Strolling over pine needles and fallen leaves,
breathing in the washed air after a big storm,
catching the essence of fresh pine,
winter is here.
Wishing you happiness and well being.
Susan
Monday, December 10, 2012
Sunday, December 2, 2012
My Art-Work Spaces
I also have a little 120 sq ft studio next to our house,
which is only for the hardy souls to work in.
The source of electricity is a long orange extension cord that runs from
the garage. So I have to be creative
about whether I want good lighting or if I want cozy temperatures. Since we live where the summers are over 100
degrees Fahrenheit the studio turns into a nice oven. And the flipside is our dark, rainy, cold winters that turn it into a cave. I love the space though and need to get it
hooked up to proper electricity. Then I
would install a set of track lights, plug in my temperature enhancers, and be
set.
I need to be creative and that means I will do my artwork in
the house, in my studio, or in the outdoors.
I have an art travel kit that I can put in my backpack or carry with a
shoulder strap. It's great to have
flexibility. If I had to wait for all my
ducks to be in a row before I could paint, well, painting would never happen.
Don't wait for everything to be perfect before you
get creative. Just do it.
Susan
Sunday, November 11, 2012
Book Recipe - Recipe Book
Some skill and/or assistance may be required. This is a synopsis of what I teach in my bookmaking class.
Ingredients:
1 easy, short recipe
Photocopied images or eatable result of recipe (for object
to draw)
Permanent, no-bleed, fine point pen (Sharpie or Micron).
Pencil (HB or 2B) and eraser
1 sheet of 140# hotpress watercolor paper. Cut to 4.5" x 11.75". One sheet is usually enough for multiple
books.
Watercolor paints
Watercolor brushes
paper towels, plastic cup for water, and scissors
2 pieces mat board cut to 4.5" x 4"
1 piece craft paper (or paper grocery bag) cut to 9.5"
x 9" (or alternate version - see drawing)
Sea sponge
Acrylic craft paint (2-3 colors)
Satin Ribbon
Decorative papers
Spray adhesive and craft glue
Directions:
1. Using sea sponge
with acrylic craft paints, sponge one color onto one side of the 9.5" x
9" craft paper. Mottle the paint
effect. Sponge a different color on top
of the first. Add a third color if
desired. Put paper aside to dry.
2. Create a mini
still life with food created from recipe.
3. Divide the
4.5" x 11.5" piece of watercolor paper into thirds with light pencil
marks. In general, the first third from
the left can be for the illustration and the remaining two thirds can be for
the recipe title and text. However, you
can be as creative as you like in the layout.
4. With pencil sketch
in a border, the food still life.
5. Create guidelines in pencil for the recipe
title and text. Lightly in pencil, write
in the title and recipe. You may need to
redo it a couple times to get it to fit.
Play with the lettering of the title text; add flourishes to or bolden
your handwriting.
6. Once you are
satisfied with your light sketch and text layout go over it with the permanent
pen. Do not pen in the guidelines for
the title and text. Erase all pencil
lines.
7. Paint in your illustration using the watercolors and
watercolor brushes. Let dry.
8. Turn paper
over. In the middle third section,
create a mini illustration first in pencil, then pen it in and erase pencil
lines, then add watercolors. Let dry.
9. Return to the
craft paper with the sponged paint, it should be dry by now. Place on table, face down with 9" edges
to top and bottom and 9.5" edges to side. (Image include alternate template with areas you can cut out if desired.)
10. On the two pieces
of matt board, apply a light coat of spray adhesive to one side only. Holding the mat board with the 4" edge
to top/bottom and 4.5" edge to sides, place the adhesive side down onto
the craft paper in this location:
Approximately ¼" from bottom and sides of craft paper with
approximately ½" in-between the two matt board pieces.
11. Lightly spray
adhesive over unpainted side of craft paper and the two pieces of matt
board. Fold in the bottom two
corners. Fold in the bottom and side
edges. Lightly spray adhesive onto the
newly folded in edges. Fold down the top
portion of the craft paper to cover the mat board. Trim off any excess craft paper. Fold in half.
This is the book cover.
12. Turn the
bookcover over and decorate. You can add
decorative papers to the fold and a ribbon for the tie. Use craft glue to apply papers and ribbon.
13. Return to the
illustrated watercolor page. Fold it
into thirds – first the left side in toward the right and then the right side
in to the left.
