“The peacock’s tail,” said Charles Darwin, “makes me sick.”
That’s because the theory of evolution as adaptation can’t explain why nature is so beautiful.
Really, does the peacock’s tail have to be that beautiful? Do butterfly wings need such brilliantly varied patterns? Do seashells need such exquisite architecture and patterning to house a small crawling creature? Does a spider really need to spend all night spinning such silken symmetry? And don’t get me started on flowers…
Nature’s nature is to be excessive when it comes to design, and there’s nothing random about it. The beauty of nature is not arbitrary, even if random mutation has played a role in evolution.
Divinely Superfluous Beauty
The storm-dances of gulls, the barking game
Over and under the ocean …
Divinely superfluous beauty
Rules the games, presides over destinies,
makes trees grow
And hills tower, waves fall.
The incredible beauty of joy
Stars with fire the joining of lips, O let our
Be joined, there is not a maiden
Burns and thirsts for love
More than my blood for you, by the shore of seals
while the wings
Weave like a web in the air
Divinely superfluous beauty.
– Robinson Jeffers
Robinson Jeffers’ luscious poem eased its way back into my memory this morning when I read Deborah Barlow‘s post Useless Beauty on her blog Slow Muse. I’m grateful for her permission to share it here – for the benefit of those of us who might be in need of an awe-and-wonderment recharge.
Who needs a peacock’s tail when you can build this for your lady love?
The bower created by a male bowerbird.
David Rothenberg is a jazz musician and a professor of philosophy. He has written a number of books, several of them focused on the interface between natural sounds (like the songs of birds and whales) with jazz and other musical forms.
In his most recent and thought provoking book, Survival of the Beautiful: Art, Science, and Evolution Rothenberg moves into the visual realm, exploring how beauty fits into the current concept of Darwinian evolution. Is beauty part of natural selection? Can its abundance in nature truly be explained by sexual selection?
Rothenberg makes a strong case for aesthetic selection. Beauty as a determiner. This is a delicious thought.
One of Rothenberg’s prime examples is the bowerbird. Each species creates a very particular style of bower, an undertaking that is extremely arduous. Amazingly, these structural—and very sculptural—creations are not nests nor are they used for anything “practical.” They are extravagant expressions designed to please the eye of the female bowerbird.
In many ways they seem to defy evolution since their sole purpose is to look good. But Rothenberg suggests that birds have their own aesthetic, similar to human “schools” of art, like abstract expressionism or cubism. And looking at the photographs of bowers below, how can anyone not think of our own human bowerbird, Andy Goldsworthy?
From the book:
The female satin bowerbirds do choose their mate after what they see in the bower and what they take in from the song and dance. But are they really evaluating the quality of their mate? Modern sexual selection theory says what they are looking for is good genes, while Darwin’s original sexual selection theory focused only on what the females like. Look what he has created — an artwork with style and substance, something no animal besides humans is known to do. Are we to brush all this effort off as a sign or a code for something more mundane and hidden? What if bowerbirds attract, mate and procreate for the propagation of bowers, not offspring? Look at the process as an example of aesthetic selection…
[These are] not structures to live in, but for the females to admire. They are built to be one thing — beautiful.
Rothenberg goes to to say that he does not believe evolution as we know it can explain art, but “a deeper consideration of art can enhance our understanding of evolution.”
He also writes this memorable line:
I believe our understanding of nature increases if we spend more time wondering about all this useless beauty.
Below, a sampling of different bowerbird offerings:
It’s rare to come upon an extraordinarily creative artist who also has a wise and poetic way with words. And to find that this artist has brought together her two skills within the covers of a book that is not only a visual delight but an inspiration for the contemplative creative, is such a joy. Her name is Karen Divine, and she hails from that hotbed of creativity, Boulder, Colorado.
Karen joins the Colorado crew – Jordan Wolfson, Robert Spellman and Lisa Gakyo Schaewe (have I missed anyone?) at the artisans’ gallery. I’m delighted to welcome her. She has opened my eyes to the astonishing creative possibilities of iPhone art.
Our world is filled with internal dialogue, judgments, assumptions and analysis.
We choose these perspectives over having a “direct experience”.
When we view the world with these perspectives, we do not see at all.
We live in a world where certainty and familiarity are most important.
There is another way.
