A Necessary Retreat

Sunrise in Braintree, VT

I am now sitting amidst the fog-draped mountains of Braintree, Vermont.  The sun is rising fast, Thayer Brook runs rapidly over rocks recently deposited from the deluge caused by tropical storm Irene.  The leaves are changing colors, almost right before my eyes.  It is a lovely setting to be in.

This weekend I will be attending the Vermont Sheep and Wool Festival in Tunbridge, VT where I will be taking a spinning class and immersing myself in all things fiber.

With the arrival of the New Moon, I have decided to spend the week before the festival to do some much needed inner work and contemplation on the direction of my creative career.  It seems I have come to a crossroads and before I just blindly move on, I believe it's necessary to take a moment and access the various options. I may end up choosing the path intuitively, but I want to be sure I am clear and centered when the time to choose comes.

Thayer Brook Road, Braintree, VT

One thing I will be doing this week is exploring the role of myth in this creative journey.  How might mythic stories (ancient and personal) play a role in guiding me forward?  What stage of the journey am I at now? What might be ahead and how should I prepare? How might I help invite ritual into my life and what role can ritual and sacredness play at a time like this?

Questions like these are crucial to my development both personally and creatively. Lately, I feel as though I have not allowed much room to ask these questions.  Sometimes I believe that society has been designed so that we don't ask them, as though, knowing one's self or one's path is something to be avoided.  But I am not fond of fumbling in the dark (for too long), and I most certainly not in favor of treading upon someone else's path.  We are each given unique skills and talents that give our life purpose, and I believe, when we live in accordance to our soul's purpose, we live a successful life.  Once in a while, a slight course correction is needed, and that is where I am now.

September in Braintree, VT

So, I hope in another week or so I will be able to share with you some insights on what comes next for me. Afterall, even though we may be walking our paths on our own feet, we all share the experiences and insights with each other.  Despite how we might feel, I don't believe that we are each an island all to ourselves, but more like facets of one big complex jewel. Each face appears separate, but really cannot exist with the support and structure of all the others.  It is my hope that learning about my journey will help with yours.

More to follow...

DoAn
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Exploring the past to know the present

horses on Chauvet Cave wall

I have been keeping myself busy in my studio making needle felted sculptures for the Madison County Historical Society Craft Days in September and for FaerieCon in November, so the blog has been quieter than I like.  However, last night, during a bought of insomnia, I used my time to consider the role myth plays in my art and decided to share some preliminary thoughts on the subject here.  I believe, as I explore this subject further, that I'll have much more to share.  Here's the start...

On my birthday I saw the film Cave of Forgotten dreams, a documentary by Werner Herzog. The director was where he was granted limited access to Chauvet Cave in France that holds in it the oldest cave art ever found, some work dating back 30,000 years! The film was absolutely amazing and really got my mind spinning and creative juices flowing.

Much of my art is inspired by ancient myth, as well as nature. The artwork in the caves were spectacular examples of nature mythified. There was great power in the representations of charging horses and cave lions circling a chamber where a bison-woman drawn on a stalactite suspended in the center of the space. Even in the medium of film, I could sense the intense sacredness and power of such a place.  The artwork was created over thousands of years, early man used the cave and it was used several thousand years later by later humans.  The span of time involved is dizzying to comprehend.  In the midst of the artwork was evidence of the cave being used by cave bear, wolves and other animals, which, to me, united the connection of the artwork to the natural world.

pride of lions on Chauvet Cave wall

When I explore myth through my art, I am always searching for where it intersects with nature. I ask, how can I explore ancient myths in a way that makes them relevant to us now? I could follow the stories as they have been told and retold over centuries, but this doesn't interest me. It has been done and I doubt we truly can know the truths that gave rise to the myths.  Most everything is speculation now, because our lives are so vastly different to those who lived with the myths. Our world has changed since then, our relationships to nature has changed. While the psychological processes may still be relevant, how we can tap into those processes may be different now.

However, after watching this documentary, I suspect the change has not been too tremendous. I can look at the cave art and feel an inner transformation struggling to take place. This art wants to take you somewhere, it wants to help the viewer transcend. The question might be to what? The early humans might have wanted one to transform to a hunter, or unite with nature in some way.  Or, maybe it is a completely different kind of transformation that we have yet to consider.  It may seem like some kind of hocus pocus, fantasy thinking, but in the film, it is clear that even the scientists who studied the cave felt this. One scientist found his whole life change as a result of this time in the cave, redirecting his life to one that incorporated more stillness and involvement with nature.  That is quite a transformation!

