the uniqueness of unnamed seeing

The precision of naming takes away
from the uniqueness of seeing.
– Pierre Bonnard

… a short excerpt from Rupert Spira‘s book, Presence, Vol 1, with paintings by the artists he mentions …

– – –

An artist tries to represent, that is, to re-present, to present again a vision of experience that evokes its reality, to make something that has the power within it to draw the viewer into its own reality.

 

Pierre Bonnard: Nude in a Bathtub

That is what the French painter, Pierre Bonnard, was trying to capture: the timeless moment of perception before thinking has divided the world into a perceiving subject and a perceived object and then further sub-divided the object into ‘ten thousand things.’

And what did that vision look like in Bonnard’s view? It was a world brimming with colour, intensity, harmony and dancing with vitality. It was world in which the edge of the bath or an old wooden floorboard were given the same attention, the same love, as were the curve of a cheek or the gesture of a hand.

 

William Blake: Song of Los

It was the same moment that William Blake wanted to evoke. He was once questioned, “When you see the sun rise do you not see a round disc of fire somewhat like a guinea?” And he replied, “Oh no, no! I see an innumerable company of the heavenly host crying ‘Glory, Glory, Glory is the Lord God Almighty.’”

 

J.M.W. Turner: Sunrise with a Boat between Headlands

Likewise, William Turner who is reported to have been returning home from Hampstead Heath with a painting under his arm late one evening, when a local resident stopped him and asked to see the painting. After looking at it for some time the resident remarked, “Mr. Turner, I have never seen a sun set over Hampstead Heath like that,” to which Turner replied, “No, but don’t you wish you could.”

 

Paul Cezanne: Bend in a Forest Road

The body and mind of the artist is the medium through which nature interprets itself to itself. It is the medium through which nature explores and realises its own identity. As Cézanne said, “I become the subjective consciousness of the landscape and my painting becomes its objective consciousness.”

– Rupert Spira

Presence: The Art of Peace and Happiness – Volume 1


Links to related pages and posts on this site:

rupert spira at the artisans’ gallery

paul cézanne

nature’s eternity – an essay on paul cézanne by rupert spira

blake’s eternal delight

artisans

artisans’ gallery

 


Sources of images:
Pierre Bonnard – Nude in a bathtub
William Blake – Song of Los
J.M.W. Turner – Sunrise, with a Boat between Headlands
Paul Cézanne – Bend in a Forest Road


the essential and indivisible fabric of reality

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.

 

Jordan Wolfson: Still Life with Red Tapestry X

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.


 how painting can help to save the world, actually

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. […]


http://jordanwolfson.com