Snow Covered Landscape

art, Creativity, Faith, Imagination, nature, Painting, photography, texas, vision

The Last of Our Winter Snow

I covered up an old painting I didn’t care about, one of those “unsold inventory pieces,” which inhabit every artist’s storage areas. In the old days, artists would burn their least good works in the winter to stay warm. While we might want to see these works, artists burned them for a reason. They made better fires than art. We artists know art and we know what we like: excellence. If a work doesn’t meet our standards, we can destroy it and move on. Texans have been burning their furniture in the recent winter snowstorm, when their statewide power grid failed. They can always get new tables and chairs, but no one wants to lose fingers or toes.

I used to think my art was a precious thing, as if it were alive. Now I’m more discerning, for a work needs to hold together and still speak to me for a long time for it to be a “quality piece.” Since I’m still pushing the boundaries of an idea, sometimes my work falls short of my goals. Yet if I ever get to the point at which I’m just repeating techniques and forms, I won’t be enjoying myself. I’ll move on to something else, I’ll guarantee you for sure! I was born on a Thursday, and like all such children, I have far to go. I will most likely never stop searching for a better way to express my creative journey or my experiences in this world.

I’ve often wondered about the artists who find one style and work it out infinitely, as compared to those who develop and change over the years. I love the landscape, and have given priority to God’s creation in my own creative endeavors. I feel closest to God in nature and identity with God’s creative energies when I’m making my art. Making art becomes a spiritual experience for me, since it brings me into union with God. I’ve often wondered if the artists who refine only one style ever end up losing their sense of creative joy. While a gallery might find it easier to sell our products if they look like our previous work, artists have to decide if they paint for public approval and sales or for continuous, creative purposes. 

This decision is easier for those who have other means of financial support, but for the most part this has been the lot of artists over the years. A few well heeled families may  support their creative endeavors, but many others are the starving artists of legend. Most of us end up in the latter category, since we don’t work full time at either our art or our day job. We sacrifice for our muse.

So what does the spiritual life have to do with the life of an artist? Most people think artists spend their lives wantonly drinking in cafes until late at night. These are “artist pretenders,” since actual artists are called to the solitude of their workplaces and the silence of the moving spirit in the pushing and pulling of the media in which they work. If they command their materials, they produce one level of work, but if they surrender to the movement of the spirit, they enter into a dialogue with the work which comes to birth through their hands. In a sense, we cannot “make art,” but we “allow art to become a reality in our presence.”

For those who insist on “tackling their work” or “achieving mastery over a medium,” this attitude of surrendering before the canvas or artwork is difficult to understand. As Jason Nesmith, the captain of the fictional Galaxy Quest spaceship said, “Never give-up, never surrender.” This is such a trope of television writing, the movie makers had to poke fun at it. What’s sad is we confuse our spiritual life with the movies. Sometimes the best course is to surrender. When we realize we’re at the end of our ropes, we don’t tie a knot and hold on. We let go and let God. We quit trying to fix it and control it. We offer compassion to the broken, rest to the tired, refreshment to the hungry, and cheer to the downhearted.

Stage 1: fabric layer

So it is with a painting. It starts with an idea, in this case, I wanted to recycle old material into a new purpose.  I also wanted to revisit the aerial view of the lake area where I live, but with snow. I cut and sewed one afternoon until I had enough shapes to glue on my square canvas. You can see the tapestry elements as well as the old embroidery, which I think dates from the 1970’s.Then I set it aside to dry overnight.

Stage 2: first layer of painting

The next day, I used my acrylic paints to put the first layers on the canvas. I ended up with more warm colors than I intended, but the under layers were also warm reds and golds. I was losing energy and couldn’t feel the painting speaking to me any longer. This is “artist talk” for losing sensitivity to the changing field of colors on the surface. It’s similar to not being able to recognize the look of boredom on a conversation partner’s face while you go on and on with your tale. In the studio, you lose the work and elsewhere, you lose someone’s attention. When my blood sugar drops, I have to be careful, for I lose my receptiveness to the subtle movements of color and form. If I can no longer hear the work speaking to me,I know I need to stop and come back later.

Snow Covered Promontories on the Lake

The next day, I crunched about in the snow for about fifteen minutes, but under the fluff is ice, so I didn’t stay out long. My cozy condo is a better choice. I repainted most of the warm colors with cool blues and pinks, and highlighted the leaf shapes in the “forested area.” We have two large condominium projects near the lakeside and a large highway near the right side of the image. The rest of our landscape is snow covered trees. Once those odd warm areas calmed down, then I could hear again the brighter notes of red and gold against the violets and grays. The hard edges where the fabric joins together follows along the roadways for the most part.

Landscape from my Studio

After I completed this work, I hung it on the wall and compared it to one I’d done prior to this which has all the boathouses around our lakeshore area. I decided to repaint the water with the colors of the clouds of the sky. Now I’m happier with the painting because the same families of colors float over both the land and the water areas. It’s more unified.

Large Spring Boathouses

The good news is while I may not perfect my vision during my lifetime, for I’ll always see more I can do and my hand will surely fail to capture what my imagination can conceive, I’ll always have the assurance of God’s love:

“So we have known and believe the love that God has for us.
God is love, and those who abide in love abide in God, and God abides in them. Love has been perfected among us in this: that we may have boldness on the day of judgment, because as he is, so are we in this world. There is no fear in love, but perfect love casts out fear; for fear has to do with punishment, and whoever fears has not reached perfection in love. We love because he first loved us.
” ~~ 1 John 4:16-19

May God fill you with joy and peace,

Cornelia

Chapter IV: Income and Earnings

https://www.arts.gov/sites/default/files/Artists_and_Other_Cultural_Workers.pdf

Palette Knife Flowers

adult learning, art, beauty, brain plasticity, Children, Creativity, Easter, Faith, flowers, Imagination, mystery, nature, Painting, purpose, renewal, righteousness, risk, Spirituality, Valentine’s Day, vision

The Very Last Leaf

Every blade of grass outside is a uniform tan, for winter’s pale light has sucked the life and green from its living cells. Each colder breeze separates yet another straggling leaf from a sleeping stick attached to the limbs of a hibernating tree. The sap won’t rise until mid February, when the days are warmer and the nights are still freezing. The ornamental pear trees lining the entry to my condo are beginning to bud, so I’m sure they’ll be covered with snow before Easter. I’m almost wishing for a good snow to change up the colors outside, to cause some excitement of a bread aisle clearing stampede, and the joy of eating pancakes at every meal “just because it’s a snow day.”

Instead, I’ve brightened my interior spaces with fresh flowers. This is an early reminder to all you lovers out there: Sunday, February 14 is Valentine’s Day. Be sweet to the special person in your life by bringing something beautiful or joyful into their life. Our art class has been working with the palette knife instead of the brush lately. This is a different tool to get the paint on the canvas. With the brush, we can make lines and broad strokes, as well as dots or blobs. With the knife, we have to pick up colors on the metal end, push and press with varied strength and wrist twists to get the paint to go where we want it and to mix at the same time.

Mike’s Flower Study

How does this happen? It’s magic! Or luck, or practice until you figure out how the paint feels under your hands. I can best describe it as being willing to do finger painting, but with a palette knife. We also have to let our adult mind go sit in the corner, while we let our five year old come out and play. Another way to think of this is to compare religion and faith. Religion has rules and boundaries for how to “do it right.” We spend most of our lives in this mode, trying to measure up to a severe standard, rather like the older brother to the prodigal son. In faith, we trust we’re enough and God’s mercy and grace are sufficient for us, so we yearn to please God even more. What we can do in love, for love’s sake, will bring the world into the love of God.

Gail’s Flower Study

This is why no one copies my art work, but goes on their own journey to find their own way of seeing. This is one of the hardest parts of making a painting, to isolate the primary forms and shapes, and then to set them in a space. As we look at a three dimensional world, we have to come up with our own visual language to write on a two dimensional surface. As we invent our own language, we’re creating a new vocabulary, grammar, and conjugations, which take some time for us and the world to understand. We don’t worry if we’re “good,” for we are painting these to grow our minds, stretch our boundaries, and by learning new skills, building new brain connections and endorphins. We get joy from our work, so it gets us through the doldrums of winter.

Cornelia’s first layer

There’s a wonderful poem by Robert Frost, of a bouquet of flowers, and two birds in winter:

Wind and Window Flower

Lovers, forget your love,

And list to the love of these,

She a window flower,

And he a winter breeze.

When the frosty window veil

Was melted down at noon,

And the cagèd yellow bird

Hung over her in tune,

He marked her through the pane,

He could not help but mark,

And only passed her by,

To come again at dark.

He was a winter wind,

Concerned with ice and snow,

Dead weeds and unmated birds,

And little of love could know.

But he sighed upon the sill,

He gave the sash a shake,

As witness all within

Who lay that night awake.

Perchance he half prevailed

To win her for the flight

From the firelit looking-glass

And warm stove-window light.

But the flower leaned aside

And thought of naught to say,

And morning found the breeze

A hundred miles away.

Cornelia’s Final Flowers

“Wind and Window Flower,” a poem written by Robert Frost, speaks of how we can sometimes love someone who can’t leave either the safety of their window sill or the prison of their cage. With this in mind, it’s best for the bird to fly on by in order to find true love or purpose somewhere else. Some of us will watch the cold world from a safe distance as it goes by, while others will leave our cozy homes and go out into the cold, sharp winds to seek another path. We may regret leaving the caged bird behind, but we have to go and find our highest purpose in life. I often wonder about the bird left behind, if the cage ever got too small or if security was more important. The fresh flowers won’t ever know the outcome of this story, for they’ll be gone before the week is out.

Even these small and insignificant works of the creator are not outside the care and concern of a loving God. As Jesus says in Matthew 6:26-33—

“Look at the birds of the air; they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they? And can any of you by worrying add a single hour to your span of life?

And why do you worry about clothing? Consider the lilies of the field, how they grow; they neither toil nor spin, yet I tell you, even Solomon in all his glory was not clothed like one of these. But if God so clothes the grass of the field, which is alive today and tomorrow is thrown into the oven, will he not much more clothe you—you of little faith?

Therefore do not worry, saying, ‘What will we eat?’ or ‘What will we drink?’ or ‘What will we wear?’ For it is the Gentiles who strive for all these things; and indeed your heavenly Father knows that you need all these things. But strive first for the kingdom of God and his righteousness, and all these things will be given to you as well.”

