Piet Mondrian: The Red Tree (Evening) 1908 – 1910
– – –
Look outside at the sleeping tree there. Who sees the tree?
… Does a body do the seeing or does awareness, consciousness, life see it? What sees the tree? Consciousness? – or a body-centered custodian of consciousness?
Where is the tree? Fifty-seven feet removed from a body-oriented ego-container of awareness, a judge who likes or dislikes what he sees? – or is the tree within awareness? Is the seeing of the tree the activity of a separate-from-the-thing-I-see recipient-of-life, a so-many-year-old male or female pump filled organism who looks out through bloodshot eyes and answers to the name of Bill? – or could it be that it is Deity being the “seeing”?
Indeed, isn’t it just possible that Isness, Reality, God, is the seer “seeing” and being the seen? Could it just be that “seeing” itself is the identity “we” are?
Could we be Life itself rather than the recipient of it? Indeed we can! We are!
– William Samuel, The Awareness of Self-Discovery
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
Image source: www.pietmondrian.info
Zebras: July 22
When I look at this photograph of zebras, when I feel love for them, I become them: I enter their stripes, feel their taut flesh, their muscled bodies, the flanks, the legs, the soft nostrils.
I cannot hold myself apart from them long enough to experience it as love of other. When I love one of these zebras, I am reveling in my own delineated skin, my four points of contact with the earth, the tail of long hair soft at the backs of my behind legs.
Who made this animal? And why? Why on earth – why in a whole universe – such whimsy? What got into somebody’s head, to mark me thus?
When one zebra looks at another, it is not amazed at what it sees. Probably the looker little supposes that it looks much the stripy same as the other fellow. But even if it knew about its own appearance, this knowledge would not impress the zebra.
I can feel the other zebra’s head resting in the middle of my back, where its undermouth sinks into the curve of my spine. Its weight is deeply satisfying. And I can feel the weight of my own chin sunk heavily into the other zebra’s welcoming back, and holding the weight of my striped head (though I do not know that it is striped). I can smell the other, and the other can smell me. I’ve lost track of which is which.
Don’t try to figure it out. It isn’t important. Nor is it worth any effort at all to tell where zebra stops and human starts.
– Jan Frazier
When Fear Falls Away: The Story of a Sudden Awakening
[I have no way of knowing what picture Jan was looking at when she wrote this piece; the image here is by photographer Nina Papiorek]
New at the artisans’ gallery – photographer Dan Dhruva Baumbach
For Dan, art – and art appreciation – is a path to stillness and awakening.
These days I love to spend my time in nature wandering around with my camera. I still get very quiet and just respond to the beauty I see in front of me. Sometimes I’ll take photographs of what I am seeing and sometimes not.
What I’m doing in photographs is capturing my experience. If you look at my photos and are stopped, then I’ve been successful.
People like to talk about spiritual art but I don’t like to make differences. To me the purpose of any art is to stop you and take you out of yourself.
– Dan Dhruva Baumbach
Dan Dhruva Baumbach at the artisans’ gallery
let your subject find you
wherever the eye falls is the face of creation
Amanda Robins: Dyad 2, 2009
pencil on Arches watercolor paper, 115 x 95 cm
I examine the object as if it was a lover, a book, a document. It is willing to offer everything to me, passively. I am moving closer to the object, as close as I can, and it covers me benignly. Warming me to the world of things.
I layer the pencil marks over one another in light strokes, building up the tones carefully. Light glints softly off the graphite surface. The paper colours and imprints like asphalt, a well-worn pavement with pockmarks and incisions. The paper stump forces the graphite into the craters and valleys of the paper – sliding over the surface – burnishing, embossing. I am entranced by this silvery surface – the powder creates a film, grey and silver clouds forming, the lines of pencil changing and perfecting them. Away from the amorphous, I push the image into my favoured safety net … [t]his is the boundary, the structure which allows me to feel held and absorbed, contained and subsumed.
– Amanda Robins
SECOND/SKINS Exhibition Catalogue
Amanda Robins at the artisans’ gallery
meditative process made visible
It is [the] flash of realization of not-two-ness, that is both the centre and the endpoint of our human experience.
In every seed of every weed, in the knee-joint of a dead wasp’s leg, the structure of the Whole of Reality is laid bare for those who have eyes to see.
Our brain filters out the overwhelming poignancy of this Structure of Reality, of the Divine, as it manifests in all that is.
The eye, however, when it awakens, sees all things as “unseparated” from itself, to speak with Eckhart*.
– Frederick Franck
The Awakened Eye
* Meister Eckhart: The eye with which I see God is the eye with which God sees me.
Photograph: Laurent Schwebel
Frederick Franck at the artisans’ gallery
seeing/drawing as meditation
the Face of faces
the 10 commandments
(Frederick Franck’s guidelines for the creative life)