14. Apply craft glue
to the blank right third of the page, smooth out the glue to the edge of the
third with your finger. Apply the glued
surface to the inside right side of the bookcover. Make sure that the folded edge of the page
lines up with the outer edge of the cover.
Estimated time: 4+
hours for art project. Does not include
time for gathering supplies, cutting paper & mat board, or for cooking the
recipe.
Have fun!
Susan
Wednesday, October 24, 2012
More new work . . .
Wednesday, October 10, 2012
Thursday, September 20, 2012
Studio Tours 2012
Susan Keale
invites you to see
her latest
mixed media paintings
&
handmade illustrated books
@ El Dorado County
September 29th & 30th
and
October 6th & 7th
10:00am – 5:00pm
Thursday, September 13, 2012
Fall Workshops with Susan Keale
"Autumn
Harvest" Illustrated Watercolor Journaling – Intro Level
Saturdays, Oct 20 and 27, 10:00 – 2:00
$100 held at Pence Gallery, Davis , CA
Illustrated
Watercolor Journaling is great for travel, home, recipes, and more! It's like journaling but with drawings and
watercolors. Focusing on the theme of
"Autumn Harvest," students will learn to use ink pens and basic
drawing, watercolor techniques of color mixing and textures, lettering and page
layout, along with fun writing exercises to create lively illustrated
journals. The students will learn how to
pack a portable set of art supplies that they can travel with to Halloween
adventures, Thanksgiving travels, or simply to their kitchen table. This is a beginning level course that can be taken
more than once because each time there's something new.
"The
Holidays!" Illustrated Watercolor Journaling – Intro Level
Saturday Nov. 3, 10:00-3:00 and Sunday
Nov 4, 12:30 - 3:30
$100 held at University Art on Marconi in
Sacramento , CA
Illustrated
Watercolor Journaling is great for travel, home, recipes, and more! It's like journaling but with drawings and
watercolors. Focusing on the theme of
the holiday season, students will learn to use ink pens and basic drawing,
watercolor techniques of color mixing and textures, lettering and page layout,
along with fun writing exercises to create lively illustrated journals. The students will learn how to pack a
portable set of art supplies that they can travel with to capture winter's
magic, on family vacations, or create personalized holiday gifts. This is a beginning level course that can be
taken more than once because each time there's something new.
Hand Made
Illustrated Story Books for a Sweet Holiday
Recipe
November 10, 10am-2pm: $50
Following in the
storybook illustrator's tradition of Beatrix Potter and Tasha Tudor we will
draw from a still life, paint our drawing, and write in the recipe. From the illustrated recipe we will
make a fold out book. No
experience necessary. You
will learn illustrating and watercolor techniques, how to decorate the
book-cover with texture, and how to bind your book together. This is a great activity for all and
makes great gifts for family and friends.
~No art
experience necessary.
~Contact
Susan for supply list – materials not included.
Thursday, September 6, 2012
Artist Archetype
The last several months I have been questioning and writing
about what it is to be a bodhisattva artist.
But recently I have been wondering more simply what is it to be an
artist? Is it something a person is born
to be? And, in this world of
consumerism, is it possible to be authentic and what is an authentic artist?
Jung identified certain personalities and behaviors that he
classified in psychology as archetypes.
The Artist is one of them; Jung specifically categorized it as the Artist-Scientist
archetype. Some of the attributes
associated with the Artist-Scientist are their ability to come up with novel
solutions, being curious, idealistic, self-confident yet afraid of failing, and
having childlike wonder with a logical mind.
A more contemporary view of archetypes comes from the
Enneagram type system. The Artist in
this system is characterized as being sensitive, expressive, and spiritual. Emotions are the vehicle by which the Artist
understands themselves, others, and the world.
They do not fear painful emotions and this is often a way for them to
develop compassion for the suffering of others and the world. Nostalgic and idealistic by nature, the Artist
seeks meaning, growth, and healing.
I relate very strongly to both descriptions I find of the
archetypical Artist. The listed
attributes are characteristics I have had all my life. Which leads me to believe I was born an artist. I'm not sure what the karmic implications are
to this other than I have the sensibilities that seem ideal for self awareness,
thirst for beauty and graceful solutions, and a deep wish to heal my own
suffering and be of benefit to others.
As far as being authentic, I believe that lies in living
one's personal truth. Which in my case,
is always changing and expanding, while strangely stays the same. I think my quarry about authenticity must be
an example of being afraid of failure.
Perhaps this is the search for meaning in a world that is
inherently empty of meaning. So Zen . .