Joseph Campbell has said that modern living myth can only be created by the artists and writers of today. We are living in a very soulless time, for we have no living myths to build our lives around. We, as a society, have no sacred rituals that guide us through life's transitions. We are just thrust unto the world and with a pat on the back (if we're lucky), we are left to fend for ourselves. "May the best man or woman win!" seems to be the prevailing attitude.  It may seem that some fare better than others, but I think we all suffer together as a result of the lack of the sacred and of ritual.

How does one make modern myth? I am not sure, honestly.  Our world is changing so fast now that having any kind of perspective is nearly impossible. Campbell looked to outer space as our new frontier, the new dark forest that hides our fears and our potential. However, access to space seems ever more difficult to reach with the ending of the shuttle program. We are left to stare upward through lenses and computers and speculate ever more.

For me, looking back to ancient myth is a starting point. Ancient Irish myths have always fascinated me with their Neolithic structures and symbols. They too looked to space for guidance, what they gleaned from their observations is unclear, but what is clear is that they were very aware of the patterns and cycles of the heavens. So few of us even pay attention to the stars above, and those that do, must gaze through a haze of pollution that blocks out most of what the ancients saw.

Now, the paleolithic is calling to me, pulling me further back in time, where even less is known. What truths can I discover that might inform our lives today and into tomorrow? The stories are lost to us, yet somehow the energy remains. Might I find a way to channel truths this way? Or will what I "discover" just be my own stories superimposed. Can truth be channeled through energy patterns, like digital information is sent over the wireless airwaves?

This is what I am exploring through my art now.  Ancient truths, explored in a modern context.  Perhaps it is good that I cannot really know the actual stories from the ancient myths, perhaps it will allow me to be open to what the universe can teach (whether that universe is the cosmos or the inner worlds).  Will my art contribute to the future of a living mythic tradition?  I am not sure I have the hubris to allow myself to think so, but perhaps it will become part of the fabric, a thread, of a much larger and greater mythic structure that is yet to evolve.  Time will tell...

DoAn
Help in the creation of art, please consider donating! Just click on the link below:
 
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Entering the Fear

Another set of hot and humid days has sapped my energy and forced me down into the basement to work. I started the day doing quarterly sales tax filing, preparing paperwork for my DBA (Doing Business As) license, and updating my website some more.  This was all rather uncreative work, which started to frustrate me somewhat because despite my low energy due to the weather, I am feeling deeply motivated by the creative work that I am doing now.  However, much of this work requires a large amount of energy and focus, which just isn't possible for me this time of year.

So, I decided instead of getting myself frustrated and waste my limited energy, I spent some time contemplating the nature of work that I am doing.   Rather than talk about the pieces themselves, which are not ready to be shown just yet, I thought it might be interesting to share the process and why I am doing what I am doing. In particular, Why am I exploring the chakras?

After I finished the painting Etain, the fourth in the series of Ancient Irish Goddess-inspired paintings, which explored the elements and energies associated with the different Goddesses.  I realized it was important to balance these paintings with God-inspired paintings and came up with the idea of exploring the masculine energies associated with the elements in paintings that corresponded to the Goddess paintings.

The idea was there, but accessing the masculine has never been a strong skill for me.  Childhood experiences, long forgotten memories began to rise, and with them fears that I thought I had let go of long ago.  I wasn't debilitated by these fears, but I was not certain how to approach the masculine paintings in a way that was not skewed by my past experiences.  I wanted something balanced and also something that was fresh and not just a rehashing of old concepts.  The harder I tried, the further away I got from the concept. I began to feel, oddly enough, disconnected from my own body. 

So the idea to do a series of paintings based on the chakras as a way of balancing my energies and reconnect me to my body again, while I did more research and exploration of the masculine archetypes.  What I didn't expect was how much energy these paintings would demand.  Drafting the knotwork that would comprise a major part of the painting was technically difficult, but the actual energy that went into painting the first piece has been surprisingly intense.