Painting Mandalas after Carl Jung

adult learning, art, beauty, Carl Jung, Creativity, Faith, Healing, Holy Spirit, Imagination, mandala, Meditation, Ministry, mystery, nature, Painting, Spirituality, Stress, vision

In 1938, Jung had the opportunity, in the monastery of Bhutia Busty, near Darjeeling, of talking with a Lamaic rimpoche, Lingdam Gomchen by name, about the khilkor or mandala. He told the famous psychologist , “the true mandala is always an inner image, which is gradually built up through (active) imagination, at such times when psychic equilibrium is disturbed or when a thought cannot be found and must be sought for, because it is not contained in holy doctrine.” (Psychology and Alchemy, Princeton University Press, 1993, paragraph 123.)

Today, in 2021, over eighty years later, a lot of folks must have their psychic equilibriums out of kilter. They look for certainty in an uncertain world. They seek a savior in a frail human being. They make war to bring about their peace. Whatever angers and fears stir their soul, they act on them, to the detriment of the common good. They are like unbridled, runaway horses, stampeding to a cliff edge without awareness of the consequences of the fall.

The mandala is a graphical representation of the center or the Self. It is unique to each person and would be different from day to day. Jung believed the circle invited conflicting parts of our nature to appear and allowed for the unification of opposites in order to represent the sum of who we are. He found this sense of wholeness was reflected in the lives of his patients, as he was able to trace the progression of an individual’s psychological recovery by correlating it with the coherence of the mandalas they drew. Jung believed making the mandalas over time would help a person gain insight into their Totality or their Wholeness, or “True Self,” as we say today. Totality or Wholeness is the psychic stage in which the union of the unconscious with the consciousness has been achieved. It is the final aim of Jung’s psychotherapy.

The Self was a term coined by Jung and reflected the Hindu Upanishads and its depiction of the higher personality, or atman. It’s considered to be the central archetype of the collective unconscious and serves as the organizing principle of the individual personality. The most familiar way the Self can make its presence known in Jungian work is through dream imagery, but this isn’t the only way. Another possibility, and one which had a particular fascination for Jung is the mandala.

A Variety of Passion Flower

For Jung, the individual consciousness is only the flower and fruit of a season that grows out of the perennial rhizome under the earth, and it finds itself better attuned to the truth when it takes the existence of the rhizome into account, for the root system is the mother of all.” This imagery begins to unfold in the mandala imagery. We can imagine a half circle below the earth, where the seed is planted just below the ground, and another half circle above the ground, where the flower will blossom, and then recall the Christian symbolism in the parable of the fertile soil in Luke 8:1-15, which states at the end of this section, “This is the meaning of the parable: The seed is the word of God.”

Passion Flower Mandala

In art class, we worked for several weeks at the beginning of the year on our personal mandalas. Since each of us have unique personalities and come from different experiences, we each create a different design. After all, as the Psalmist says to God in 139:14, “I praise you, for I am fearfully and wonderfully made. Wonderful are your works; that I know very well.” Gail designed her mandala in the form of a Passion Flower, a wild vine of various colors, with a circular crown in the center. This form suits her background and service in the national parks system. She has an affinity for nature.

Jung knew he needed to maintain a balance between his inner and outer worlds by whatever means, whether it was by painstaking anamnesis (the remembering of things from a supposed past existence), creative activity, and yoga activities or by any other means. He knew his family and patients depended on him, so even though he was in personal crisis, with an unconscious that could have “driven him out of his wits,” he maintained through his obligations of the here and now. Jung was also aware of the possibility of being whirled around by “the winds of the sprit”, since he had observed his colleague, Nietzsche, who “lost ground under his feet because he possessed nothing more than his inner thoughts.” Jung described Nietzsche as being possessed by it, rather than him possessing it, and so succumbed to exaggeration and unreality. To Jung this was horrible state, for he aimed for this life and this world.

Of the things that kept his balance, creative activity, which would manifest in his active fantasies and paintings, allowed Jung to become certain he had to delve into these primordial experiences himself, in order to be able to help his patients. If he had gone through it, he may be able to bring the light of understanding to the existential darkness that his patients experience. He could be a spiritual guide, so to speak. This is why he spent time creating the mandalas from his own experience.

Free Form Mandala

Mike’s mandala was created from his inner imagination. His legal work is with persons who are either in trouble with the legal system or need the legal system to bring justice to their cause. Sometimes this is an all day marathon in the courthouse. Keeping all these people, their situations, and the details of the law organized might require a lot of psychic energy. Mike went with a free form design, a choice that might have been a very relaxing and refreshing change from his daily life.

Mandala is the Sanskrit word for circle, but it’s a very special kind of circle. As a magic circle, it encompasses the circumference (perimeter) and the center, but not just ordinary space. The mandala has become a word that is synonymous with sacred space. The very presence of mandalas in the world remind the viewer of the sacred in the universe and in oneself. In some of India’s earliest and most important pre-Buddhist philosophical texts, the mandala already signifies a sacred enclosure and is at times understood to mean a place created for the performance of a particular ritual or practice, or for the use of a great teacher or mystic.

Creation of Plants

Structurally, the mandala is a combination of a circle and a squared form, usually a variation on a cross. Designs that integrate the circle and a four pointed theme, or one in which the circle is squared represent a mandalic space, or a geometric symbol of life. The four points can symbolize time and space, the equinoxes and solstices, or the four seasonal turning points in the year. In terms of space, it is the four directions. The circle with no beginning and no end is a symbol for the eternal whole which contains time and space. Jung stated that the mandala is the archetype of wholeness, relating it to the Self. He thought a mandala revealed “the center of personality, a kind of central point within the psyche, to which everything is related, by which everything is arranged, and which is itself a source of energy.” Others have stated, a mandala ‘‘expresses the totality of the psyche in all its aspects, including the relationship between (a person) and the whole of nature.”

Therefore, the mandala is one of the image archetypes that often emerges spontaneously when people are in the healing process, either in artwork, or in dreams. Creating mandalas has been found to help the physical healing process as well when they are used in conjunction with meditation. In dreams, mandalas show up in many ways in imagery that shares its geometry or meaning, such as a flower, a square in a village or town, or a fountain. Jung encountered several common symbols when he or his patients drew and interpreted mandalas. These included circular or egg-shaped formations, flowers or wheels, circles within a square or squares within circles. He frequently saw the number four or its multiples in mandalas, which was often represented by squares, crosses or suns or stars with four or eight rays.

Spiritual Winds Mandala

Mandala work is very useful in therapy. Art therapists generally simply draw a circle, or have the client draw a circle, and use that as the start of the mandala. This creates an inner and an outer space. If we remember the principle of balance and repetition when we begin to add the shapes to our mandala, we’ll discover its power to unify and center our own energies. In spiritual traditions throughout the world, mandalas focus and reflect the spiritual content of the psyche for both the creator and the viewer. Jung believed that creating mandalas offered a “safe refuge of inner reconciliation and wholeness,”providing a sacred space into which we can invite the Self. He also noticed that creating mandalas had a calming, focusing effect on his patients’ psychological states.

Chapel of St. Zeno

We also see examples of mandala in all the ancient cultures, even in Christianity in designs with animal images representing apostles (and the zodiac), such as the small Chapel of St. Zeno, off the right aisle of the Basilica of Santa Prassede, which was built as a mausoleum for Paschal’s mother Theodora. It’s the only chapel in Rome entirely lined with mosaics. It is an extraordinary sight, as this chapel has the only 9th century Byzantine mosaics in Rome.

For Christians, the Self is a a complicated and mostly negative notion. We usually use the notion in a negative sense, as in “selfish, thinking of our personal needs, rather than the good of the community.” As Philippians 2:3-4 reminds us, “Do nothing out of selfish ambition or vain conceit. Rather, in humility value others above yourselves, not looking to your own interests but each of you to the interests of the others.” This doesn’t wipe out our individual needs, however, for we’re also called to “Love our neighbor as our self.” How can we love our neighbors if we can’t honor and love our Self?

This is why we Christian believers can find benefits from introspection and spiritual guidance with the help of a trained person. We shouldn’t take this journey alone, for we need someone with experience who can help us to “test the spirits,” as it were. Above all we should remember the words from Colossians 3:9-11—

“Do not lie to one another, seeing that you have stripped off the old self with its practices and have clothed yourselves with the new self, which is being renewed in knowledge according to the image of its creator. In that renewal there is no longer Greek and Jew, circumcised and uncircumcised, barbarian, Scythian, slave and free; but Christ is all and in all!”

Our search for the True Self is a quest to be renewed in the image of God and conformed to the nature of Christ. As Paul wrote to the Philippians (3:12-14)

“Not that I have already obtained this or have already reached the goal; but I press on to make it my own, because Christ Jesus has made me his own. Beloved, I do not consider that I have made it my own; but this one thing I do: forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the heavenly call of God in Christ Jesus.”

Jung Mandala for Awakening

A mandala is easy to draw. All you need is a circle and a straight edge, if you’re into perfection. You can do the work freehand if you like. The mandala doesn’t force you into any forms. You make the mandala from your own gut. It will change from day to day and week to week. This too is part of the mandala experience. You can cut it out of paper, use crayons, pencils, ink, or even make it on your computer. If you want to doodle the design on the side of a page, consider it a sketch from your inner spirit, responding to the Holy Spirit, who is calling out to you.

Chapel of Saint Zeno
https://www.atlasobscura.com/places/chapel-of-saint-zeno

Claudia Bader: Labyrinth & Mandalas
https://www.claudiabader.com/labyrinth-mandalas.html

Carl Jung: Mandala
https://www.carl-jung.net/mandala.html#google_vignette

David Miller, Ph.D.: MANDALA SYMBOLISM IN PSYCHOTHERAPY: THE POTENTIAL UTILITY OF THE LOWENFELD MOSAIC TECHNIQUE FOR ENHANCING THE INDIVIDUATION PROCESS, The Journal of Transpersonal Psychology, 2005, Vol. 37, No. 2
http://www.atpweb.org/jtparchive/trps-37-02-164.pdf

Anne Cutri: Carl Jung’s Red Book: Mandala as Transformative Integration of the Psyche
Dr. Heerboth, Personality Psychology, Mercyhurst University
https://www.academia.edu/40481201/Carl_Jung_s_Red_Book_Mandala_as_Transformative_Integration_of_the_Psyche

MACHIEL KLERK: Mandalas: Symbols of the Self – Jung Society of Utah
https://jungutah.com/blog/mandalas-symbols-of-the-self-2/

Energies of the Labyrinth

art, change, Chartres Cathredral, coronavirus, Creativity, Faith, garden, greek myths, Imagination, labryinth, Meditation, pandemic, Reflection, Spirituality, Travel, vision

The word labyrinth comes from the Greek labyrinthos and describes any maze-like structure with a single path through it. It’s different from an actual maze, which may have multiple paths intricately linked. Etymologically the word is linked to the Minoan labrys or ‘double axe’, which is the symbol of the Minoan mother goddess of Crete. The actual word is Lydian in origin and most likely came to Crete from Anatolia (Asia Minor) through trade. Labyrinths and labyrinthine symbols have been dated to the Neolithic Age in regions as diverse as modern-day Turkey, Ireland, Greece, and India among others.

