when we talk of art we need to talk of love

 

Awakening the eye is admitting the love and enquiry into self
to guide us back to harmony.

– Rashid Maxwell

 

Rashid Maxwell embodies my idea of a Renaissance man. His profile reads like a prompt for a writers’ course where the task is to create a character both credible and unlikely.  (There are many threads that run parallel to my own – perhaps that’s why I relate so keenly to the way his life has unfolded.)  He was never a candidate for the typical, mundane and mediocre, but followed his innate thirst for truth – the truth of life and the truth of his wide-ranging creativity.

He is a published writer and poet as well as an exhibiting artist, art lecturer and pioneer in the field of art as therapy.  He not only designs furniture, but also meditation spaces and eco-environmental projects – including a park, a reafforestation venture, a wetland bird sanctuary and a nature reserve.  Having lived and worked in many countries he now resides in rural Devon, England, where he practices organic gardening, keeps bees, continues to draw and paint, and to walk – as he puts it – “the pathless path of inner exploration.”

For the artisans’ gallery, Rashid has contributed a selection of watercolour paintings inspired by the Love that flows beneath our everyday passions – Paramananda, the bliss beyond bliss.

 

Rashid Maxwell - Paramananda series

 

I call this series of watercolour paintings Paramananda. They have been prompted by expressions of this love that I observed in people who have meditation in their lives. Sometimes they are dancing, sometimes sitting silently, sometimes passing through grave illness and sometimes waiting for their lover. If these images transmit to you a figment of that underlying love, love has done its work.
– Rashid Maxwell

Continue reading at Rashid Maxwell’s page.


artisans

artisans’ gallery


there is no end to seeing

There’s hardly a better window onto everyday life in Japan in the nineteenth century than the one Katsushika Hokusai opens in astonishing detail, and his studies in nature are pure nourishment for the soul.  This post is prompted by the current Hokusai exhibition at the NGV.  According to the media releases, 176 of Hokusai’s works will be shown, many for the first time in Australia.  (See gallery information below.)  The exhibition presents a rare opportunity to immerse ourselves once again in the genius of a brilliant Japanese artist and printmaker, who, on his deathbed at eighty-nine is reported to have exclaimed, “If I had another five years, I could have become a real painter.”

 

Katsushika Hokusai: Moon, Persimmon and Grasshopper 1807

 

Not having seen the exhibition, I can’t claim the works I’m posting here are included.  (You can find wonderful preview images on the NGV website and in this gallery at the Guardian.)  I’ve gone my own way instead, choosing a few favourite studies from nature that beautifully demonstrate Hokusai’s depth of “seeing” and the scope of his awakened eye.

 

Katsushika Hokusai: Frog On An Old Tile

 

Although I have posted Roger Keyes’ wonderful poem here before it seems timely to give it another airing.  What more heart-full, wise advice could we possibly need – artists and human beings all – as we learn to simply “let life live” through us?

 

Katsushika Hokusai: Surimono Totsuka, detail

 

Hokusai Says

Hokusai says Look carefully.
He says pay attention, notice.
He says keep looking, stay curious.
He says there is no end to seeing.

He says Look Forward to getting old.
He says keep changing,
you just get more who you really are.
He says get stuck, accept it, repeat yourself
as long as it’s interesting.

He says keep doing what you love.
He says keep praying.
He says every one of us is a child,

every one of us is ancient,
every one of us has a body.
He says every one of us is frightened.
He says every one of us has to find a way to live with fear.

He says everything is alive –
shells, buildings, people, fish, mountains, trees.
Wood is alive.
Water is alive.
Everything has its own life.
Everything lives inside us.
He says live with the world inside you.

He says it doesn’t matter if you draw, or write books.
It doesn’t matter if you saw wood, or catch fish.
It doesn’t matter if you sit at home
and stare at the ants on your verandah or the shadows of the trees
and grasses in your garden.

It matters that you care.
It matters that you feel.
It matters that you notice.
It matters that life lives through you.

Contentment is life living through you.
Joy is life living through you.
Satisfaction and strength
are life living through you.
Peace is life living through you.

He says don’t be afraid.
Don’t be afraid.
Look, feel, let life take you by the hand.
Let life live through you.

