably even predating the arrival of the Celts in Ireland.  She was a goddess of fertility, the controller of death itself, and later became associated with war.  How could a fertility goddess be connected to death?  It seemed strange to me at first. But it doesn't take much introspection to realize how growth is preceded by death and decay.  Land is made fertile by the decayed plants and animals that enrich the soil.  A fertile mind is enriched by the knowledge absorbed. A fertile body is nourished by the breaking down of nutrient-rich foods taken in.

The creative process is likewise nourished by a period of decline, a period of darkness that is the opposite of that outward expression of the flash of inspiration.  Without this period of quiet, without this symbolic death, the creative expression loses fertility and richness.  Estes uses the Demeter/Persephone myth from the Ancient Greeks as an excellent metaphor for the creative cycle, even making astute distinctions between the way the myth differed in Pre-Helenistic and Post-Helenistic Greece.

This analysis of the creative cycle can be used by artist and non-artist alike.  For we all go through a period of darkness in varying levels throughout our lives.  From waking at daybreak, after having slept in the dark of night, to the coming of spring after the death of Fall and Winter's sleep, to the ups and downs of any one of life's situations.  "The Morrigan: The Dark Mother" taught me that there is a huge difference in outcome when one embraces the coming dark, rather than fearing it and trying to push it away.  No matter what, the dark times will come; we have no choice.  But we can choose how to move through the dark times.  We can enter with awareness and grace, coming out of the experience like the spring sprouts bursting from seeds planted in the fall, with determination and filled with the joy of creation itself.

DoAn
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All artwork, photos and text © Copyright 2005-2011 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.

Walking the Spiral: Boann

Back in 2006 I began a series of paintings inspired by Irish mythology.  I intended the paintings to explore the ancient Celtic gods and goddesses through a more modern and personal eye.  What I didn't realize was that this series would set me on a personal, spiritual journey that has forever changed my relationship to painting.   Over the next four blog posts I will share my journey, as it has unfolded so far, in relation to the painting of the first four pieces of the series.

Boann: Transformation

Boann: Transformation of a Goddess

The first painting in the series depicts the transformation of the goddess Boann into the river Boyne, after she had unwittingly released the waters from a sacred well. The creation of this painting came out of a difficult time for me emotionally.  I didn't realize at the time that my relationship to my art was taking a more spiritual path. Like Boann as she was torn limb from limb by the raging waters she released from a sacred well, I felt parts of my inner self being stripped away.  Intense feelings of sadness then rage surged through me.  Many times these emotions had no context. I couldn't make sense of what they stemmed from.  I did, however, have a sense that these emotions were connected to the collective unconscious.  There was no particular reason I came to this understanding, it was something I just knew.

In the painting Boann looks out from the canvas to the viewer, her gaze squinted.  She is looking at the physical world and the spirit world at the same time.  As she loses her body, she begins to merge with the spirit.  I also began to understand that spirit was influencing my painting process.  Once I let go, realizing that nothing was going to hold back the waves of emotion crashing upon me, I found rays of light, like those that streak down upon the Salmon of Knowledge.  Here, the Salmon holds a hazel nut from one of the sacred trees that grew around the well.  Boann's curiosity not only freed the waters of the well, but the five Salmon of knowledge which is obtained by the senses.  The Salmon, having fed on the magical nuts of the hazel trees, possessed the wisdom of the world and inadvertently brought this wisdom to mankind.

I gained a kind of wisdom as a result of this painting. I had a deeper understanding of who I was, what I needed and a clearer sense of purpose.  This kind of wisdom often can only be gained by a severe and painful stripping away of one's ego.  Boann, who had gazed into the well out of rebellion for having been barred from it, paid the ultimate price, but also evolved into something greater.  Sometimes, sacrifice is necessary for growth.  This painting taught me that great sacrifices were ahead, but they would lead me toward a deeper knowledge of myself and the path I was embarking on.

Once I completed this painting, I felt scoured clean. I was raw and open, but it was necessary in order to approach the next painting, which was leading me down into a kind of darkness I had never encountered before.

Next, The Morrigan.

DoAn
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All artwork, photos and text © Copyright 2005-2011 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.

Embracing the Spirit of Halloween

For most, Halloween is the day to dress up in crazy costumes, go to parties, lead children to stranger's houses to collect candy, and, for many adults, to act like children.  America is really good at degrading traditions to its most base of qualities.  I have long thought it strange that Americans have adopted an old pagan holiday, but then, the holiday hasn't really been adopted, as much as usurped and corrupted.
Celebrating Halloween doesn't have to be just frivolous and empty fun.  It also doesn't even have to be observed in conflict with non-pagan religious belief.  At the heart of Halloween is a celebration of the closing of the year and an honoring of the spirits of our ancestors.