Labyrinths or mazes may have served to help the ones who walked them to find their spiritual path by purposefully removing them from their common understanding of linear time and direction between two points. As one traveled through the labyrinth, one would become increasingly lost in reference to the world outside and, in doing so, might unexpectedly discover one’s true path in life.

On New Year’s Day, I was reading my Twitter feed and came across this image of a seaside labyrinth. The comment was, “My #oneword for 2021 is downwind. After walking the labyrinth today with turns both against & with strong wind, I realized how limitless 2021 can be with the help of those who push me forward and not the wind pushing against me. This year, I’ll ride the momentum downwind.”

Twitter photo—My #oneword for 2021 is downwind

The theme of the labyrinth leading to one’s destiny is intricately linked to the Greek myth of Theseus and the Minotaur. The Minotaur lived at the heart of the labyrinth on the island of Crete, whose king required the people of Athens to send a tribute of fourteen youths annually. Once they entered the Minotaur ‘s labyrinth, they never returned. Theseus defeats the beast and saves his people, but loses his father to suicide because he fails to remember to change the color of his sails on his return trip as a sign of his victory. There’s even more dysfunctional family relationships, but that’s a story for another day. Suffice it to say, the ancient gods were wont to interfere with the lives of arrogant humans who failed to defer to the gods and instead acted as if they were masters of their own destiny.

Theseus and the Minotaur: Attributed to the Tleson Painter, ca 550 B.C., Attic Black Figure Kylix, Toledo Museum of Art, Toledo

Greek tragedy deals with the sweeping themes of love, loss, pride, the abuse of power and the fraught relationships between humanity and the gods. Typically the main protagonist of a tragedy committed some terrible crime without realizing how foolish and arrogant she or he had been. After slowly realizing the error, the world crumbles around the hero. The tragic hero must be essentially admirable and good. The fall of a scoundrel or villain evokes applause rather than pity. Audiences cheer when the bad guy goes down. We feel compassion for someone we admire when that character is in a difficult situation. The nobler and more admirable the person is, the greater our anxiety or grief at his or her downfall.

This idea survives to this day in the proverb, “The bigger they come, the harder they fall.” In the 5th C BCE, in the founding work of history known as the Histories of Herodotus, we find the statement: “It is the gods’ custom to bring low all things of surpassing greatness.” An earlier expression, “Pride goes before destruction, and a haughty spirit before a fall,” is found in the Proverbs (16:18). These date from 700 BCE to the fourth century BCE (1:1-9:18).

In a true tragedy, the hero’s demise must come as a result of some personal error or decision. The tragic or fatal error, or fatal flaw of the protagonist that eventually leads to the final catastrophe is known as hamartia, or missing the mark. It’s a metaphor from archery, and literally refers to a shot that misses the bullseye. There’s no such thing as an innocent victim in a tragedy, nor can a genuinely tragic downfall ever be purely a matter of blind accident or bad luck. The tragic hero must always bear at least some responsibility for his or her own doom. In Greek tragedy, the gods may interfere, but they don’t determine our destiny. Likewise, human events and actors may put detours across our path, but though the gods may intervene on our behalf, we can still snatch defeat from the jaws of victory in a true Greek tragedy.

Theseus killing the Minotaur of the Cretan labyrinth. Ariadne, possibly, looks on from the right. Attic black figure vase, Late 6th, early 5th century BCE. (Archaeological Museum, Milan).

The labyrinth is a symbol for change, for it’s the place of transformation. In the myth, Theseus must enter a maze no one knows how to navigate, slay a flesh eating monster, and return to the world above. Theseus accomplishes this, but still retains his youthful flaws until he is changed by his father’s death and he’s forced to grow up and assume adult responsibility. His experience in the labyrinth offered him an opportunity to change and grow but, like many people, Theseus resisted until change was forced upon him.

The medieval labyrinth is a unicursal labyrinth, with a single, circuitous but clearly delineated path. It’s an image encompassing both shared and individual experience, for we don’t walk the path alone, but we share it with fellow travelers. The unicursal labyrinth is distinguished from a multicursal labyrinth (or maze) by having only a single (though winding) path to its center. While a maze may have little or no symmetry and may not even have a center, a medieval labyrinth usually has both. The great medieval labyrinth on the floor of France’s Chartres Cathedral is one of the most famous unicursal labyrinths.

Chartres Cathedral Labyrinth from Above

Carl Jung, the famous Swiss psychologist, saw the similarity between medieval, Christ-centered mandalas in manuscripts and rose windows, the mandalas of his patients, and the mandalas he created. Jung believed his own mandalas “helped him maintain his psychic equilibrium” and believed “everything points toward the center,”so that he found “stability” and “inner peace” even during the war era.

Jung: Mandela

Medieval labyrinths, and all their variations, including the classical design of which the medieval style is an outgrowth, now appear across the United States in settings ranging from churches and parks to hospitals and museums; they may be painted, tiled, paved, woven into a carpet, constructed of canvas, or cut into a lawn. They’re usually designed to be walked on. Over the last quarter century, the medieval labyrinth has entered public consciousness as a “blueprint for transformation” rather than “an oddity,” as it was at one time. I can remember at least one of my fellow clergy asking if “this wasn’t so kind of new age hooey I was getting into.” Moreover, labyrinths aren’t limited to meditative and ritual use; they also appear in secular and recreational settings and are often noteworthy for their ornamental or artistic value.

Lavender Garden Labyrinth

While each one of us walks the same path, no one has the same experience on the labyrinth. We’re all on the same journey, but we’re traveling on a different part of the path. We entered at a different time, or we came to the labyrinthine journey at a different period of our spiritual journey. Some of us will move slowly, while others will hustle along the way. If we came with troubles and worries, we may have been looking for THE ANSWER. The labyrinth isn’t a one armed bandit. We don’t put our money in, pull the handle, and get a payout. The walking is instead an opportunity for reflection, a time to give our selves to the service of God, and set aside our pride.

We enter into the community of faith on the path

I’ve walked on the labyrinth on different occasions and had different experiences, since I’ve been “residing in different inns along my spiritual journey” during the years as I make my rounds about the sun while I live on this planet earth. I’ve been to the holy land twice, and been to Greece and Turkey to walk in the footsteps of Paul to see the churches he planted across the Mediterranean. I spent a summer in Italy during art school, while living in a small town and taking field trips to see the historic sites nearby. I took an interterm during graduate school to visit London and visit all the museums I could devour in that short time, along with some excursions to the seaside. Still, I’ve yet to see Stonehenge, and I’ve not seen Paris.

The question is, do we walk the labyrinth as a tourist going to a destination, expecting to stamp our passports, bring back photos, and buy souvenirs, or do we go expecting to meet Christ along the way? On the tour groups, folks sort themselves fairly soon into subgroups. The ones who want to go quickly to the site, give it a once over, take a few photos, and hit the souvenir shops before they have a coffee or a drink, will find each other and share their daily haul as they relax and wait for the stragglers to roll in. The stragglers come in two groups: the ones who took their time, and the ones who took the wrong turn and got lost. Thankfully, I didn’t get lost as I often do here at home! My notorious ability to take the wrong turn and my poor map reading skills are legend. The virtue of group travel is we leave no one behind.

While each person enters the labyrinth alone, others may also be on the path also. When we meet another, we perform a silent dance of giving way, first one to another, then the other to the one. Two can’t be in the same lane at the same time, but we can “dosie do” to let one another pass on by. This is life in community, where we share the spaces and the journey. When we walk the path of the Labyrinth, we enter a space/time/continuum. This is where up/down, left/right, and forward/backward all exist in one time dimension. Time passes differently inside the Labyrinth, for the twisting path appears to take us first directly toward the center, but just as we approach it, we are forced to follow the path directly away from the center instead. Then we wander around the outer edges of the labyrinth until suddenly, we arrive at the center. If we think we’ll never reach the promised land, we’ll find ourselves suddenly cast upon its shores as a Jonah spewed from the belly of a big fish. What seems like three days of darkness in a labyrinth may only be thirty minutes. Clock time gives way to God time on the journey.

Energies of the Labyrinth

Thus we enter into the timeless paths of all the pilgrims walking before us, those who never made their way to the holy land, but found the holy in the land in which they lived. The labyrinth has a way of uniting all the time of the past, the future, and the now into one dimension. In this way, when we walk the labyrinth, we enter into the kairos time of God, as opposed to the chronos time of humanity. No longer are “on the clock,” but we walk in the appointed and opportune time for us to experience the holy.

If we’re surprised, and emotionally disconcerted as we walk these twisting paths, it’s because we discovered we had no control over how soon we could get to our destination. We can stay in the center and be humbled by this awareness, but often we act like tourists instead. We get our passports stamped after an appropriate rest, and head back home. As heroes who’ve been to the center, we journey back to the outer world as changed people, ready to bring new truths and understanding back to the world. If we are like the Greek heroes of old, however, our tragic flaw will be living for ourselves only and forgetting to do good to all.

The energies of the labyrinth aren’t self-contained to the paths or to those who walk it. It is a holy space, so like the energies of space time, in which space and time are relative, observations depend on the viewer’s speed. If we rush through the labyrinth, we don’t have the same opportunity to meet Christ on the road to Damascus, as Paul did, and have an opportunity to change our lives. We need to drag our feet a bit, as the grieving disciples did on the road to Emmaus, so we might have the privilege of recognizing Christ in the central act of blessing the bread when they invited him to stay with them at the end of the journey.

The hurried life isn’t for the contemplative person, so even those whose lives are given over to getting many things done can benefit from a quiet time now and then. Otherwise, we can become the heroic Theseus who depends upon his own power, rather than giving credit to the powers of the gods, for all his great deeds. This is why his arrogance and pride is his undoing, even though he had a transformative experience in the labyrinth. Not until much later did he process this experience and grow from it.

When I began my painting, I started out with the actual forms, in homage to the many walks I’d participated in over the years. Soon I thought of burying the image, and uncovering parts of it, as if it were an archeological dig in process, but I only buried the outer edges. Then the idea of energies of the innumerable pilgrim walks percolated up into my consciousness and I began to paint the intersecting colored arcs. While I lost the paths, I was painting my emotional experience of the walking. I’ve been on quite a journey this past year, even though I’ve gone nowhere, due to the covid pandemic. Confined to home, I’ve longed to journey elsewhere, but the labyrinth is a journey anyone can take safely without fear of a monster who devours human tributes. I’m looking forward to the new year and new works, and perhaps some actual journeys. God bless everyone. Thanks for reading this.