(LOOK WITH FRESH EYES)
LOOK with fresh eyes at the play of COLOR,
FORM, and TEXTURES that surround you!
This is the most heartfelt approach to embracing
each and every moment. By CONNECTING with HEAVEN
and EARTH you can bring the whole
UNIVERSE into your HANDS
As Rilke expresses beautifully in Letters to a Young Poet: Depict your sorrows and desires, your passing thoughts and beliefs in some kind of beauty, depict all that with heartfelt, quiet, humble sincerity and use to express yourself the things that surround you, the images of your dreams and the objects of your memory.
I have learned to step out of my way, quiet the critic and allow the process to happen, revealing to me a story.
I just shoot my life, stay present and watch what develops.
The opportunities are endless.
- Karen Divine
The image above is from Karen’s book A Small Amount of Courage, which features her iPhone art
…which you must see to believe. In her book, Karen says, “As an artist, tapping into your own creative spirit is, first and foremost, a matter of developing awareness. This inner awareness allows you to quiet the senses and allows the unconscious to reveal rich imagery.”
Karen used the I Ching as the starting point for each of her images, and her creative process flowed through her meditations, yoga practice, and inspiration from Rainer Maria Rilke’s Letters to a Young Poet. The result is 64 images, each accompanied by a short verse, that offer profound insights into the most basic human experiences – those that you are more likely to see in the mirror than on the news.
Karen is an internationally recognized artist with more than a dozen prestigious awards for her iPhone art. After one glance at her work, it’s easy to see why – each image in her book is a composite of many images that feature color, lines, and balance. It is whimsical with a touch of melancholy and offers much for the eye to explore. The verses express Karen’s interpretation of the accompanying image and leave you with much to consider. A Small Amount of Courage is a masterwork that belongs on the bookshelf of all who appreciate art and how it can inspire self-realization.
- Jeanne Hansen, editor.
Jena Argenta brings her exquisite papercutting to the artisans’ gallery, and contributes an equally exquisite, deeply thoughtful essay about her work.
In papercutting and in drawing, I can’t capture the Mystery of a crane or a lily.
I can only trace the contours of my bewilderment.
Walking the Dark (detail), black newsprint unmounted, full size 9″x16″
Frederick Franck and my mother were early teachers in how to see and how to love. And if one makes a practice of falling in love, everywhere, with everything, it pushes the reach of one’s arms. Far becomes near. There is no “other” in the margins. Suffering is not on the peripheries. Like beauty, it is palpable and immediate. Drawing can leave you feeling broken and small with God on your skin. It can change your life. And yes, Jordan Wolfson, it can change the world.
My papercutting, while part prayer, is just a fancy way to get back to that line. To illuminate it by leaving it out. It turns the experience of life drawing and its loving inside out. I want to share eyes with you. And to take my time. I want to dig my heels in like a heavy rooted oak in the city’s technetronic center and hold ground and show you how beautiful light is when it’s mediated by shadow.
- Jena Argenta
Are you a list-maker? I am. I’m not talking about lists of the shopping variety, but those scribbled reminders of creative strategies and footholds that work for me as I meet life day by day, in the studio and … well, everywhere. One of my favourite lists is the one compiled by Frederick Franck, which he called the 10 Commandments – even if you aren’t an artist you can be hugely enriched by considering the ways his instructions apply to the big artwork we’re all busy at – creating a life.
Richard Diebenkorn: Ocean Park No. 116
The American painter Richard Diebenkorn was another list-maker. The list he made, below, was found among his papers after his death in 1993. It is a collection of 10 (again!) “guidelines” that he believed were instrumental in driving the creative process: Notes to myself on beginning a painting. Perhaps, like most of us, he made many more lists. But this is the one that has survived, and we can be thankful, for there is much to ponder in this list. As with Franck’s list, we find that the advice we give ourselves for the fostering of our creative work in the studio is equally relevant to the creation of an artful life.
I find it a challenge to choose which of Diebenkorn’s points resonates most deeply for me. They are all relevant at both an artistic level and a personal level. I’m drawn to all the odd numbers, which probably means I need to look more deeply at the evens. What would be my favourite? Probably number 1. What would be yours?
Richard Diebenkorn: Berkley No. 19
A few more ponder-worthy quotes from Diebenkorn:
I’m very old-fashioned. Though I’m interested in most of the new art, painting remains for me a very physical thing, an involvement with a tangible feeling of sensation.