. there is nothing to attain, no one to be, no place to go. Just accepting the masterpiece that we are at
each given moment. Curious. . . Art
historically, have we moved to a new place that is no longer the iconoclasm of
abstract expressionism? Or the inertia
of endless individual expression? What is the focus of art now?
What do you think? Please
share your thoughts in facebook comments or in the comment box below.
Best,
Susan
Thursday, August 30, 2012
I took Maryjo Koch's Botanical Illustration Workshop in Bonny Doon, CA.
Maryjo demonstrating painting a thistle.
Me painting.
Beginning my thistle with a graphite watercolor pencil.
Adding gouache.
My finished thistle.
Final project was painting a stick covered in lichen.
Thursday, August 23, 2012
Evolving Art
I have recently been reading a group of inspiring books that
I've chosen as a means to awaken or recharge a new level of creativity. As part of my art practice, at my mentor
Andie Thrames' suggestion, I have found it is necessary to review my mission as
an artist every six months or so. This
is not only for my own awareness and growth, but so that I can communicate
about my art and process in art statements and in sharing creative enthusiasm
with others. To keep myself engaged and
charged I have to participate in my education by reading, attending workshops
with artists that I want to emulate, and by interacting with art to discover
what speaks to me.
There are four books I'm loving right now in which each
author is talking about our interconnectedness.
David Abrams, ecologist and philosopher, speaks magically in Spell of the Sensuous about the history
of our disconnect from nature and our inner nature due to the refinement of
language and written communication.
Through Abrams mystical descriptions of feeling nature and the ways
indigenous cultures view themselves in nature (which is express it via
storytelling), one is reintroduced to a once common communion with nature. This book has philosophical depth that I can
sometimes only digest a paragraph at a time.
It is rewiring my mind's concepts about perception.
Meditation is been part of my way of becoming more perceptive
and aware my interconnection and inter-dependence with nature. The nature of our minds is nature. We are nature. This isn't new to Buddhism. The
Harmony of Emptiness and Dependent-Arising: Tsong Khapa by Ven. Lobsang
Gyatso elaborates on cause and effect in relation to emptiness. Once again I am reminded of the fault of
ignorance and how ignorance of the ultimate nature of phenomena leads to every
choice we make.
As I continue absorb the teaching-words in these books I
find that something is slipping or softening in how I perceive phenomena. I listen for the ways nature talks to me and
I look for the eyes that are seeing and perceiving me. I wonder how it is that we humans think we
are bigger than and dominant over nature.
Poet Gary Snyder writes so captivatingly in The Practice of the Wild on the wild that we are. In Snyder's introduction he writes, "A
key term is practice: meaning a
deliberate sustained and conscious effort to be more finely tuned to ourselves
and to the way the actual existing world is. 'The World,' with the exception of a tiny bit
of human intervention, is ultimately a wild place." (p. viii)
It is in this wild place that we live and create. I have recently been introduced (by Sue West)
to the art work of Enrique Martinez Celaya.
A well established and visionary California
artist who paints, writes, lectures, educates and inspires others to delve deep
and reconnect. His work is profoundly
spiritual from a scientific and globally philosophical view. In Collected
Writings & Interviews, 1990-2010, Enrique Martinez Celaya ,
taken from Celaya 's
manifesto, he writes, "It seems more sad than ironic that in the process
of mastering our destiny through technology and global reach, we have lost our
respect for nature and our sense of belonging to something larger than
ourselves." Celaya sees the artist role to be that of a
prophet. It is with that inspiring idea that
I explore and contemplate his work and the works of others engaged in nurturing
our awakened minds.
The image above is from my series of painting on California
butterflies. There are over 120 species
of butterflies that live in the Sierras according to Dr. Art Shapiro, professor
of Evolution and Ecology, and his UC Davis research team. They have a fantastic website http://butterfly.ucdavis.edu/ with
images of each butterfly. The butterfly
represents for me the ability to transform.
My mixed media pieces evolve in an intuitive process of cooperating with
the art materials, the subject matter, patterns, and contemplative mind frame.
May you be well and inspired!
Susan
Thursday, August 16, 2012
Art of Illusion
Recently I have been contemplating the illusory nature of the phenomenal world and what is authentic artistic expression? My mind goes blank when I think on these things. I've been wondering how to depict that in my art – with imagery that is authentic to my experience. I can easily be inspired by or borrow ideas from Kandinsky, Duchamp, or O'Keeffe; but how does one find their own original visual voice in the midst of so many creators today? Chogyam Trungpa says in Dharma Art that it requires a lot of meditating.