We see the cycle of death around us, as the landscape transforms and goes into its dormant stage.  It makes sense that the Celts would see this as the end of the year, for endings are occurring all around us at this time.  This becomes  a wonderful time to reflect on all that came in the previous months and let go of the negative influences and burdens of the previous cycle, while celebrating the achievements and preparing for the new.  It is not certain where the idea of costumes came in, there are lots of speculation, but nothing conclusive.  I like to think of dressing up as a way of re-creating your new self for the coming year.  It is an opportunity to try on a new identity, see how it fits, before starting the new cycle.  We are not limited to mundane, well-defined roles.  We can become archetypes, heroes, spirits, fantasy creatures whose attributes of which we can connect to and carry through into the next year. 

There is a dark aspect to Halloween.  Many dress as monsters, attend haunted houses,  talk of the ghosts and ghouls that run rampant through the neighborhood. I think much of this stems from a very deep-rooted fear and misunderstanding of death and endings in general.  But, if we look at this dark aspect as something positive,  rather than frightening, what might we discover?

The painting posted here is of The Morrigan: The Dark Mother, the ancient goddess of death and fertility and the land, now most commonly associated with ancient Irish myth.   The Morrigan is a symbol representing the dark aspects that we all experience and possess within. Everything emerges from the dark, the child from the womb, the day from night, light from the void, and The Morrigan symbolizes the power that exists within this place of potentiality. She is the perfect symbol for Halloween as we celebrate the end of the cycle by returning to the dark and beginning the cycle again. We acknowledge that day gives way to night, that the trees and plants die around us, only to return again with the light of spring.

The dark aspect is not something to be feared, for to fear the dark, is to be afraid of our own nature and the action of creation itself. Darkness is to be understood as part of a natural cycle of rise and fall, expanding and contracting, reaching out and turning inward.  The symbol of The Morrigan offers us a way to understand and navigate the dark paths throughout our life, if only we overcome our fears and reach out to accept the “fruit” (or perhaps candy!) of knowledge she offers us.  I am not suggesting that we all worship and idolize the image of The Morrigan, instead, I am encouraging that you look upon her as a symbol and archetype, representing the energies and qualities that your particular belief system supports.  You can find your own symbol that represents the qualities of The Morrigan and use that to help you connect to the energies of the season.

Ultimately, Halloween can be a day of transformation and an evening of celebration, it doesn't have to be empty and meaningless.  We can use this time to honor what has passed before us, let go of that which burdens us, and remember our ancestors who sacrificed their lives to give us what we have today.

Have a safe and TRANSFORMATIVE Halloween! 

DoAn
Help in the creation of art, please consider donating! Just click on the link below:
 
DoAn Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions in behalf of DoAn Art may be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.  
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All artwork, photos and text © Copyright 2005-2010 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.

Honoring the Spirit of Halloween

Today is Halloween.  For most, today is the day to dress up in crazy costumes, go to parties, lead children to stranger's houses to collect candy, and, for many adults, to act like children.  America is really good at degrading tradition to its most base of qualities.  I have long thought it strange that Americans have adopted an old pagan holiday, but then, the holiday hasn't really been adopted, as much as usurped and corrupted.

Celebrating Halloween doesn't have to be just frivolous and empty fun.  It also doesn't even have to be observed in conflict with non-pagan religious belief.  At the heart of Halloween is a celebration of the closing of the year and an honoring of the spirits of our ancestors.

We see the cycle of death around us, as the landscape transforms and goes into its dormant stage.  It makes sense that the Celts would see this as the end of the year, for endings are occurring all around us at this time.  This becomes  a wonderful time to reflect on all that came in the previous months and let go of the negative influences and burdens of the previous cycle, while celebrating the achievements and preparing for the new.  It is not certain where the idea of costumes came in, there are lots of speculation, but nothing conclusive.  I like to think of dressing up as a way of re-creating your new self for the coming year.  It is an opportunity to try on a new identity, see how it fits, before starting the new cycle.  We are not limited to mundane, well-defined roles.  We can become archetypes, heroes, spirits, fantasy creatures whose attributes of which we can connect to and carry through into the next year. 

There is a dark aspect to Halloween.  Many dress as monsters, attend haunted houses,  talk of the ghosts and ghouls that run rampant through the neighborhood. Much of this stems from a very deep-rooted fear and misunderstanding of death and endings in general.  But, if we look at this dark aspect as something positive,  rather than frightening, what might we discover?

The painting posted here is of The Morrigan, the ancient goddess of death and fertility and the land, now most commonly associated with ancient Irish myth.   The Morrigan is a symbol representing the dark aspects that we all experience and possess within. Everything emerges from the dark, the child from the womb, the day from night, light from the void, and The Morrigan symbolizes the power that exists within this place of potentiality. She is the perfect symbol for Halloween as we celebrate the end of the cycle by returning to the dark and beginning the cycle again. We acknowledge that day gives way to night, that the trees and plants die around us, only to return again with the light of spring.