– Roger Keyes

 

Katsushika Hokusai: Turtles

 

Katsushika Hokusai (1760 – 1849) is regarded as one of the most influential and creative minds in the history of Japanese art.  His unique social observations, innovative approach to design and mastery of the brush made him famous in Edo-period Japan and globally recognised within a decade of his death.

The self-described ‘Old man mad about drawing’ was known by at least thirty names during his lifetime and was renowned for his unconventional behaviour.  Despite his fame, Hokusai never attained financial success and his years of greatest artistic production were spent in poverty.  He travelled and moved his resting place and studio regularly, finding inspiration for his unique style through close observations of nature and interactions with ordinary people.

 

Katsushika Hokusai: Bamboo and Morning Glory

 

In 1909 the NGV purchased five works from Hokusai’s iconic Thirty-six Views of Mt Fuji series, including his most celebrated image The great wave off Kanagawa (The great wave), 1830–34; two works from his A Tour to the Waterfalls in Various Provinces series; and four other major works.  These astute acquisitions established a legacy of Japanese art in Australia that has now extended for more than one hundred years.

Hokusai features 176 works from the Japan Ukiyo-e Museum, Matsumoto, and the NGV Collection that encompass the artist’s remarkable seventy-year career.  For the first time in Australia, seven of Hokusai’s major series, including Thirty-six Views of Mt Fuji, 1830–34; A Tour to the Waterfalls in Various Provinces, c. 1832; Remarkable Views of Bridges in Various Provinces, c. 1834; Eight Views of the Ryūkyū Islands; and One Hundred Ghost Stories, c. 1831, are on display, as well as selected works representing his great passion for the classical subjects of birds and flowers and historical poetry.  A selection of rare prints and paintings that show the stylistic and thematic changes of Hokusai’s formative years, as well as three sets of illustrated books that highlight the artist’s masterful and compositionally innovative book illustrations, including the complete set of fifteen volumes of Hokusai Manga, compete this comprehensive insight into the life and times of this major figure.

Source – National Gallery of Victoria
See the site’s Gallery of Themes for a feast of Hokusai’s work.
Showing until 15 October, 20017

 

Katsushika Hokusai: Okitsu

 

For biographical details: Katsushika Hokusai

 


Images sourced from the public domain.
1 – Moon, Persimmon and Grasshopper, 1807. Ukiyo-e.
2 – Frog On An Old Tile. Painting on paper.
3 – Surimono Totsuka (detail). Surimono.
4 – Turtles. Surimono.
5 – Bamboo and Morning Glory. Brush painting on paper.
6 – Okitsu. Ukiyo-e.


From the bookshelf:

Hokusai
Mountains and Water
Flowers and Birds

– Matthi Forrer


 

in search of the sublime and beautiful

The great “painter of light”,  Joseph Mallord William Turner,  now has a page at the artisans’ gallery.

Turner, and Turner only, would follow and render on the canvas
that mystery of decided lines,
that distinct, sharp, visible, but unintelligible and inextricable richness
which, examined part by part, is to the eye nothing but confusion and defeat,
which, taken as a whole, is all unity, symmetry, and truth.

John Ruskin
on the man he regarded as the greatest landscape painter of all time.

 

Joseph Mallord William Turner - Sunset at Margate

 

Turner travelled extensively in the search of the sublime and beautiful. The paintings on his page are a small selection which (admittedly to my very subjective taste) express these qualities, regardless of whether one knows their location or subject matter; paintings which, in Ruskin’s words, deliver to the soul “unity, symmetry and truth”.
 

Joseph Mallord William Turner (1775-1851) was just 15 years old when he exhibited his first picture at the Royal Academy. His talent in the application of paint to render land, sea, sky and atmosphere was unmatched in his time. Commonly known as “the painter of light”, we can thank Turner for taking painting to the edge of abstraction and playing there, unafraid. His priceless legacy to the generations of artists who followed gave them (us) permission to engage this fearless and playful expression of the sacred sublime.

To continue reading, please visit the page:
Joseph Mallord William Turner

 


it’s all about relationship

For a few months – more than I intended as it turned out – I had a trial relationship with Facebook. I set up a page associated with this site, for the sole purpose of nudging readers over to explore its contents. It didn’t take long for the page to gather almost 500 followers, meaning folk who liked the page itself, not just the posts.