The idea that meditation is somehow separate from art seems like a mind-emptying, Zen question in itself. Many artists find that art is liberation. Ad Reinhardt is noted in asserting in Smile of the Buddha: Eastern Philosophy and Western Art, that "art was not a practice leading to enlightenment; art is enlightenment." This is indeed an esoteric approach to being a "fine artist," which Reinhardt defines as having "a fine mind, 'free of all passion, ill-will, and delusion.'" (Smile, p. 131)
Reinhardt's description of an artist's mind correlates with the last verse of The Eight Verses of Mind Training. The long version (Rigpa translation) states:
I will learn to keep all these practices
Untainted by thoughts of the eight worldly concerns.
May I recognize all things as like illusions,
And, without attachment, gain freedom from bondage.
HH Dalai Lama divides this verse into two sections (Transforming the Mind, pp 128-132). The first two lines relate to the Eight Worldly Concerns that effect our attitudes. HHDL describes them as "becoming elated when someone praises you, becoming depressed when someone insults or belittles you, feeling happy when you experience success, being depressed when you experience failure, being joyful when you acquire wealth, feeling dispirited when you become poor, being pleased when you have fame, and feeling depressed when you lack recognition." A practitioner (artist) cultivating altruism is warned about these "concerns" muddying our minds. If we agree with Reinhardt's depiction of a "fine artist" then contemplation on the hopes and fears revealed in the Eight Worldly Concerns would certainly assist in refining one's "passion, ill-will, and delusion."
Yet, the teaching that form is emptiness and emptiness is form is also apparent in Verse 8. The last two lines speak specifically of the illusory nature of reality, our phenomenal world. If we take Reinhardt's statement that "art is enlightenment" and situate the nouns thusly art=form and enlightenment=emptiness the teaching on form and emptiness is restated as "art is enlightenment and enlightenment is art." Since Reinhardt was a master at reinterpreting Buddhist teachings into art terms, it is possible that he found a truth in the subtle connection of words to pronounce "art is enlightenment." It would appear that art, then, would be the depicted form of the phenomenal world as it is, which in itself is empty.
The questions I started this note with are still intriguing. I am interested to see how it will influence my paintings. I have a few sketches I'm working on, playing with the flow if ideas that come up.
The illustration that I created a few years ago for Verse 8 is of a peacock. The peacock is a unique bird that can eat poisonous snakes without being harmed. I see Verse 8 as transformation from suffering to liberation; as it is with the peacock that transforms poison into nutrition. This is the altruistic mission of art.
Thank you for journeying through the Eight Verses of Mind Training with me. May these musing be of benefit in creating compassion and wisdom.
Until next week and a new series . . .
Be well,
Susan
Thursday, August 9, 2012
Painting Compassion
This summer my friend, Sue Hammond West, suggested I read Smile of the Buddha: Eastern Philosophy and Western Art from Monet to Today written by Jacquelynn Baas. I love Baas' perspective on art history. She shows how Buddhist philosophy was introduced to European art culture and the influence it had on how and what artists perceived and painted.
Since today's blog is on Verse 7 of the Eight Verses of Mind Training, I am excited to dovetail one of the artists from Smile of the Buddha into my musings: Vincent van Gogh! Most of what I remember of van Gogh is his beautiful paintings and his tortured spirit. I knew he had a strong Evangelical background, but I didn't know the extent of Japanese Buddhism's influence on his and other 19th century European artists. Baas writes, "Art was more effective than religion in conveying his deeply felt compassion for humankind." Van Gogh was a sensitive, generous, reflective, deeply caring man who wanted to alleviate suffering. Buddhism was very inspiring to his work. He "had come to see the ideal artist's life as that of a kind of bodhisattva, dwelling austerely and serenely . . . and devoting himself to the expression of compassion through the creation of works of art that evoke the connections between all levels of existence." (p31-32 Smile)
As I read this essay on van Gogh I kept thinking of Verse 7. Geshe Langri Thangpa's core version states, "Give help and happiness to others, and take on their harm and suffering." In his paintings, van Gogh was giving his supreme joy of feeling spiritually inspired and interconnected . . . Moving brush stokes and color reveals a world that is alive and magical. Van Gogh's paintings visually give a teaching on the Buddhist philosophy.