Work on the root chakra has me starting at the base, tapping into the primal energy and, as a result, stirring up the very things that started arising when I approached the masculine archetypes.  It seems that no matter what I work on, I am at a place where these memories, fears, and feelings must be addressed.  So that is where I am.  How will I do it?

Right now, I don't know.  For the time being I am learning to sit with these feelings and just be with them.  It isn't easy.  The adventure begins...

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 for the purposes of DoAn Art must 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 2005-2011 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.

Climbing the Tree with the Serpent

Beginning the drafting of the World Tree painting

It has been quiet on my part here in the blogosphere, but rest assured I have been keeping very busy.  Now that I am past unpacking and mostly settled in, I have been focusing on integrating into my work and living space.  I am at that stage where I am figuring out the layout, rearranging things when I find that a particular object should be on my right hand side instead of the left, those kind of things. 

In the midst of that I have been working on a painting commission, a pet portrait sculpture and my big project for the year: a series of paintings based on the chakras and the World Tree.

I have drawings for the chakras up through the throat chakra and I am starting work on the brow chakra now.  Sometime during drafting the heart chakra I had a dream that was telling me to connect the world tree with the chakra system.  I woke up puzzled because up until then I had believed them to be totally separate systems. I did some research and found nothing connecting the two.  Then, when I was about to give up I saw a picture of the sephiroth from the Kabbalistic tradition.  This brought to mind some other geometric systems related to the World Tree that I had explored at an earlier time.  And suddenly, without explanation, in a flash of an image in my head, I conceived the relationship between the two systems.  I went back to the studio and pulled out the drawing I had made a year ago.  This drawing was based on a series of meditations I conducted on each point of the world tree. I spent some time meditating in front of it allow the two systems to integrate.  Since then, I have been also working on revising the original drawing and adapting it to this new discovery.

chakra drawings

So now I am working on both the chakras and the World Tree as a whole series which I hope to have completed by the end of the year.  Each of the chakra paintings will require intensive meditative work on the specific chakra energies and I will expand my meditations as I begin painting the World Tree piece.  All the paintings will have some basis in the traditional systems, but I will allow my meditations to expand on them and I will let the final painting be evidence of where the journey finally takes me.

I will periodically share the process as I develop the series. Now that I am getting back into a regular working schedule, I intend to get back to my regular weekly posts.  I appreciate your patience during this time of transition, I hope the series of posts to come will be a welcome reward for hanging in there!

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 for the purposes of DoAn Art must 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 2005-2011 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.

Getting Settled

Lian, teaching me how to "get settled"

No matter how good it might be, moving is extraordinarily difficult.

I think I am kind of like a plant. Transplanting must be done carefully, and it cannot be rushed.  It takes me some time to settle into my new space, to let my roots grow and get used to the new environment and attune to its energies.  So now that I have unpacked, I am learning how to navigate within my new living space, how to find my way around the neighborhood, and establish a new routine.  All this is very draining...at least for me it is.

I have been doing a lot of walking.  Walking is a great way to plug into the energy of a space.  I do a lot of sitting and observing. This is hard for a person who likes to be working all the time.  There is a rising anxiety that occasionally wakes me up in the middle of the night.  I panic: where am I? Why aren't I getting more done?  I need to be working!  Then, I get my breathing back to normal and settle back to a fit-full sleep. 

I keep reminding myself that each person has a process, and taking time to connect to a space, to a location, is part of mine.  Today I will be painting the my studio space walls.  This will help with connecting. The plants outside are sprouting and soon it will be time to plant herbs and vegetables, this will help as well.  Gradually, I will find myself aligned with the energies here and making art will be part of the daily routine again. 

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 for the purposes of DoAn Art must 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 2005-2011 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.

A hitch and a plea

Lian, the sad patient awaiting surgery

The boxes are mostly packed and I am getting myself prepared for the next step in my creative life.  I have been reading some mythology books and jotting down ideas and looking forward to getting back to work on my art. I was looking forward to a quieter week where I could tie up some loose ends and collect energy for the move on April 11th.

Then on Friday, Lian and I sat down to clean her teeth, a weekly ritual that she bears quite bravely and offers no resistance.   That's when I noticed that her upper right molar was half gone.  A piece of it was split right past her gum line.  I took her to the vet and after a careful examination the vet gave me a grave look and said Lian would have to have surgery. 