The dark aspect is not something to be feared, for to fear the dark, is to be afraid of our own nature and the action of creation itself. Darkness is to be understood as part of a natural cycle of rise and fall, expanding and contracting, reaching out and turning inward.  The symbol of The Morrigan offers us a way to understand and navigate the dark paths throughout our life, if only we overcome our fears and reach out to accept the “fruit” (or perhaps candy!) of knowledge she offers us.  I am not suggesting that we all worship and idolize the image of The Morrigan, instead, I am encouraging that you look upon her as a symbol and archetype, representing the energies and qualities that your particular belief system supports.  You can find your own symbol that represents the qualities of The Morrigan and use that to help you connect to the energies of the season.

Ultimately, Halloween can be a day of transformation and an evening of celebration, it doesn't have to be empty and meaningless.  We can use this time to honor what has passed before us, let go of that which burdens us, and remember our ancestors who sacrificed their lives to give us what we have today.

Have a safe and transformative Halloween!

DoAn
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DoAn Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of DoAn Art must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law. 

All artwork, photos and text © Copyright 2005-2009 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.

The Morrigan: The Dark Mother

The Morrigan: the Dark Mother

After six months of work, the painting "The Morrigan: The Dark Mother" is complete. This painting was an exploration of the dark side of life. By dark, I do not mean evil, but simply the negative aspects that when combined with the positive, complete the whole. I chose the Irish goddess The Morrigan to represent this exploration and added both archetypal and personal symbols to further represent the dark aspect of life and spirit.
The Morrigan, ancient goddess of the land, of fertility and death, became associated in more "modern times" with war. In triple aspect she was accompanied by Nemain (Frenzy), Macha or Badbh (Battle Crow). In her war aspect she appeared over the battlefield, inciting the warriors to become crazy with war-lust, and thus, causing their own demise. The Morrigan was not death herself, she was the harbinger of death, and so the Ban-Shee or the Washer at the Ford, became associated with her. She is the Kali of the Irish pantheon, the Dark Mother to whom we must respect deeply.
The Morrigan, represents the dark aspect that we all experience and possess. Everything emerges from the dark, the child from the womb, the day from night, and The Morrigan’s power exists within this place of potentiality. We also end the cycle by returning to the dark, day gives way to night, our bodies return to the earth, and so The Morrigan blesses us by releasing us from her realm and calls us back when it is time.
The dark aspect is not something to be feared, for to fear the dark, is to be afraid of our own nature. It is to be understood as part of a natural cycle of rise and fall, expanding and contracting, reaching out and turning inward, etc. The Morrigan offers us a way to understand and navigate the dark paths throughout our life, if only we overcome our fears and reach out to accept the “fruit” of knowledge she offers us.
DoAn

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DoAn Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of DoAn Art must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law. 


All artwork and text © Copyright 2005-2009 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.

Looking Before Leaping Forward

detail of The Morrigan: the Dark Mother

I recently finished the painting "The Morrigan: the Dark Mother", which is a mediation on the roles that darkness, death, the end of things, etc. plays in our lives. (A detail of it is seen here. )
And as signals of Spring begin to make its appearance, I feel the need to pause and consider the dark of Winter as it begins to pass.

I think our society often shrugs off the dark times too quickly, thinking it is a bad thing. It can be uncomfortable, but the dark is not bad. I can think of many places in nature where the dark plays a regular, if not, important role: things such as sleep, night, the moon moving from dark to full and over again. If we look to the cosmos, we find that most of space is made of what is called "dark matter".

The dark times offer reflection of past action and future possibilities. So much of my creative progress leaps forward tremendously after a period immersed in darkness. But, this growth only comes when I allow myself to really be in the dark, no matter how uncomfortable it might be. I think when we leap forward to escape the discomfort of the dark, we increase our chances of landing in a worse situation. Sometimes the situation requires quick action, and we are lucky and land in a better place. But, I believe most of the time, hurrying out of the dark, only limits the awareness of our situation and delays the suffering that comes for not learning the important lessons.

So, as we turn our clocks forward, or prepare for the season's change from winter to spring. I am taking a moment to thank winter--the dark time--for the opportunity to work through life's challenges by giving me time to focus and reflect. Spring comes, bringing new energy and respite from the dark time, but it is only temporary, for soon enough, Winter takes us back into her arms for another season of rest and reflection.

DoAn
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DoAn Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of DoAn Art must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law. 


All artwork and text © Copyright 2005-2008 DoAn Art (Antony Galbraith) unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Antony Galbraith.