While Baas and other art historians have documented the Buddhist texts, philosophers, and art forms that van Gogh was aware of I can't help wondering what direction his life would have taken had he had the support of a lineage teacher and a sangha. It is apparent that van Gogh longed for monastic life and tried to create such in
According to HH Dalai Lama in Transforming the Mind, Verse 7 specifically relates to the practice of tonglen - the practice of giving and receiving. Briefly this involves the deep understanding that we all wish to be happy; that we are all one / interconnected; that it is an act of egolessness to "exchange myself for another." It is an attitude we integrate so as to loosen the hold of the ego.
The tonglen practice can be applied to working with our own suffering, that of another's suffering, and the suffering of the world. In the art class I'm teaching on grieving we did a "giving and receiving loving kindness" exercise. First we drew a body scan of the suffering we felt. Then we drew an image of ourselves onto which we drew all the compassion and kindness we wished ourselves to have. The change in the students was palpable. The room's energy went from sadness to lightness with the experience of transforming the mind through compassion.
The image I've drawn for this verse is of a laughing dolphin (illustrated with gouache and color pencil). Dolphins have an amazing ability to heal. Much has been written on the gentleness of dolphins and how their keen sensitivity and awareness can transform our perceptions regarding human relations with nature. They are bodhisattva's of the sea.
May we all be well and inspired to act with compassion.
Susan
Thursday, August 2, 2012
Courage of Artists and Spiritual Warriors
The core instruction to Verse 6 of the Eight Verses of Mind Training says to "Recognize one who harms you as more kind than one who helps you." I've been pondering this over the last few days trying to remember any art experiences I've had that would relate. My emotions, more than an individual person, have often been inspiration to create art. Difficult experiences in relationships have inspired some interesting imagery. Several of the pieces from my Understandingft series were part of my emotional process while caring for my late husband. (Click on "Art" on sidebar to see series.)
Exploring further, the full sixth verse (Rigpa translation) suggests:
Even when someone I have helped,
Or in whom I have placed great hopes
Mistreats me very unjustly,
I will view that person as a true spiritual teacher.
I am very fortunate to have never experienced war or extreme violence. However, I can feel another's pain acutely. I suspect this is empathy or maybe something more. Perhaps it is as current day ecologist and philosopher David Abram reveals in The Spell of the Sensuous that everything touches everything and that I feel the pain of others because "of the body's native capacity to resonate with other bodies and with the landscape as a whole." This would explain why I cringe at seeing violence or feel anger and sadness by reading of cruelty.
Artists throughout history have used art as a tool to express and process much unbearable pain, suffering, anger, and confusion. Images from ancient art of war to the art of Goya, Picasso, and Beckman, to present day artists such as Melvin Edwards, David Hammons, and Magdalena Abakanowicz (to name only a few of the very many).
This poem was written by Thich Nhat Hahn after he "heard about the bombing of Ben Tre and the comment make by and American military man, 'We had to destroy the town in order to save it.'"
"For Warmth
I hold my face in my two hands.
No, I am not crying.
I hold my face in my two hands
to keep the loneliness warm –
two hands protecting,
two hands nourishing,
two hands preventing
my soul from leaving me
in anger."*
So, how do we work with Verse 6? Clearly by reading Thich Nhat Hahn's poem we see he is a spiritual master. HH Dalai Lama, in Transforming the Mind, suggests studying Shantideva's Guide to the Bodhisattva's Way of Life and Chandrarakirti's Entry to the Middle Way for inspiration and understanding regarding tolerance and patience, which are necessary when working with this verse.
I have also found Pema Chödrön's teaching on gratitude to be inspiring. In Awakening Loving-Kindness (pp 168-169) is a pertinent paragraph that relates to the idea of being grateful to everyone. Pema writes that if we can learn to be grateful for the preciousness of our lives, then we will be able to face anything.
My wish for myself and all beings is that we move toward more tolerance, patience, and gratitude. Some further inspiration comes by way of the documentary "I am", directed by Tom Shadyac. A portion of the documentary shows how herds or flocks of animals (nature) make decisions. It is when 51% of the group turns their attention to make a move, whether it is to go for a drink or change direction in flight. It is not dependent on the dominant male nor the smallest infant, it is based on the decision of just over half of the whole group to ensure the survival of the greatest number. "I am" refers to who the "problem" is and where the responsibility to change lies.
Perseverance: we keep on cultivating and practicing compassion and wisdom. And perhaps, like natural democracy, or the sensuous spell of our interconnectedness, we will move in the courageous direction of peace.