Joy and Peace,

Cornelia

Labyrinth – Ancient History Encyclopedia by Joshua J. Mark
https://www.ancient.eu/Labyrinth/

Elements of greek tragedy and the tragic hero
https://www.slideshare.net/cafeharmon/elements-of-greek-tragedy-and-the-tragic-hero

Mary Hackworth—“The One and the Many: The Significance of the Labyrinth in Contemporary America,” Journal of Jungian Scholarly Studies Vol. 9, No. 3, 2014
https://jungianjournal.ca/index.php/jjss/article/download/44/37/74

The Labyrinth Society: The Labyrinth Society: Directions to Make a Labyrinth
https://labyrinthsociety.org/make-a-labyrinth

How to Make a Canvas Labyrinth for $200
https://pinkpaganpriestess.wordpress.com/2012/11/30/how-to-make-a-canvas-labyrinth-for-200/

Histories of Herodotus
https://www.gutenberg.org/files/2707/2707-h/2707-h.htm

What is Space Time?
https://www.livescience.com/space-time.html

Lifelong Learning

art, bottles, brain plasticity, Children, Creativity, flowers, Imagination, mystery, nature, Painting, renewal, vision

Leonardo da Vinci is the ideal Renaissance man: a supremely gifted painter, scientist, inventor and polymath. Da Vinci has been widely regarded as one of the world’s greatest minds, whose extraordinary talents included painting, mathematics, architecture, engineering, botany, sculpture, and human biology. He once said,

There are three classes of people:
Those who see.
Those who see when they are shown.
Those who do not see.

When small children draw, they first make experiments with whatever medium they have in hand. They’ll put their whole body into it, cover the entire page, and sometimes even eat the materials. Even though they’ve been given a limited arena to explore, such as a sheet of paper, if you turn your back, kids will want to see how the crayons or paint work on a wall, on their bodies, or on the family pet. Parents think of this as more cleanup work, but it’s just another learning experience for the children. The pandemic may have brought this lesson home to roost in more than one home.

Family and House

Later on, children make symbols for the objects in their world. This is why all early grammar school art looks very similar: the blue line across the paper’s top represents the sky, the yellow sun blazes in an upper corner, a house has exactly one door and two windows, and the ground is green grass. Once a child is 9 to 11 years old, they begin to draw realistically, and over the next few years a child will develop their eye for accurate color and detail.

Sometimes children get the idea they have no artistic ability, and develop a bad case of the “I can’t do this-itis.” When I taught art, I had kindergartners cry when they couldn’t cut out a snowman perfectly on the fold. “Oh, sweetie, no one cuts it perfect the very first time! The first time is just for practice. Let’s see what you were doing that got you two pieces instead of one.”

I knew they were holding the cut side, rather than the folded side, when they made made their cut, but they needed hands on instructions to get the lesson. “Oh, look, you need to hold the fold in your hand, and cut on the flappy sides. That’ll give you the whole piece. Try that while I watch.”

It’s just amazing what happens when the scales fall off their little eyes! In the book of Acts (9:17-18), Ananias laid his hands on Saul and said, “Brother Saul, the Lord Jesus, who appeared to you on your way here, has sent me so that you may regain your sight and be filled with the Holy Spirit.” And immediately something like scales fell from his eyes, and his sight was restored. When we find the magic key to unlock the storehouse of hidden knowledge, all the possibilities of the world beyond us seem to be close at hand. It only takes a few successes to gain confidence.

Once young people get up to middle school age, they begin to sort themselves into “groups.” Those who think they’re Michelangelo’s and Leonardo’s heir apparents often think they only need to do a minimum of work, since their native abilities exceed the best efforts of the less talented students. In mandatory art classes, everyone needs to work under the same grading system. Otherwise systemic structures would always prefer and rank higher those students who had the benefit of prior training, cultural experiences, and native talent.

I always leveled the playing field by grading on heavily on the work ethic, the amount of improvement, and then gave the finished product only 25% of the overall total. This meant if Michelangelo goofed off, but dashed off a winning project, he’d most likely fail the first grading period. His parents would get his mind straight and then his art works would begin to improve by leaps and bounds.

Jasper Johns: Order and Disorder.

Likewise, the students who never had a chance at succeeding in art class could give their best efforts, seek to solve the assignments, and discover they could improve! It was as easy as A—B—C—Attitude, Behavior, and Consequences. If we began with a positive attitude, we made positive actions, and got good grades and improving art works. Plus we began to feel good about ourselves. If we kept a negative attitude, we wouldn’t try, we’d goof off, be slow to improve, and get a bad grade. Why feel bad about yourself when everyone else was having a good time in art?

The fancy name for this process is brain plasticity. Our brains can form new information and structures, not only when we’re young, but also as we age. The brain is a muscle, which we can exercise. If we stop exercising our mental skills, we don’t just forget them: the brain map space for those skills is turned over to the skills we practice instead. You might ask, “How often must I practice tennis, guitar, or math to keep on top of it?” This is the question about brain plasticity, since you’re asking how frequently you must practice an activity to make sure its brain map space is not lost to another. The simple word for this is “Use it or lose it.”

Today we live in a world in which many children don’t get to explore a wide variety of interests. Some of this is because our schools have focused on teaching just the basics, so art and music get shuffled off to the outermost edges, or dropped if finances get tight. We live in a more structured world than fifty years ago, so children don’t often interact with their environment unless they’re camping or on a field trip. Many don’t play sports because teams are competitive, time consuming, and don’t allow children to have outside interests. I’m not sure why we want children to become professionals too early in life, when they could be exploring the world in all its vast wonder instead.

Maybe this is why as adults we come back to discover our true selves and take up a hobby we never thought we’d ever try. We have to drop our preconceived notion that our abilities and success in one area of our lives will mean we’ll quickly progress in a new field. Some have said we need 10,000 hours of practice to attain excellence, but others say it depends on the field. Deliberate practice is only a predictor of success in fields that have super stable structures. In tennis, chess, and classical music, the rules never change, so you can study up to become the best. If we were to start up a brand new business , we might need to break some of the rules.

Leonardo da Vinci wrote in his notebook,
“Shadows which you see with difficulty, and whose boundaries you cannot define… these you should not represent as finished or sharply defined, for the result would be that your work would seem wooden.”

We sometimes see with difficulty, and our hand isn’t yet fully connected to our eye, so the boundaries of our shapes don’t match what we see, but we find joy in the act of painting. We keep looking ever more closely, increasing our powers of observation, and training our hand to follow our eye. Some of this is keeping a memory in our mind long enough to put the image on the surface, and the other part is to still the mind of extraneous thoughts so we can hold that thought for the few seconds it takes to make the line.

Leonardo was a lifetime learner.

We do this for our mental health, to keep our neurons fresh and our brains challenged by the problems of representing color, shadows, light, and space. We approach our art work as if we’re little children eager to discover a new way to describe our world. Each time we set brush to canvas, we grow, if only in humility.

Gail brought us some beauty berry bushes. Unlike nearly every other fruiting shrub in North America, beauty berry flowers and fruits in clusters along its stem at the leaf joints, rather than on a separate fruiting stem. Flowers are clustered sprays of pinkish-white tiny blossoms that appear in mid to late summer. Berries are a bright, intense purple, tightly packed in balls of fruit along the stem. The berries are edible when they’re deep purple, but they require lemon juice and sugar to make a good jelly.

The leaves can be used in nearly every way to fight insects: you can crush them and rub them on yourself for a quick fix, you can make an infusion and dip your clothes in it, you can distill out the essential oils and combine them with other plants to make a bug spray… it all works. And it’s not just folklore, either. In 2006, scientists at the USDA’s Agricultural Research Service working at the University of Mississippi isolated three chemical compounds from beauty berry leaves— callicarpenal, intermedeol and spathulenol. All three proved highly effective as repellents for mosquitoes, biting flies, ticks, fleas, and other pests. Later studies confirmed their findings, and actually proved callicarpenal to be more effective than DEET at repelling insects, without the harsh side effects. The last hurdle is making the process financially feasible.

Very nice Beauty Berries

I brought another of my antique 1930’s glass vases from my grandmother’s house. Filled with water, the stems appear distorted underwater and don’t line up with the stems above water. This proved more difficult to paint, so I suggested to Gail a way to simplify the leaves. If the basic yellow shape were filled in first, then the shades of green could go next, leaving thin streaks of yellow for the veins. This is easier than painting a thin yellow line. A thin red edge could highlight certain areas to get the shadow. This takes a steady hand and controlled breathing. Hurrying to get somewhere fast won’t get it done. She paid close attention to the berries and their highlights.

Mike had an errand of mercy to attend to, so he made an appearance and left to help someone who was in trouble. Trouble is just another word for the opportunity to be the hands of Christ in the world. Anytime I had interruptions in my daily plans, I always knew God’s plans were superseding my well planned calendar.

Sunlight on an Antique Vase of Beauty Berries

My little still-life has all the autumn colors. Gail brought in a variety of branches and a red sumac also. We only have about 90 minutes to paint after I show some examples and have time to cleanup afterwards. Therefore, I choose to simplify the subject before me. I decide what is most important and necessary to convey the image, to set it into the space, to give it a mood, and to let it speak. If there’s an air of sadness about it, it’s because I painted it on the anniversary of my daughter’s death. If there’s a mood of mystery within it, the changing season is one of harvest and celebration. The earth gives forth its bounty, then goes into a form of rest, until it rebirths itself in the springtime.

If we’re going to paint not only the subject before us, but also share our true selves in the finished work, we need to become as little children who put their whole selves into their work. Although I’d hope we would have learned by now not to eat the paint.

Next Friday we’re going to make decorations for the harvest season. Mike is bringing in leaves, branches, and spray paint. I’m bringing a drill, glue guns, wire cutters, and wire. If you’re coming to make a wreath or mantle piece, bring your “autumn stuff,” as well as a wreath or log. Please wear a mask.

Until next time, Joy and Peace,
Cornelia

Children’s Art Stages
https://www.d.umn.edu/artedu/Lowenf.html

Edible Beauty Berries
https://www.sarcraft.com/news/american-beautyberry

The Brain That Changes Itself—brain plasticity
Stories of Personal Triumph from the Frontiers of Brain Science NORMAN DOIDGE, M.D. https://www.brainmaster.com/software/pubs/brain/contrib/The%20Brain%20That%20Changes%20Itself.pdf

Still Life with Bottles

adult learning, apples, art, bottles, Creativity, Faith, Ministry, Painting, picasso, renewal, shadows

One of the best genres of painting is still life: it doesn’t move, it never gets tired, and it never fusses about sitting in one place for a longtime. It’s only drawback is it might rot if you take too long to do your art work. Most of us won’t have this problem, since we’ll either take a photo of the piece or go on to paint something else before that happens.

