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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Observing Midwinter

Brigid: Igniting the Inner Fire

We have arrived at the midpoint between winter solstice and the spring equinox. In the ancient times this was a time to acknowledge that spring was not so far away, despite the tight grip winter still had over the land.

The ancient Irish Celts called this time Imbolc (im’olc) and it was the time of the winter hag, the Cailleach. The Myths tell us that on this day, she wandered out to gather her firewood for the remaining days of winter. If she felt strong and wanted to make winter last longer, she will make sure Imbolc was a sunny, clear day, so that she could easily gather firewood. People would use Imbolc day as a predictor of the length of winter. If the day was dark and weather foul, then the Cailleach was sleeping and winter would soon be over.

Imbolc was traditionally celebrated on the full moon closest to the midpoint between the winter solstice and the spring equinox. In more contemporary times, the holiday is celebrated on February 2nd. Groundhog’s day, with its prediction of the coming of spring, is very likely a modern remnant of the ancient holiday of Imbolc. 

Many other cultures found this time of year to be important. The Greek myth of Persephone returning from the underworld was enacted at this time of year as part of the Eleusinian mysteries, to celebrate the coming of spring. The Romans celebrated Lupercalia, which honored the founding of the city of Rome by the twins Romulus and Remus. The ancient Egyptians celebrated the Feast of Nut, whose birthday was February 2nd (according to the Gregorian calendar). Nut was the mother goddess to the sun god Ra. The Catholics celebrate Candlemas, having usurped the holiday from the native European pagans.

For the ancient Gaels, this time of year was particularly harsh. It was considered the dead month. But, despite the harsh winds and icy rain that fell, signs of spring could be found. Ewes began to lactate, Cows gave birth, Ravens started to build nests, and green buds started to appear on branches and poking through the dirt.

The holiday was sacred to the goddess Brigid, who became Saint Brigit when the Catholics took on the holiday. Brigid was the patron goddess of Fire, Poetry and Healing and symbolized by a spiral. Imbolc was important because it fell on an in-between time, a very powerful and sacred time for the Celts. Brigid, if properly respected, brought the flame of spring, healed the dead-time, and brought words to the poets lips. Her miraculous powers could change water into ale and stone into salt. With boundless generosity she fed birds, animals, and the poor, and they all loved her in return.

Rabbits and Hares are also ancient symbols of spring. Hares sleep in nests or “forms” which look very similar to the nest of the lapwing bird. The lapwing builds its nests on the ground and in spring the nests are filled with eggs, which people took to be hare’s eggs. The hare was an emissary of the Otherworld and a symbol of the in-between time, which made Imbolc a such a sacred time. It is also the time of year that the footprints of rabbits and hares can be seen in the snow, as they search out the tender green shoots to eat and court their mates.

In modern practice, Imbolc can be seen as a time to look bravely into the darkness and bear witness to the growing light. It is a time of renewal, of re-affirming those resolutions we took at the beginning of the year to better ourselves. Now is the time to understand that no matter how difficult and dark things may appear to be, it will pass, for in order for darkness to exist light must exist as well.

On February 2nd, or perhaps before the next rise of the full moon, take a moment to sit in a darkened room. Meditate upon what you would like to see grow in health and strength this year: for yourself, your family, your community, the Earth. Meditate on the darkness in your life, look to what it can teach you, then light a candle, or many candles, fill the room with light and celebrate in the knowledge that the dark times will soon come to an end. With the lighting of the candle, you ignite the flame of your soul, offering strength to last through the remaining dark times.

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.

Walking the Spiral: Brigid: Igniting the Inner Fire

Within the deepest reaches of the inner darkness, there exists the smallest ember.  It is a tiny spark of light, that once given the proper fuel, has the potential to ignite into a blazing fire.

Brigid, the ancient goddess of creativity, inspiration, poetry, metal-working and healing, is a goddess of fire, but not the kind of fire made of flames.  This fire is the divine spark, the ember at the core that ignites the body, mind and spirit into life.  It can be related to the Kundalini energy rising up from the base of the spine to the crown of the head, activating power centers throughout the body. Brigid is associated with the dawn, because, like the sun rising out of the darkness, we hold in ourselves the potential to rise above our own inner dark.

This painting came after a long period of introspection.  I was facing a challenge in regard to the direction of my art and was contemplating my ability to make a living from my paintings while following the spiritual path they were taking me on.  Could I do it? Was it right to do so?  Working on "The Morrigan" lead me to the darkness of this introspection.  I learned that I had a connection to fiber as a creative medium.  I developed skills in making sculpture from wool, which allowed me to continue making an income through my artwork, while I could let the paintings reveal themselves in their own time without the added pressures to produce and market them.  Working on "Brigid: igniting the inner fire" lead me from the darkness of uncertainty and fear out into the light.

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.

The Green Man

 The Green Man archetype is found in many cultures throughout the world.  It is symbolized by the face or head of a man (Green Woman are very rare) made of leaves, often with leaves sprouting out from the mouth, nose and ears of the face.  The Green Man is commonly thought to symbolize fertility or rebirth, but I believe the symbol of the Green Man is more complex than that.