I want painting to be difficult to do. The more obstacles, obstructions, problems… the better.
I seem to have to do it elaborately wrong and with many conceits first. Then maybe I can attack and deflate my pomposity and arrive at something straight and simple.
If what a person makes is completely and profoundly right according to his lights then this work contains the whole man. A work which falls short of this content, is only of passing value and lends itself to arbitrariness and fragmentation.
In a successful painting everything is integral… all the parts belong to the whole. If you remove an aspect or element you are removing its wholeness.
Richard Diebenkorn: Ocean Park No. 63
Images sourced from the public domain: © 2013 The Estate of Richard Diebenkorn
Announcing two exciting additions to the site today.
The artisans’ gallery welcomes artist, teacher and writer Jordan Wolfson, who lives in Boulder, Colorado. (What is it about Colorado? It’s strongly represented in the gallery!)
And – Jordan’s insightful and inspiring essay how painting can help to save the world, actually, has been posted as a page, with his generous permission.
Still Life with Red Tapestry X, 2013
oil on linen, 28″ x 25″
About his work, and the investigation fuelling its process, Jordan writes:
I believe it is through the identification of the self with a pre-conceptual and pre-linguistic sense of being that actual change occurs. While our identification remains within the confines of discursive thought and language our model of the world remains one of fragmentation and conflict. Language isn’t to blame – it’s just the way it works.
Actual change occurs through a shift in our identification of the self and the growing awareness of the essential and indivisible fabric of reality. It is to an investigation of this sheer presence, which is not only pre-conceptual but also resides before and between form, that my work is committed.
Visit his page at the gallery to read his entire artist’s statement and view more of his artworks.
In this image-rich essay, I’m confident Jordan speaks for all of us who understand our practice as a passionate movement towards unity with something inconceivably larger than our programmed personality. Something that signals the end of fragmentation and disharmony by disappearing the illusory gap between the observer and the observed.
A couple of extracts:
What is presence? And how does it get associated with an object? What is the process with which material gets charged or imbued with it? How is it that a human being can take colored mud, smear it around on a piece of fabric and end up charging the materials so greatly that it resonates with vitality hundreds of years after the person is long gone? How is it that a human being can take raw material and form it in such a way that it moves our hearts and quiets our minds? And what does this have to do with saving the world? [...]
We are not who we think we are. Painting carries the possibility of getting us out of our minds and into an awareness of our being. That is what occurs when we receive a painting, whether from another’s hands or from our own. The reality of our experience facing great painting, the power and force of transmission remains a mystery as long as we remain in the story of Separation. As we dare to allow our minds to enter into the story of Interbeing, painting affirms the larger truth of this new story. Its essential nature re-storys the world, reimagining who we are and where we are going. As we paint we have the possibility to not only make an object to look at, but to retell our story. [...]
The purpose of art is to take the senses on a journey back to the source of perception, which is pure Awareness.
- Rupert Spira
In order to understand the true meaning of Abstract Art, we have to conceive of ourselves as a reflex (reflection) of reality. This means we have to see ourselves as a mirror in which reality reflects itself.
- Piet Mondrian
The body is a sensing instrument of consciousness. Without the body and the mind, the trees couldn't see themselves. Usually we think that we are looking at a tree, but the tree is looking at itself through us. Without this instrument, the tree doesn't get to see itself. We are the sensing instruments of the Divine.
Art is a form of supremely delicate awareness ... meaning at-oneness, the state of being at one with the object.
- D H Lawrence
The heart of creativity is an experience of the mystical union; the heart of the mystical union is an experience of creativity.
- Julia Cameron
I am Not,
but the Universe is my Self.
- Shih T'ou, AD 700 - 790
It is [the] flash of realization of not-two-ness, that is both the center and the endpoint of our human experience.
- Frederick Franck
I can’t understand why people are frightened of new ideas.
I’m frightened of the old ones.
- John Cage
God created the giraffe, the cat, the elephant ...
He has no real style, he just keeps trying things.
- Pablo Picasso
Slow motion opens the mind.
Smooth motion opens the heart.
Slow smooth motion
the inexplicable delight.
- Paul Reps
Art evokes the mystery without which the world would not exist.
- Renee Magritte
The basic project of art is ... to close the gap between you and everything that is not you.
- Robert Hughes