Jan Davidsz de Heem: Still Life in Glass Vase

Still life painting as an independent genre or specialty first flourished in the Netherlands during the early 1600s, even though parts of earlier paintings paid detailed attention to flowers or fruit within the whole. The rise of still life painting in the Northern and Spanish Netherlands, mainly in the large city trade centers, reflected the increasing urbanization of Dutch and Flemish society, which brought with it an emphasis on the home and personal possessions, commerce, trade, learning—all the aspects and diversions of everyday life. These still lifes featured imported flowers and fruits plus expensive objects such as Chinese porcelain, Venetian glassware, and silver-gilt cups and trays, all of which were usually rendered in a glistening light and with a velvety atmosphere.

Cezanne: Bottles and Apples

A noted Flemish master of the 17th century, Jan Davidsz de Heem, enjoyed combining multiple flowers from different seasons along with ears of corn, a spider, a ladybird, ants, and butterflies in a glass vase on a slate ledge with red currents, a violet, a snail, and a caterpillar. Photorealistic paintings like this were in vogue then, but as the years rolled on, modern artists began to explore other directions. Cezanne retains the luxurious drapery of earlier still life paintings, but simplifies the forms of everyday objects. He’s the father of the cubist painters, represented by Picasso’s bottle still life.

Picasso: Cubist Still Life

Another artist shows us how to handle the reflection of the background in a glass vessel. Matisse freely paints the colors and shapes of the plants, the window, and the bright goldfish plus all the highlights from the light sources. He even lets some of the white of the unpainted canvas show throughout his work to add to the feeling of airiness.

Matisse: Goldfish

A current painting from Pinterest is a quieter and more sedate rendering of the goldfish theme. The overall drawing is good, but it lacks energy. There’s no vibrancy in the light coming through the window and the shadows on the goldfish are too dark. Muting the values of the colors toward grey and brown will decrease the “pop” of a painting every time.

Artist Unknown: Goldfish Bowl

We also looked at a painting of a clear bottle with lemons in the background. Objects behind a glass will often be displaced by the surface, just as water also shifts the position of anything underwater. We’ve tried bottles and jars before, but this is the first time we’ve focused on them entirely. As a collector of ancient and odd things, these are old beer and soda bottles I’ve found over the years. They aren’t THAT old, with the oldest being about 1905. They’re all mould blown and have distinctive air bubbles and seam lines.

One is from the bottling company of my hometown, the Star Bottling Company, which first produced the Uncle Joe and Aunt Ida soft drinks, before becoming part of the Coca Cola bottling family in 1904. Before the Coca Cola Company created a line of flavored drinks, most of the bottlers created their own brands, with orange, root beer, strawberry, grape and fruit-flavored drinks. Because they weren’t allowed to put them in bottles with the “Coca-Cola” script, the bottlers developed their own “flavor bottles.”

The writing on many of these bottles indicated they were property of the local Coca Cola bottling company. Collectors can find an enormous variety in flavor bottles, and most are very inexpensive to collect. Mine are of the nondescript, ordinary variety, but I have fond memories of the experience of finding them. Plus the excitement of a field trip to the bottling plant, which both got us out of school for a morning and introduced us to the wonders of industry.

Shreveport bottling plant

The earliest known man made glass date back to around 3500 BCE, with finds in Egypt and Eastern Mesopotamia. Discovery of glassblowing around 1st century BCE was a major breakthrough in glass making. Archaeological findings in Egypt and Eastern Mesopotamia indicate the first manufactured glass dates back to 3000 BCE. The oldest fragments of glass vases found in Mesopotamia date back to the 16th century BCE and represent evidence of the origins of the hollow glass industry. Beside Mesopotamia, hollow glass production was also evolving in the same time in Egypt, in Mycenae (Greece), China and North Tyrol (now part of Austria). The first glassmaking manual from the library of the Assyrian king Ashurbanipal (669-626 BCE) dates back to around 650 BCE.

Because glassmaking was slow and costly, it was luxury item and few people could afford it. Around the end of the 1st century BCE, Syrian craftsmen discovered the new technique of “glass blowing.” This revolutionary event made glass production easier, faster and cheaper, so that glass, for the first time, became available to ordinary citizens. The tools and techniques of glass blowing have changed very little over the centuries.

The Romans traded glass across the vast RomanEmpire and beyond. They were the first to use glass for architectural purposes when clear glass was discovered in Alexandria around 100 CE. Venice was the center of the glassmaking craft.

The art of glass making flourished during the Roman Empire and spread across Western Europe and the Mediterranean. Glass was one of the most important items of trade beyond the borders of the Roman Empire. The Romans were the first ones who began to use glass for architectural purposes, when clear glass was discovered in Alexandria around AD 100.

THREE ROMAN GLASS VESSELS
C. 1ST-4TH CENTURY A.D.


Other examples in the image above of the Roman expertise in glass blowing include a pale green bottle, with the four-sided mould-blown body with rounded shoulder and tapering cylindrical neck, the wide strap handle attached to the shoulder and curved under the lip, 5¾ in. (14.5 cm.) high; a pale green jug, the squat spherical body with diagonal ribs, a pinched handle attached to the flaring neck with trailed ring, 4¾ in. (12 cm.) high; and a pale yellow unguentarium, 4 5/8 in. (11.8 cm.) high. These were from an auction lot at Christie’s.

A flourishing glass industry was developed in Europe at the end of the 13th century when the glass industry was established in Venice by the time of the Crusades (1096-1270 CE). Despite the efforts of the Venetian artisans who dominated the glass industry to keep the technology secret, it soon spread around Europe. Eventually all the great gothic cathedrals of Europe would have stained glass curtains or large windows of colored light illuminating their interiors.

Because stained glass is translucent, we see both the color and the light. When we paint with acrylic colors, the light reflects back from the pigments in the binding medium. In watercolor, the white paper adds brightness since the colors are transparent. This means we have to “fool the eye” and use highlights plus color values near to the background colors to give the illusion of clarity.

Artist Unknown: Blue Bottle

Gail is getting good at analyzing the shapes and setting them down on a small canvas during our short class period. This still life had both the extra solid apple and the very clear bottles in contrast. It was more challenging than it sounds. How do you balance the heavy with the light, the solid with the transparent, and the cool blues with the warm reds? Adding a strong background color helps tie the two together.

Gail’s Apple and Bottles

Another way to bring everything together is to ignore the apple all together, as Mike did. This is called artistic license. He included the red in a cloth crossed by another golden fabric. He uses multiple viewpoints, for the base of the bottles are on one plane and the tops are flipped forward. I don’t know if he changed position or just sat up straighter when doing the bases. I also gave him one of my brushes to use in class, since he’s been using the same one forever. He wants to paint a straight line, but is using a round brush. He needs to take a lesson from Tim, the Tool man Taylor, and “use the right tool for the right job.” Of course we all know that means the one with “more power!”

Mike’s Bottles

“Here, use this flat edge artist’s brush. I think you’ll like it.”
“Wow, it really paints a smooth edge.”

“Yep, I been suggesting you get a better brush, but you keep using the old one. I finally decided you needed to experience what a real brush feels like in your hand.”

“If I go in the store, do I need a special license to buy a real artist’s brush?”

“They’ll take your money. That’s the only license you need.”

He laughed. I’m glad he has a sense of humor. We’ve been doing this class for about two years now. It takes us a while to learn from each other. We have to learn how to be transparent and open to one another, much as a clear glass bottle is open to light shining through it. The greatest challenge for any of us as adults is accepting any instruction or critique at all. In seminary, I always opened my tests and papers after I repeated my mantra, “I am not my grade.” If I got a good score, I didn’t let it go to my head, but worked even harder on the next effort. If I didn’t score well, I took that grade as an opportunity to define my arenas of insufficient knowledge. I could work on that for the next time.

Cornelia’s Bottles and Apples

As we read in the scriptures, the apostle Paul writes:
All scripture is inspired by God and is useful for teaching,
for reproof, for correction, and for training in righteousness,
so that everyone who belongs to God may be proficient,
equipped for every good work.

~~ 2 Timothy 3:16-17

If we weren’t willing to be transformed, why would we read our Bibles or attend to the teachings of God’s holy word? If we let the good word go in one ear and out the other, and it never makes an impact on our hearts, minds, or lives, we’re dead in our faith. We’re called to have a living faith, one full of hope, and actively bring that same hope to our hurting world.

Johnny Nash, who recently passed away, had the number one song on Billboard’s Hot 100 song list in 1972, called “I can see clearly now.”

I can see clearly now the rain is gone
I can see all obstacles in my way
Gone are the dark clouds that had me blind
It’s gonna be a bright (bright)
Bright (bright) sunshiny day
It’s gonna be a bright (bright)
Bright (bright) sunshiny day

I think I can make it now the pain is gone
All of the bad feelings have disappeared
Here is that rainbow I’ve been praying for
It’s gonna be a bright (bright)
Bright (bright) sunshiny day
It’s gonna be a bright (bright)
Bright (bright) sunshiny day

Look all around, there’s nothing but blue skies
Look straight ahead, there’s nothing but blue skies
I can see clearly now the rain is gone
I can see all obstacles in my way
Gone are the dark clouds that had me blind
It’s gonna be a bright (bright)
Bright (bright) sunshiny day

It’s gonna be a bright (bright)
Bright (bright) sunshiny day

It’s gonna be a bright (bright)
Bright (bright) sunshiny day

Oh what a bright (bright)
Bright (bright) sunshiny day

I hope you have a bright, bright, sunshiny day,
Cornelia

Johnny Nash
https://www.lyrics.com/lyric/33799733/Johnny+Nash/I+Can+See+Clearly+Now

History of Glass
http://www.nissinkglass.co.uk/info/history-of-glass

Historic Bottle Website
https://sha.org/bottle/

Manufacturer’s Marks and Other Logos on Glass Containers
https://sha.org/bottle/pdffiles/ALogoTable.pdf

Star Bottling Company
https://www.fohbc.org/wp-content/uploads/2013/01/UncleJoBottling.pdf

Body and Mold Seams
https://sha.org/bottle/body.htm

Read about an early bottle filling machine here
https://books.google.com/books/about/The_Brewers_Journal_and_Barley_Malt_and.html?id=9hwxAQAAMAAJ

Changing Seasons

adult learning, Altars, art, Creativity, Faith, Israel, nature, Painting, pandemic, Prayer, pumpkins, Spirituality, sukkot, vision

When the seasons change, I have days when I drag. My get up and go has done got up and went. Perhaps my increasing age has something to do with this feeling, or the pandemic’s lack of social interaction has dulled my senses. Some days I think I’m moving through molasses, and then the next I wake up on a brighter side of the bed.