Though the true purpose of the Green Man may forever remain unknown, I believe the it represents the intermediary between the chaos of creation and the order of nature.  The Green Man serves as the Guardian and moves through the forest ensuring that the creations of the Creatrix act in accord with the laws of nature. The Green Man could be found carved in wood and stone and often appeared in churches, abbeys, and cathedrals. Perhaps the Green Man served as a reminder that we are not so far removed from nature and are still subject to nature's law. 

It makes me wonder how different our relationship to nature might now be if we hadn't stopped displaying the Green Man on our buildings.   Perhaps it is not too late to begin again...

DoAn
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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.

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.

Brigid: Igniting the Inner Fire

Brigid, whose name means “fiery arrow”, was beloved of the Irish Celts, and survived Christian conversion by becoming a Catholic Saint who is still revered to this day.  For the ancient Irish, Brigid was the goddess of all things lofty and elevated, such as high rising flames, upland areas, wisdom, perfection, intelligence, creativity, poetic eloquence, blacksmithing, healing, mystical knowledge, and warfare.  She was the daughter of the Father god, the Dagda of the Tuatha Dé Danann.  Some stories suggest that her mother was The Morrigan, the dark goddess, and with her birth she brought light from the void.


She was considered a solar goddess, and stories of her birth recount her rising from the earth into the sky along with the rising sun with rays of light emanating from her head. With every step she took flowers sprouted and birds sang and soared in the air.  Though she was associated with the sun, it was not the physical sun she represented, but the healing energy associated with it.  Snakes are sacred to Brigid, symbolizing  regeneration and the rising of the kundalini energy that exists and rising within each of us when we are healthy and balanced.

The blackberry is sacred to Brigid, and serves to symbolize her strong protective nature with its defensive thorns, and arching, tangled canes, as well as her healing nature by providing nourishing berries and herbal healing remedies.

Throughout Ireland, one can find shrines built over or near natural springs where people go to pray and receive her healing energy through her sacred waters. 

Imbolc was a significant holiday associated with Brigid.  In the ancient times this was a time to acknowledge that spring was not so far away, despite the tight grip winter still had over the land.  For the ancient Gaels, this time of year was particularly harsh.  It was considered the dead month.  But, despite the harsh winds and icy rain that fell, signs of spring could be found.  Ewes began to lactate, Cows gave birth, Ravens started to build nests, and green buds started to appear on branches and poke through the dirt.

Imbolc was important because it fell on an in-between time, a very powerful and sacred time for the Celts.  Brigid, if properly respected, brought the warmth of the sun, the flame of spring, healed the dead-time, and brought words to the poet’s lips.  Her miraculous powers could change water into ale and stone into salt. With boundless generosity she fed birds, animals, and the poor, and they all loved her in return.

Rabbits and Hares were also ancient symbols of spring.  The hare was an emissary of the Otherworld and a symbol of the in-between time, which made Imbolc a such a sacred time.  It is also the time of year that the footprints of rabbits and hares can be seen in the snow, as they search out the tender green shoots to eat and court their mates.  The snowshoe hare, with its ability to change its coat through the seasons, symbolizes the creativity embodied by Brigid. 

In modern time, Brigid can teach us to look bravely into the darkness and bear witness to the growing light.  It is a time of renewal, of re-affirming those resolutions we took at the beginning of the year to better ourselves. Now is the time to understand that no matter how difficult and dark things may appear to be, it will pass, for in order for darkness to exist light must exist as well. 

She asks us to apply creativity to our lives, to live with passion and in accord with our spirit.  A life that is full of passion, creative and healthy is blessed and burns with Brigid’s fire.

Brigid’s fire is the spark of life.

DoAn


Prints and Greeting Cards are now available at my Print on Demand page: http://fineartamerica.com/featured/1-brigid-doan-art.html

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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.

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.

What Midwinter Can Teach

Snowshoe Hare (graphite) by DoAn

We have arrived at the midpoint between winter solstice and the spring equinox. In the ancient times this was a time to acknowledge that spring was not so far away, despite the tight grip winter still had over the land.

The ancient Irish Celts called this time Imbolc (im’olc) and it was the time of the winter hag, the Cailleach. On this day, she wandered out to gather her firewood for the remaining days of winter. If she felt strong and wanted to make winter last longer, she will make sure Imbolc was a sunny, clear day, so that she could easily gather firewood. People would use Imbolc day as a predictor of the length of winter. If the day was dark and weather foul, then the Cailleach was sleeping and winter would soon be over.

Imbolc was traditionally celebrated on the full moon closest to the midpoint between the winter solstice and the spring equinox. In more contemporary times, the holiday is celebrated on February 2nd. Groundhog’s day, with its prediction of the coming of spring, is very likely a modern remnant of the ancient holiday of Imbolc.

Many other cultures found this time of year to be important. The Greek myth of Persephone returning from the underworld was enacted at this time of year as part of the Eleusinian mysteries, to celebrate the coming of spring. The Romans celebrated Lupercalia, which honored the founding of the city of Rome by the twins Romulus and Remus. The ancient Egyptians celebrated the Feast of Nut, whose birthday was February 2nd (according to the Gregorian calendar). Nut was the mother goddess to the sun god Ra. The Catholics celebrate Candlemas, having usurped the holiday from the native European pagans.