Spring Flowers 2

This is no minor surgery.  Not inherently life-threatening, but potentially problematic. The tooth she broke (and we have yet to figure out how she broke this tooth so badly) is one of her largest teeth with three deep roots.  Several nerves are in the vicinity of this tooth and extracting this large tooth is difficult in such a tiny jaw. Needless to say, I am concerned about lasting effects of this procedure.  But, leaving the tooth in opens her up to dangerous abscesses and infections. Her surgery is scheduled for this Wednesday.

Lian is not only a companion, but a soul-friend, an emotional support and creative inspiration. She has been with me through my efforts to shift my life toward one the fully embraces my creativity.  She has weathered several moves with no complaint. When discouraged, she offers a paw or an enthusiastic lick to lift my spirits. When feeling apprehensive about my creative work, I watched her play with paint and canvas and learned that fear need not interfere with the creative process.  She has taught me that sometimes art can just be plain old fun!

Primrose by Lian Xin

Yes, Lian paints!  While in Cincinnati she was very busy with a whole studio to run around and play in.  After leaving Ohio, her access to paint and canvas was restricted to warm sunny days outdoors. I think she hasn't minded letting me focus more fully on my creative work for a while, as she has been equally content with keeping my lap warm as I work.

When Lian suffers, I suffer.  She is a muse, of sorts, for me.  Like a familiar in ancient traditions, she is a source of power and inspiration.  And this accident comes at a terrible time.  As we make this transition to Vermont, I very much want my loyal friend healthy and happy.  Surgery is a major expense for one who lives on a limited income.  It is my hope that you might consider purchasing some of Lian's paintings or greeting cards, you can help us offset some of these unexpected vet bills.

You can view her artwork on her newly created website: www.faeriedog.com  Links to prints and greeting cards can be found there.  You can also watch a video of her painting.  If I sell each of the paintings listed on the site we will cover the cost of the surgery and medications.  But even one sale will be a big help.  Please share this with anyone you think might enjoy her colorful work.  We really appreciate your consideration to help.

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 for the purposes of DoAn Art must 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 2005-2011 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.

Spirit of Place

Red Fox Totem by DoAn

As I prepare to move from Central NY to Vermont, I cannot help but reflect on the importance of place in relation to my art.  I have enjoyed my time in Central NY, it has allowed me to discover a love for fiber, a talent for needle-felting and interest in spinning. Living in Central NY has confirmed that living a quieter, less urban life, one with fewer distractions and easier access to nature and living more simply is right for me.  So now, for the third time in my life, I find myself heading to Vermont.  It seems I cannot stay away...maybe the third time is a charm?  Who knows? The only thing I know is not to count on any certainty!

A few weeks ago, before I packed up my paints and paper and canvas, I completed a painting of a fox.  I had been exploring my relationship to animal totems, not based on any particular tradition, but solely through my own experiences in meditation and vision work.  The Fox is a prominent animal in my life, it often appears to me at times of great change, usually in relation to a change in location.  This time has been no exception.  During the time I was considering to move to Vermont I frequently saw a fox running in the fields behind my house or along the road as I drove.   The Fox, serves as a guide for Spirit of Place.  I know, when I see a fox, it means I am in the right place, at the right time, or, as in this case, as I contemplated moving, it reassured me that my decision was the right one.

So to honor the Fox and deepen my connection, I worked on some sketches. I explored the Fox in a less representational way, something more symbolic. The image here was the end result.  When I worked on the painting, I used paint made from the gemstone Serpentine.  I chose the paint as a way to further my meditation as I painted. Serpentine is used to help ground one's energy, clearing away blocks from chakras.  It helps in meditation and draws healing energy to problematic areas, often easing mental or emotional imbalances.   It seemed the right kind of stone to work with at the time. And working on the painting helped give me a sense of control over my situation once more.

I will connect with the Fox again after I arrive in Vermont...as a way of settling into my new space and to honor my good friend, the Fox, who has stayed with me through these many many many moves.

DoAn

Prints and Greeting Cards of Red Fox Totem are available by visiting my Gallery page.

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 for the purposes of DoAn Art must 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 2005-2011 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.