Occasionally, I wonder where my mind is. I recently had to get the attendant at the Kroger gas station to help me pump the gas. When I used my loyalty card, the pump didn’t reduce my price. I forgot this pump had a screen prompt, which I’d ignored. Once I was retrained, I got the good discount and filled my car up. I really need to get out more. I’m not driving as much as I once did because of this pandemic. I used to say, “My brain has gone to Pluto,” but now it seems to have gone to the pandemic instead. I could always count on the old grey matter making the circuit back to earth, eve if it took 248 years, but until this Pandemic passes, I may be slightly silly. Some of you will say, “No one can tell the difference,” but I know better.

Enforced Solitude

One of the benefits of this enforced solitude, which we’ve all endured, is we’ve had the opportunity to consider everything tried and true, and decide if we need to keep it or do something different instead. Some of us have redecorated our homes, take up a new hobby or occupation, or even become teachers or caregivers. Many of us cleaned out our closets and clutter because looking at it daily was too much. We’ve done what we had to do. Others of us have held on to the old traditions, as if they were security blankets. We won’t change them until our world feels safe again.

To make progress in art or any creative endeavor, sometimes we have to “burn the security blanket” before we can go forward. This is hard to do, for we get comfortable with whatever small success we first make. Basketball great Kobe Bryant would practice by himself for hours before his teammates showed up and would make four hundred shots every single practice. Notice that’s MAKE, not TAKE. Work ethic is a hallmark of greatness. Kobe was never satisfied with only the good, but sought to be his best.

Building a Community of Encouragement

Yet we are also people who need encouragement, and this means we need community. In community we can build each other up by “catching the good each one does.” We can reward and praise this, even though we usually find ourselves pointing out the spot a person missed, or how they could do it better next time. There’s a difference between criticism and critiquing someone’s work. Criticism usually only has negative statements, but a good critique begins with at least three positive comments before it notes what needs improvement and how to accomplish that task.

Artists and creative persons learn over the years to separate their identities from their work. Who we are as God’s beloved children never changes, no matter how badly our work gets panned. Most of us artists think we’re misunderstood anyway, so we go back to our studios and work some more. Words won’t kill us, and plenty of artists were never commercially successful. Most artists or creative people work at their craft because they have an inner need to express their experiences or ideas about the world in which they live.

Finding Our Own Voice

We work to discover who we are and what our voice would say to the world. In most art classes, the teacher makes a model and the students attempt to copy it as faithfully as possible. This process may use the elements of art, the media of art, and the end product may look like art, but the students are imitating someone else’s creative process. Thinking through the problems of shape, shadow, color, composition, and texture are part of the creative process. I’m very proud of our group, for each person is finding an individual voice. You would be able to identify their work, even if it were unsigned.

Season of Harvest

Hoshana Raba (Heb. הוֹשַׁעְנָא רַבָּא; “the great hoshana”) is a name for the seventh and last day of the Sukkot festival, or the Festival of Booths or Tabernacles. Sukkot has a dual significance: historical and agricultural. The holiday commemorates the forty-year period during which the children of Israel were wandering in the desert, living in temporary shelters. Sukkot is also a harvest festival, and is sometimes referred to as Chag Ha-Asif, the Festival of Ingathering.

In the medieval poem “Om ani homah” attributed to Eleazar Kalir, the Israel nation declares ‘I am a wall’. The poem is recited during Hoshana Raba (Great Supplication) which begins this evening.

The image is from the British Library Manuscripts collection.

Ingathering or Harvest Festivals are part of the seasonal experiences of our lives. Last week I brought a bunch of gourds and pumpkins in for class. I gave each person the opportunity to choose the ones that spoke to them to use for their still life. We had quite the variety of solutions.

Gail’s pumpkins were bold and bright, filling the canvas.

Gail’s Pumpkins

Mike’s were exuberant and about to come alive with energy.

Mike’s Gourds

Margaret was new in class, and made a highly textured still life, complete with cast shadows.

Margaret’s Textured Gourds

Mine were socially distant, a commentary on this pandemic life.

Socially Distant Gourds

I brought the pumpkins and gourds home to grace my altar. It changes with the seasons, so come advent, it takes a more exuberant and celebratory vibe. For autumn, it’s full of natural bounty. When Nehemiah was celebrating the festival of booths and purifying the temple, this was the prayer of the people:

“O Lord, Lord God, Creator of all things, you are awe-inspiring and strong and just and merciful, you alone are king and are kind, you alone are bountiful, you alone are just and almighty and eternal. You rescue Israel from every evil; you chose the ancestors and consecrated them. Accept this sacrifice on behalf of all your people Israel and preserve your portion and make it holy. Gather together our scattered people, set free those who are slaves among the Gentiles, look on those who are rejected and despised, and let the Gentiles know that you are our God. Punish those who oppress and are insolent with pride. Plant your people in your holy place, as Moses promised.” (2 Maccabees 1:24-29)

October Harvest Altar

All good things come from God, and we owe our lives and our living to the Holy God. Help us to care for the least among us, especially those who hunger and thirst at this time of harvest and during this season of change.

Upcoming events:

Friday classes—through October

October 23—Autumn Wreathes

October 30—Day of the Dead Skull Cookies

November 6—Painting

November 13—No Class

TBA—holiday season and school vacation calendar

Pluto’s Unusual Orbit: https://airandspace.si.edu/exhibitions/exploring-the-planets/online/solar-system/pluto/orbit.cfm

adult learning, arkansas, art, beauty, coronavirus, Creativity, Faith, Habits, Healing, Meditation, Ministry, nature, Painting, pandemic, poverty, Prayer, renewal, Spirituality, stewardship, trees, vision

Who had hurricanes named with the Greek alphabet on their 2020 Bingo card? In a season when catastrophic west coast fires cause Pumpkin Spice skies, we shouldn’t be surprised. Heat lightning striking drought parched national forests and a gender reveal party blunder set off the blazes. Over the years, all of the top 10 costliest wild land fires in the country have been in California. The costliest of all was Camp Fire in 2018, which set insurers back over $8.5 billion, according to numbers tallied by the Insurance Information Institute. But the Camp Fire was just one fire. Reinsurer Munich Re estimates the costs for all the wildfires that year to be over $20 billion. So far this year’s fires should bring in a similar calculation.

Hurricane Sally knocked out power to 320,000 people along the Gulf Coast and caused initial damages of over $29 million just to roads and public buildings. Homes and personal property damages have yet to be counted. Folks are waiting for flood waters to recede for that estimate to accrue. Over thirty inches of rain fell at the coast, with lesser amounts inland. A major section of a three mile long bridge collapsed, with no date for repair.

None of the dollar costs account for the loss of precious lives, the impact on businesses, or the quality of live in these hard hit areas. Is New Orleans the same post Katrina? Are Miami and Puerto Rico thriving yet? Most of Houston has recovered from the $127 billion loss due to the 2017 hurricane and flooding of the lowlands in the city, and now a large portion of its residents believe climate change is a clear and present threat to future flooding.

The climatological peak of the Atlantic hurricane season is around the second weak of September, which means that August is normally when we start to see a major ramp up of tropical cyclone activity. The year 2020 being, well, a crazy pants year, 2020 is writing a new script. Records are dropping like flies this season as we’ve come to realize those 21 names aren’t going to be enough. Already Tropical Storm Beta, the second letter in the Greek alphabet, is threatening the Bahamas

According to the National Hurricane Center website, “In the event that more than twenty-one named tropical cyclones occur in the Atlantic basin in a season, additional storms will take names from the Greek alphabet.” In 2005, six storms were named with the Greek letter alphabet. During the Great Depression in 1933, hurricane season was also great, with twenty-seven named storms, which beat the former record of 21 storms, according to NASA. Zeta formed December 30, 1933, after the official end to the season.

The number and cost of disasters are increasing over time due to several causes. These include increased exposure or values at risk of possible loss, and vulnerability or how much damage does the intensity of wind speed or flood depth at a location cause. We also consider how climate change is increasing the frequency of some types of weather extremes that lead to billion-dollar disasters. There were four billion-dollar weather disasters in the United States in August 2020, according to scientists from the National Oceanic and Atmospheric Administration: the derecho storm that hit the Midwest, Hurricanes Isaias and Laura, and California’s wildfires.

Curry: The Line Storm

A wonderful 1934 oil painting, “The Line Storm,” by John Steuart Curry, 1897-1946, possibly inspired by the approach of a derecho-producing storm in Curry’s home state of Kansas, shows the dramatic approach of the shelf cloud driven by the straight line winds.

These storms and their costs weren’t a record, but warming temperatures do account for more frequent and intense weather events. This is important because a report commissioned by President Trump’s Commodity Futures Trading Commission issued dire warnings about climate change’s impact on financial markets, as the costs of wildfires, storms, droughts, and floods spread through insurance and mortgage markets, pension funds and other financial institutions. In calling for climate-driven policy changes, the report’s authors likened the financial risk of global warming to the threat posed by the coronavirus today and by mortgage-backed securities that precipitated the financial crash in 2008. The wildfires in California this year alone have burned 5 million acres of forested lands. To grasp the size, compare Arkansas’s forests, which cover 19 million acres or 56 percent of the State and contain 11.9 billion trees.

Sometimes we’re like Egyptians who live along De-Nile. If we can ignore the problem today, someone else can take care of it tomorrow. Unfortunately, this isn’t the order of God’s world. In the beginning, “God made the two great lights—the greater light to rule the day and the lesser light to rule the night—and the stars.”
(Genesis 1:16)

Moreover, “…God created humankind in his image, in the image of God he created them; male and female he created them. God blessed them, and God said to them, “Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over every living thing that moves upon the earth.” (Genesis 1:27-28)

To rule and to have dominion are both terms related to sovereignty, just as Christ is Lord. We don’t talk much about kings in a Democratic society, but we humans have authority over nature. Unfortunately, we don’t always use our power well. We waste resources, fill oceans with plastic, or buy single use items destined for landfills that won’t decompose. As we approach autumn stewardship season, we might want to reconsider our attitudes and relationships towards nature.

Bisecting America along the Meridian

In the central Great Plains, the 100th meridian roughly marks the western boundary of the normal reach of moist air from the Gulf of Mexico, and the approximate boundary between the semi-arid climate to the west and the humid continental (north of about 37°N) and humid subtropical (south of about 37°N) climates to the east. The type of agriculture west of the meridian typically relies heavily on irrigation. Historically the meridian has often been taken as a rough boundary between the eastern and western United States. This area around the 100th meridian, was settled after the American Civil War, beginning in the 1870s .

In the United States the meridian 100° west of Greenwich forms the eastern border of the Texas panhandle with Oklahoma, which traces its origin to the Adams-Onís Treaty in 1819 which settled the border between New Spain and the United States between the Red River and Arkansas River. Dodge City, Kansas lies exactly at the intersection of the Arkansas River and the 100th meridian. The latitude of Hot Springs, AR, USA is 34.496212, and the longitude is -93.057220. This means we’re east of the 100th meridian and in the “humid, subtropical south” section of the USA. Of course, spending a single summer here in the Spa City would convince any skeptic of the truth of this. We should have no “weather deniers,” even if we have “climate change deniers.”