For the ancient gaels, this time of year was particularly harsh. It was considered the dead month. But, despite the harsh winds and icy rain that fell, signs of spring could be found. Ewes began to lactate, Cows gave birth, Ravens started to build nests, and green buds started to appear on branches and poking through the dirt.


The holiday was sacred to the goddess Brigid, who became Saint Brigit when the Catholics took on the holiday. Brigid was the patron goddess of Fire, Poetry and Healing and symbolized by a spiral. Imbolc was important because it fell on an in-between time, a very powerful and sacred time for the Celts. Brigid, if properly respected, brought the flame of spring, healed the dead-time, and brought words to the poets lips. Her miraculous powers could change water into ale and stone into salt. With boundless generosity she fed birds, animals, and the poor, and they all loved her in return.

Rabbits and Hares are also ancient symbols of spring. Hares sleep in nests or “forms” which look very similar to the nest of the lapwing bird. The lapwing builds its nests on the ground and in spring the nests are filled with eggs, which people took to be hare’s eggs. The hare was an emissary of the Otherworld and a symbol of the in-between time, which made Imbolc a such a sacred time. It is also the time of year that the footprints of rabbits and hares can be seen in the snow, as they search out the tender green shoots to eat and court their mates.

In modern practice, Imbolc can be seen as a time to look bravely into the darkness and bear witness to the growing light. It is a time of renewal, of re-affirming those resolutions we took at the beginning of the year to better ourselves. Now is the time to understand that no matter how difficult and dark things may appear to be, it will pass, for in order for darkness to exist light must exist as well.

On February 2nd, or perhaps before the next rise of the full moon, take a moment to sit in a darkened room. Meditate upon what you would like to see grow in health and strength this year: for yourself, your family, your community, the Earth. Meditate on the darkness in your life, look to what it can teach you, then light a candle, or many candles, fill the room with light and celebrate in the knowledge that the dark times will soon come to an end. With the lighting of the candle, you ignite the flame of your soul, offering strength to last through the remaining dark times.

DoAn
Subscribe in a reader


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.

Beag: the keeper of the well of wisdom is published!

Emerging Visions, an e-zine for visionary art, edited by Laurie Corzett, has posted its LeapDay Issue on the theme of ImagiNation, and I am happy to announce that my painting, Beag; the keeper of the well of wisdom, was selected to illustrate the issue. Please take a moment to check out the poetry, essays, flash fiction and visual art by the other talented artists and writers.

Brigid (SOLD)

As one of the most popular goddesses worshipped by the Celts, she continues to be a favorite among Christians as many of her stories and myths survived in the persona of Saint Brigid. She was the goddess of all things perceived to be of relatively high dimensions such as high-rising flames, highlands, hill-forts and upland areas; and of activities and states conceived as psychologically lofty and elevated, such as wisdom, excellence, perfection, high intelligence, poetic eloquence, craftsmanship (especially blacksmithing), healing ability, druidic knowledge and skill in warfare. An object connected to the goddess called Brigid's Cross, made of rushes or straw, and woven into a kind of star or cross shape (see image).

Many rituals are associated with the making of the crosses. At one time, these were very common, but now have become rare. Occasionally, in the rural areas, Roman Catholic homes still feature Brigid's crosses. It was traditionally believed that a Brigid's Cross protects the house from fire and evil. Brigid's crosses are associated with Brigid of Kildare, who is venerated as one of the patron saints of Ireland. The crosses are traditionally made on 1 February, which in Gaelic is called Lá Fhéile Bhríde (Brigid's feast day), the day of her liturgical celebration.

I used the Whirlpool Galaxy as the reference for this painting. I found the spiraling arms of the galaxy an echo of the arms of Brigit's Cross, and all the fiery stars being creating within the arms, an adequate representation of the different qualities of this powerful goddess.

DoAn

Beag: Keeper of the Well of Wisdom (SOLD)

At last, the latest painting for the From Beyond the Ninth Wave series is completed. This one is entitled Beag: Keeper of the Well of Wisdom. The goddess Beag (pronounced: BEG), possessed a magic well, which was guarded by her three daughters. When the Irish hero Fionn Mac Cumhail came to the well to ask for a drink the daughters tried to keep him from getting the water. One of the daughters threw water over him to frighten him away, but some of the water trickled into his mouth, giving him wisdom.

This painting is comprised of A LOT of glaze work. Using only three colors (Yellow, Magenta, and Blue), I made fine washes of color over each other, sometimes adding up to 20 layers in places to create colors of depth and intensity. I washed over some of the colors with thin layers of white to create the cloudiness and veiled look to some of the colors. The reference to the painting was a part of the Orion Nebula. I used mainly the color and shapes of the nebula to inspire me, but as I worked on the painting it began to take its own shape. Perhaps Beag was imparting some wisdom upon me? Well, I will have to get back to you about that.

DoAn