Several things happened. I discovered the existence of two separate audiences for my blogs – those who use FB and those who don’t – and noticed how different these audiences are; I learned that putting up good  material on FB (which I endeavoured to do on a daily basis) was no guarantee that anyone would click through to the website – in fact the average was about one per week; I noticed that it became somewhat stressful to ‘feed’ the page and monitor the activity;  and further, I learned that FB was not actually showing the page to its followers in their feeds. Why? Because I wouldn’t give them $ to do so. I grew weary of the constant harping for payment to “optimise” my posts.

In short, I realised that the cyber-world of blogging is much more satisfying to me.  While I will always value my FB friends and continue to use my personal timeline as a noticeboard for the things that are important to me, I am making the return to the deeper and more rewarding blogosphere.


Sean Scully‘s video is a good example of the kind of post that I’d have shared on the now-retired FB page. It’s an apt one for my post today, because he too realises that creativity and painting (and life) is all about relationship. But there’s so much more. Whether you appreciate his work or not, his observations are worth consideration. I love the way he speaks of his obsession with “repairing the world”, and how he wants his work to express “a kind of subjective universality” rather than “telling stories.” How knowledge + craft = freedom. These notions are in alignment with all that this site, and yours truly, values.

 

 


If you landed on this page via an email notification or social media link, it probably won’t be obvious that the site has had a complete overhaul – including a new theme. The ‘home’ page is now a portal that makes the enormous amount of material in the archives more readily accessible:
theawakenedeye.com
Feedback is most welcome!


Relevant reading: how painting can help to change the world, actually


 

your body is a space that sees

The title of this body of work by Lia Halloran – Your Body is a Space That Sees – goes like an arrow to the heart of what this website and blog is about: centerless perception and the closure of the gap between the observer and the observed. I was alerted to Halloran’s work by Maria Popova at brainpickings, however in spite of an extensive trawl of cyberspace, I have failed to find any commentary, from her or anyone else, on the reasoning behind her choice of these words to title her work. I can only assume she has arrived at the truth of this statement via her unique field of experience in science and the visual arts. Perhaps she’s a closet mystic as well. In any event the work is too beautiful not to be shared, and if you happen to live in the Wilmington area you can see it for yourself in ‘real’ rather than virtual space. (Details below.)


Lia Halloran, Horsehead Nebula
 
Your Body is a Space That Sees is series of cyanotype prints that sources historical imagery and narratives to trace contributions of women in astronomy since antiquity. The of series of large scale cyanotype prints will interpret a fragmented history and represent a female-centric astronomical catalog of craters, comets, galaxies and nebula drawing from narrative, imagery and historical accounts of Hypatia of Alexandria, Caroline Herschel, Helen Sawyer Hogg, and a group of women at Harvard in the late 1800’s known as Pickering’s Harem or the Harvard Computers.
 
Lia Halloran, Cyanotype print
 
Cyanotypes are printed from painted negatives that are based on the objects and narratives that were connected to these early astronomers. This process mimics early astronomical glass plates moving between transparent surfaces to a photograph without the use of a camera. The video below shows the process – and as Halloran comments, “Cyanotype printing done using our nearest star outside the studio in sunny Los Angeles, California.”
 

 
From craters to constellations, the images fuse a piercing intensity with an enigmatic subtlety that, like the universe itself, draw us into a beguiling mystery the full meaning of which remains enticingly beyond our reach.

 

Lia Halloran, Magallenic Cloud
 
This project is supported by the National Endowment of the Arts Art Works for Visual Arts. The series of photo/painting pieces will be accompanied by an exhibition catalog with written contributions about the night sky from women in literature, poetry and physics. Research of source imagery will include the extensive glass plate collection at the Harvard College Observatory (HCO).

 

Lia Halloran, Leavitt Crater
 
Lia Halloran lives and works in Los Angeles, CA, and currently serves as Assistant Professor of Art as the Director of the Painting and Drawing Department at Chapman University in Orange, CA, where she teaches painting as well as courses that explore the intersection of art and science. See more of her immensely beautiful and thoughtful work at the intersection of art, science, and human life on her site.


This post has been cobbled together from Lia Halloran’s website and brainpickings – gratitude!

All images copyright Lia Halloran. See more work from this series at this page on her website.

Find information about cyanotype photographic printing at Wikipedia.


Exhibit Dates:
Mar 25, 2017 – Jun 26, 2017
Location:
The Delaware Contemporary
200 South Madison Street | Wilmington, DE 19801
Constance S. & Robert J. Hennessy Project Space