Yet we here in Arkansas are far removed from the coastlines of our nation. We have our tornadoes and occasional floods, but we think of these as facts of life. If these disasters don’t impact us, or someone we know, too often we can shrug them off as just another sad occasion. We might collect flood buckets or give a few dollars to disaster relief, but the emotional impact of the life and death circumstances of other human beings doesn’t often register in our households. I’ve often wondered about this, but perhaps we grew numb during the Vietnam war to the nightly body counts and the images of war gore on television. About 62,000 service people died in the Vietnam War, a number which pales in comparison to the number of deaths during this pandemic, which now number 204,202 souls.

Goya: Executions on the Third of May

Since art carries with it the notion it should be “beautiful,” subjects about social commentary or politics often run against this grain. “Executions on the Third of May,” by Francisco Goya is an example. On 3 May 1808, Marshal-Prince Joachim Murat wrote to the Infante Don Antonio Pascual that he had executed about one hundred Spaniards, ‘Peasants . . . our common enemy’. Later police reports recorded that the French executed mainly artisans, laborers, one or two policemen and beggars during the street protests in Madrid.

J. L. David: The Death of Marat

The Death of Marat, by Jacques Louis David, is another social commentary painting. Marat was a popular radical French politician, political theorist and journalist, who advocated for basic human rights for the poor during the French Revolution. Marie Anne Charlotte Corday, a royalist from Caen, purchased a knife in a nearby store, walked into his home, and stabbed him dead while he was soaking in his bathtub. David, his friend, painted this memorial to the man who was working up to the last moment of his life for the common good of all the people.

In our faith life, we first learn to pray for our families, then for our friends. With spiritual growth, we can pray for strangers who are like us, and finally we learn to pray for our enemies. When we grow ever closer to God’s presence, we discover we also grow closer to our neighbors. The lawyer who tested Jesus with the question, “But who is my neighbor?” went on to discover the neighbor is the one who shows mercy to the stranger. If we want to be true neighbors, we must be the first to show mercy to the strangers in our midst, and not wait for them to “deserve it” or “give mercy to us first.”

How can we make emotional connections so we can do this? In art, as in other endeavors, we can stick with analysis and order. This is our problem solving brain. “What’s the quickest route from point A to B?” We look for one and done. That’s how we operate in most of our lives. Creative solutions, however, seek multiple options: “How many uses can I find for a brick? How many ways can I use a stick?” When we paint a still life, often we stick with the problem solving skills of our brains, and under use our emotional skills. Sometimes this has to do with our timidity regarding our technical skills, so eventually we’ll gain more confidence in our handling of the media. The expression will come through once we are comfortable with the media. It’s a matter of practice and time.

Putting emotions into our art work is also difficult because we’ve been trained since childhood to repress our feelings. Many of us can’t own our feelings. Perhaps we grew up in families with substance abuse and saw our parents out of control. If the other parent told us, “You don’t really see this,” or “We’re just fine, so go to your room,” we might be confused about how we actually feel. Learning to sort the truth from the lie is hard, but we can learn it at any age. Others of us have been taught to “get along with others by smiling a lot.” Another way of saying this is “don’t speak about anything that will upset anyone.” It’s also known as Peace at Any Price, or Prilosec for Everyone.

Marsden Hartley: Ghosts in the Forest

Marsden Hartley painted Ghosts of the Forest in 1938, in the woods of his home state of Maine. He saw the giant logs, felled by the forest industry, as if they were bones leeched white on a desert. He had returned from New York to find his own individual voice in the landscape he knew best, in the place in which he was born. (Hartley also wrote Adventures in the Arts, which you can read as a free ebook through the Gutenberg ebook project).

In art class, we talked about how 2020 has been a snowball rolling down from an avalanche high up in the mountains. It’s been one catastrophe after another. I know some young folks who’ve quit watching the news altogether, since they can’t handle one more piece of fuel thrown onto the conflagration of the chaos of their lives. Older people, who’ve survived other chaotic times, tend to breathe in, exhale, and say to themselves, “Be still, and know that I am God.” We know once this pandemic passes, some other excitement will take its place. We’ve learned to focus our energy on things that matter to us, rather than on the chaos which the world throws at us. Practicing spiritual disciplines helps us to meet the world calmly.

In art, we call this principle imposing order on disorder. Every work of art, no matter how abstract, has an internal order. Sometimes the order is a limited color scheme, such as a cool or warm palette. The balance may be evenly distributed on both sides, as opposed to a large central shape. Each of us has our own personality, of course, so we show our creative streaks differently.

Gail: Forest on Fire

Gail’s energetic painting of the flames eating the trees came from her heart. With her long experience in the park service, nature is a close companion. The fires in California have made a big impact on her, for she can imagine such a fire in the Ozark’s of Arkansas. This is empathy, which is a characteristic of a good neighbor.

Mike: First stage, Plan for a City

Mike’s painting recognizes the need for city planning. Out west, people want to live next to nature, just as we do, but having homes near drought stricken forests is a prescription for calamity and combustion. The beginning of his design reminds me of his last year’s Day of the Dead altarpiece, which was quite the elaborate project. When we learn from other people’s mistakes, folks call us intelligent. If we repeat the same mistakes others have made before us, folks don’t have kind words for us. That’s when we wish they would practice smiling more, and speaking less.

DeLee: Oaklawn Racetrack

I often do traditional landscapes, with a foreground, middle ground, and background. I’ve always wanted to do some paintings based on maps, or aerial views, so I looked up Oaklawn UMC and the racetrack. I brought some scraps of clothing, canvas, glue, and scissors to add some dimension to my work. While it doesn’t have my usual palette colors of yellows and reds, maybe the grays are like the smoke filled skies overhead. This California smoke has traveled on the jet stream as far as Northern Europe, or about 5,000 miles.

The whole purpose of art is to stretch our minds and push our boundaries. The more we encounter the world around us, the more likely we come close to the edge. That’s scary for some folks, but it’s just paint, canvas, or other materials. We aren’t jumping off a tall building. That would be an irreversible harm to life. If our end product looks sad at the end of the class, we can work it over later on. We get second chances, and another opportunity to improve. We learn from our mistakes. As my grandmother, a portrait painter, used to say, “Fail again, but fail better each time.”

We can also redeem our world, for we still have time. This is how we can live out our image of God, co-creating and recreating a better world.

“When you send forth your spirit, they are created;
and you renew the face of the ground.”
~~ Psalms 104:30

Hurricane Sally updates: Damage in Pensacola, Escambia; More deaths
https://www.usatoday.com/story/news/nation/2020/09/18/hurricane-sally-updates-damage-pensacola-escambia-power-outages/3491206001/

What Happens If The Atlantic Hurricane Season Runs Out Of Names?
https://www.forbes.com/sites/marshallshepherd/2020/08/01/what-happens-if-the-atlantic-hurricane-season-runs-out-of-names/

Billion-Dollar Weather and Climate Disasters: Time Series | National Centers for Environmental Information (NCEI)
https://www.ncdc.noaa.gov/billions/time-series

Federal Report Warns of Financial Havoc From Climate Change
https://www.nytimes.com/2020/09/08/climate/climate-change-financial-markets.html?referringSource=articleShare

West Coast fires will cost US economy dearly | Business| Economy and finance news from a German perspective | DW | 17.09.2020
https://www.dw.com/en/economic-impact-california-wildfires-us-west-coast/a-54956210

Forest Facts of Arkansas
https://www.agriculture.arkansas.gov/wp-content/uploads/2020/05/2017_Forest_Facts_of_Arkansas.pdf

The 100th Meridian West
https://en.wikipedia.org/wiki/100th_meridian_west

The Project Gutenberg eBook of Adventures in the Arts, by Marsden Hartley
https://www.gutenberg.org/files/20921/20921-h/20921-h.htm

Truth in Art

9/1/11, adult learning, art, beauty, cosmology, Creativity, Faith, Forgiveness, grief, Healing, Meditation, ministry, Painting, Philosophy, renewal, shame, Spirituality, vision

What is Real? What is True? What has Meaning for our shared lives in community? Is there an Authority for any of these questions, or are we all on our own when we try to figure out how to make sense of our world? The ancient Greeks were onto these questions long before the fateful day when Pilate asked Jesus, “What is truth?”

Today we have a branch of philosophy which studies how we know things. It’s called epistemology. The word comes from the Greek words episteme and logos. Episteme can be translated as knowledge, understanding, or acquaintance, while logos is often translated as account, argument, or reason. Logos also means word, saying, speech, discourse, thought, proportion, ratio, and reckoning. In some strains of Greek thought, the Logos was the rational principle which governed and developed the universe. In early Christianity, the Christ was the Logos or Divine Word through which God created and ordered the universe.

Normally, in ordinary conversation, we don’t throw around these fifty cent words, but prefer instead the nickel and dime ones of our fast food conversations. “How was your day?” We answer, “Fine,” but don’t pull up the deeper words of our emotions to share with the ones we love the most. Eventually we come to a quiet acceptance of togetherness, but perhaps also an inherent loneliness also. The isolation of this Pandemic has cut us off from sharing with others, so now we may feel this inner pain more acutely.

I personally miss the brief give and takes between the random strangers whom I meet in the grocery store or at the coffee shop. Just the opportunity to compliment a stranger or to help an elderly shopper find a product makes me feel good. Likewise, if someone does the same for me, I also feel better about myself. Making connections gives us a sense of community and unity in this trying time.

Some folks actually dress up to grocery shop

If we put on a brave face, smile, and say, “I’m fine,” are we being Real, True, or merely hiding behind what society has determined is the appropriate response to this time and place in which we find ourselves? Artists find themselves in this position every single time they approach a blank canvas, a lump of clay or a block of stone. “Am I going to do what all the artists before me have also done, or will I look at this in a new light and make an entirely new expression?” When the first Cubist paintings went on exhibit in France in 1911 at the Salon of the Independents, the people who attended were outraged, for the artists had broken every rule of “good painting,” which the attendees could see first hand in the other exhibits.

Braque: Still Life with Banderillas
1911

Cubism broke the plane of the canvas into an overall fractured space, rather than an attempt to render a three dimensional subject on a flat surface. It presented multiple viewpoints of the objects at once, rather than a single view. Picasso and Braque challenged the accepted representation of art: does art have to represent the world as we see it? Do we instead carry the ability to disassemble reality and reassemble it in a way that’s not limited to the dimensions of the real world? These artists were groundbreaking because they actively deconstructed the real form to illustrate the chaotic and puzzling side of the real world. For cubists, artists aren’t just people who paint beautiful things, but people who give others the chance to think about the world they’re living in through artistic expression.

