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


the beauty beyond ideas

A warm welcome to Eva Millauer as she joins our artisans’ gallery.  I will take her advice and avoid putting her “in a box”:

I am not exactly thrilled to be put in a box as dancer, performance artist,
visual artist, film maker, poet, script writer etc, etc…
as my real movement is to  meet you in the beauty beyond all of these ideas
of who we are.

 

Eva Millauer: my name is love

 

As an artist and a human being,  I always explore the same theme.

In fact I only work with one theme, which is not describable as a theme as it is simply the oneness in which everything manifest and un-manifest arises and changes and comes and goes.

There is an unspeakable reality beyond all ideas, identities and concepts and it is my vision to create creative spaces in which the experience and manifestion of that is allowed, supported and lived.

What we call ‘art’ can be a most wonderful gateway to a communication which is much more than what is visible as such on a canvas, in a moving body, a video or a  beautiful poem. This is exactly what I feel moved to work with.

 

 

my name is love

and I live the trees 

my name is love 

and I live the light

my name is love 

my name is love 

and I live the soil

my name is love 

and I live the birds

my name is love

and I live the sky

my name is love

my name is love

and I live you

– Eva Millauer

 


Sourced from Eva’s website and personal correspondence.

Please visit Eva’s page – a sparkling sense of aliveness – to view more of her creative expressions and find links to her online presence.


artisans

artisans’ gallery


 

tracing the contours of bewilderment

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.

 

Jena Argenta: Walking the Dark (detail), black newsprint unmounted, full piece size 9"x16"

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

Read the full article, with more examples of Jena’s work, here.


artisans

artisans’ gallery


I’ve lost track of which is which

 

Nina Papiorek: Namibia Zebras iii

 

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]


the love of the inexplicable

New at the artisans’ galleryDouglas O Smith

 

Douglas O Smith: Sweeping Foliage

Sweeping Foliage

 

I have been attempting to describe my search for the love of the inexplicable using my hands and eyes for over 40 years now.

– – –

I am not interested in hiding behind an intellectual supposition and I am certainly not interested in shocking the viewer with my provocations, except perhaps of a quiet gentle nudge to see the possibility of a greater realm in our perceptions.

I am interested in making a space where people can see perhaps love, perhaps beauty, perhaps joy. To me this is where the changes can happen. My gods are the great poets who reach for the sublime ethers. This mining for the greater gold is what keeps me going.

– Douglas O Smith

douglasosmith.com


douglas o smith at the artisans’ gallery