Traumatic events like September 11th and this Pandemic also “disassemble our reality” and may cause us to reject it outright, hide from it, deny its impact, or find a way to make sense of a fallen and broken world. We can either become wounded healers or we can become wounded people who keep on wounding others. Nothing can take away the losses we’ve suffered, but we can learn to make use of our grief to help others get to better places in their own lives.

Art often serves as therapy for traumatized persons, as does journaling. This is because both are physical means of expression and both require focused breathing. I find I can’t paint when I’m agitated, but if I do a little cleaning of my palette and preparing of my work area, I begin to calm down enough to concentrate. With writing, I like using old fashioned pen and ink on paper to let the good ideas flow, but I can also tap, tap on the iPad if I have a well conceived idea beforehand.

Spider lilies are popping out all over

If we let the thoughts inside of us come up to the surface, we can become aware of them and deal with them. Sometimes we don’t like these painful images that arise, for they remind us of old trauma and grief, which may depress or anger us. We need to look these feelings in the face for what they are: emotions only, but they aren’t the definition of our eternal Truth. These are mere moments in time, not forever moments, unless we choose them to be. As a person living with chronic depression, I had to learn how to think positively and stay appropriately medicated, as well as to do the healthy self care behaviors to enhance my ability for an optimistic outlook on life. We can be survivors, not victims. If I ruminated on my sad thoughts or anxious feelings, I wouldn’t be able to take positive steps forward. Learning how to refocus my thoughts took time and practice, but the effort was worth it.

Art pushes our boundaries outward, so we are more resilient when we meet struggles in the world. If we struggle and fail on a painting, we still learn from our work some lessons to apply on the next one. Art is a series of building up of failures until you get competency surrounded. One day your hand, eye, heart, and mind all click into one circuit. Suddenly your art looks like you seem to know what you’re doing. It has a voice unique to you and begins to speak to the world beyond. This is the moment when your inner spirit and emotions are at work, for you have enough technical ability to get the meaning across.

Gail’s painting broke the space up into design elements and patterns

How long does this take before your work takes on its own personality? We all have it from the beginning, for we each have our own unique insight into the world built up from our past experiences. The better question we ask is “when does our work look good?” At this point we’re asking, “Is it Beautiful, Technically Competent, Engaging, or Appealing?” Sometimes we’re asking, is it commercially viable, or will someone buy it? If the test of great art is someone will purchase it, Rembrandt’s later works and most of Van Gogh’s oeuvre don’t make the cut. Yet, history proves these are museum worthy paintings. This means we don’t need to concern ourselves with this question, but we shouldn’t quit our day job anytime soon.

Mike used multiple the viewpoints of Cubism in his painting

A recent study found if a family has an annual income of $100,000, a child is twice as likely to become an artist, actor, musician or author than a would-be creative with a family income of $50,000. Raise the annual income to $1 million and $100,000, respectively, and the stakes become even higher, with members of the first household nearly 10 times more likely to choose a creative profession than those from the second. Overall, for every additional $10,000 in total income, or pre-tax earnings of immediate family members, a person is two percent more likely to enter a creative field. This is why we see so few persons of color in the art world today, for historically their art was not only disparaged in early American history, but today people of color have lower median incomes than whites, partly due to systemic racism resulting from inequalities in education, but also lack of entry into home ownership due to redlining.

Art is like ministry: we don’t do it to get rich. We do it to live our best life. We do it because we have a need to express the deeper voice which we hear in the depths of our hearts and mind. It isn’t the call of the world, but the mysterious calling of the Divine Word, which we remember from John 1:1-5, was “The Word Became Flesh:”

In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things were made through him, and without him was not any thing made that was made. In him was life, and the life was the light of men. The light shines in the darkness, and the darkness has not overcome it.

Cornelia: least “cubist” influence, most emotional energy.

When we make art of any kind, we reassemble a new reality, for we proclaim we’re living in the power of the creating God. We know we aren’t a god, but we share God’s image and God’s work of creation. Because of this, we can rebuild the broken world, heal the broken people, and show love and compassion to all we meet. For many of us who grieve or judge ourselves harshly, maybe self compassion and self love is the first reconstruction of our world we should work on. If we aren’t painting or sculpting, we can bake pies or cookies, keep gardens, grow flowers or veggies, or do any other life giving endeavors.

Art gives us an safe space and an opportunity to build a new world. If it doesn’t hang together, we can always paint over it and try again. Or we can start afresh on a brand new canvas. How many of us wish we could wipe yesterday from our memories? Or come to tomorrow clean and new? We can have hope, as Jeremiah 29:11 reminds us:

For I know the plans I have for you, declares the LORD, plans for welfare and not for evil, to give you a future and a hope.

NOTES:

A New Study Shows Most Artists Make Very Little Money, With Women Faring the Worst
https://news.artnet.com/market/artists-make-less-10k-year-1162295

Wealth Is a Strong Predictor of Whether an Individual Pursues a Creative Profession | Smart News | Smithsonian Magazine
https://www.smithsonianmag.com/smart-news/wealth-strong-predictor-whether-individual-pursues-creative-profession-180972072/

Rabbit! Rabbit!

arkansas, art, autumnal equinox, change, Children, coronavirus, exercise, Faith, Family, garden, generosity, nature, pandemic, Prayer, rabbits, Racism, trees

Welcome to September 2020.

Not too many days ago I felt the seasons change. This is an imperceptible feeling for most people, but for artists, and perhaps also for those who make their living off the land, this transition from summer to autumn was important. The autumnal equinox won’t be until September 22, at 8:30 am CST. After the autumnal equinox, the Sun begins to rise later and nightfall comes sooner. This ends with the December solstice, when days start to grow longer and nights shorter.

Green Space: Trees Across from Emergent Arts, 2019

I had already noticed the first edges of color on the trees around mid August, a change my less optimistic friends claimed was “just heat stress.” However, fall foliage colors aren’t due just to current weather conditions. Leaves change color because of the amount of daylight and photosynthesis. Fall colors don’t begin to appear in the Ozarks and other northern sections of Arkansas until the second week in October and then continue to flow slowly southward. Mid to late October generally provides peak fall color in the northern portions of Arkansas. October and November are two of the most popular months for visitors due to the beautiful fall colors and favorable weather.

Some of us are happier than others…

The technical term for this color change is “leaf senescence,” or deterioration with age, much like this year, which has only 121 days to go. This old rabbit must be feeling a chill in her bones, or perhaps this Pandemic’s pervasive pain has crept also into my heart. Usually in September I’m eager and ready to buy new ink pens, journals, and art supplies as my “back to school” routine I’ve kept up since my own entrance into first grade or my child’s progress through school. Even now I want to buy crayons in the big box, just to see all the pretty colors and sniff the wax, but I came home to mix colored paint on a canvas instead.

Covid anxiety may have struck some of you other bunny families out there as you prepare for more on-line schooling. As a former teacher, I would remind my bunny friends of all ages to get up and move around at least once an hour. Sitting all day long in one place isn’t good for heart health for anyone of any age. Blocks of time can keep a young bunny focused, knowing they get a break or a snack afterwards. Rewards and incentives are good.

While we wish we could have school, church, life, and sports the way they were before, we all have to live safely in the current Covid environment to get to that happy place. No one wants this disease, especially since we don’t know the long term after effects. No one wants to bear the responsibility for giving this disease to a vulnerable person and possibly causing them harm or death. We bunnies have to be responsible not only for ourselves, but also for one another. After all, we all live in the same carrot patch.

Today I offer a prayer for all of the bunny families who’ve been touched by the coronavirus. I pray for consolation for each of you who’ve lost a loved one, for all of you who have a loved one in the midst of this illness, and also for each of you who are trying to stay healthy and keep your family safe. We can get through this together, by the grace of God, who cares for the least of the creatures of God’s world, as well as for the great unnumbered stars of the night sky above us. We may not see God’s guiding hand in this time of trial, but God can use this struggle for good, if only to help us see clearly what is truly important in life.

Or get into Good Trouble…

Right now, persons of color, under the age of 34, with less than an associate’s degree have the highest unemployment. White men over 55 with a bachelor’s degree or better have the least unemployment, but it’s still around 9%, to which no one would give a prize for excellence. Is this a matter of achievement, or is it systemic racial injustice? It’s easy for a bunny to win a race if they get a half mile head start. We have underfunded schools in non white neighborhoods for over a century. This Pandemic is bringing uncomfortable truths to light.

Running Rabbit

The Great Depression of the 1930’s had unemployment rates of nearly 25%, the Great Recession of 2008’s unemployment rate was 10% in 2009, and this Pandemic Recession has sent unemployment from 3.5% in February to around 13% in May. Since some workers weren’t counted, the rate was likely even higher. Every bunny has been tightening the belt a notch tighter, since many jobs haven’t yet come back on line.

The World Bank considers the Pandemic Recession to have begun already, with recovery not on the horizon until we have a widely available and effective vaccine or herd immunity. One of the contributing factors to this current recession was prior to the pandemic, some richer countries were moving away from global trade and cooperation, which hurt developing countries by reducing investments and cutting off markets for exporting oil, metals and other goods they provide. Without income, developing countries didn’t have the economic resources to put toward hospitals, schools, and roads. This keeps them from advancing and giving their people a better life.

The McGregor Boot

When I would read Beatrix Potter’s Benjamin Bunny stories to my little girl, she always asked, “Why did Mr. McGregor chase the rabbits out of his garden?”

“Darling, he thought he didn’t have enough to share.”
“But he never went hungry, did he?”
“No, sweetie, he always had enough for his family and all the bunny families too. Now sleep tight and don’t let the bedbugs bite!”

In the Garden of Plenty

“The summer ended. Day by day, and taking its time, the summer ended. The noises in the street began to change, diminish, voices became fewer, the music sparse. Daily, blocks and blocks of children were spirited away. Grownups retreated from the streets, into the houses. Adolescents moved from the sidewalk to the stoop to the hallway to the stairs, and rooftops were abandoned. Such trees as there were allowed their leaves to fall – they fell unnoticed—seeming to promise, not without bitterness, to endure another year.

At night, from a distance, the parks and playgrounds seemed inhabited by fireflies, and the night came sooner, inched in closer, fell with a greater weight. The sound of the alarm clock conquered the sound of the tambourine, the houses put on their winter faces. The houses stared down a bitter landscape, seeming, not without bitterness, to have resolved to endure another year.”

― James Baldwin, Just Above My Head

Unemployment Demographics
https://www.deptofnumbers.com/unemployment/demographics

CARES Act Facts
https://usafacts.org/articles/what-will-cares-act-and-other-congressional-coronavirus-bills-do-how-big-are-they/

World Bank Report on Economic Recession
https://www.npr.org/sections/goatsandsoda/2020/06/12/873065968/world-bank-recession-is-the-deepest-in-decades