I humbly offer my illustration of a snake to represent Verse 6.
May we all be well and content,
Susan
*Found in Anger; Wisdom for Cooling the Flames by Thich Nhat Hahn.
Thursday, July 26, 2012
Being "liked" or "unliked" as an artist
Any artist who has submitted work to a juried art exhibit or approached a gallery director to show her/him their artwork has most likely had a few niggling, insecure thoughts about whether their artwork will be "liked." We want so much to not only have our work accepted, but approved. David Bayles and Ted Orland talk about this in their book Art & Fear. Chapter IV is dedicated entirely to our "Fears About Others," in which they say, "Acceptance means having your work counted as the real thing; approval means having people like it."
The last thing that I want as an artist is to have my work rejected or "unliked." It feels so personal. Many artists have a parental or sort of love connection with their art, which often makes it hard to sell and/or put it out into the world for others to have an opinion about it. I often have to work with fears that arise from feeling exposed. Art is that personal.
Fear of criticism is a close runner up to fear of rejection. Cay Lang writes in Taking the Leap that we as artists need to be open to criticism; it's how we learn about our audience. If I want to sell my art, then I need to understand what my audience (galleries, curators, historians, whomever) finds worthy of acceptance and approval. While these individuals may be educated in the principles of art, I still think the process of acceptance and approval is completely subjective. It's all about what a person likes.
In these recent blogs, I've been writing about the Eight Verses of Mind Training and am currently on Verse 5. This verse clearly indicates that whatever arises to not take it personally. The verse is usually applied to situations in which someone is blaming, scolding, or being verbally harsh. However, it seems appropriate to apply it to art world situations in which criticism or disapproval is being expressed.
Verse 5 (Rigpa translation):
Whenever someone out of envy
Does me wrong by attacking or belittling me,
I will take defeat upon myself,
And give the victory to others.
HH Dalai Lama clarifies in Transforming the Mind that whatever the provocation, instead of reacting negatively, we should be tolerant. HHDL has also talked at times about being discerning, that we need to care for ourselves, which may mean removing ourselves from abusive situations. Fortunately, my art world experiences haven't been abusive, just simply uncomfortable; experiences to which I can apply tolerance and understanding.
Despite personal discomfort, I will always ask why pieces of artwork have not been accepted. It helps quiet the endless speculations that my mind conjures up. And often the information is useful. Being mindful, tolerance, humble, and compassionate are acts of courage. I commend artists who face the fears that art challenges us with.
The image that I illustrated in gouache and color pencil which pertains to Verse 5 is of a duck. The saying of "let it roll off your back like water off of a duck" is a perfect description for tolerance and for not taking difficult comments personally. Being water-repellant or comment-repellant reminds me of what Sogyal Rinpoche calls having "non-stick minds." My wish for us all!
Next week is Verse 6 which encourages more patience and tolerance. Until then . . .
Be well,
Susan
Thursday, July 19, 2012
Art and Healing
As I continue to consider how the Eight Verses of Mind Training relate to being an artist I find myself becoming more and more aware of my attitudes and opinions regarding my art and activity in the art world. Last week I began teaching a six week course called "Working With Grief Through Art." It is an honor to be able to share my experiences with my students on ways to heal emotions art-fully. I cherish those little flashes of joy and light that lighten grieving hearts when they paint something that is meaningful . . . or the art they've created reveals something new to them, something hopeful, that they felt they had lost. Art is healing in a really powerful way.
Theresa Rhando writes in Grieving: How To Go On Living When Someone You Love Dies, that "Grief is work." The term 'grief work' is just that, work. "It requires physical and emotional energy. It also requires activities to do." Art is a perfect tool for working with our suffering. The suffering that is experienced in grieving is outlined by Elizabeth Kübler-Ross' model of "Five Stages of Grief." These include denial, anger, bargaining, depression, and acceptance. Much of the process of suffering loss is painful. Art is a gentle and nurturing way to be with ourselves through these stages. Art allows us to be present, see what is, and open in a positive way.
I have heard from students that they aren't artists. The truth is that we all have creativity in us. As Shaun McNiff states in Art as Medicine, "Just paint. Begin to move the brush in different ways and watch what comes. If you paint, it will come." This I've seen again and again. That innocent freedom to be creative returns and so does joy.
What I'v written above relates very keenly to the fourth of the Eight Verses of Mind Training. The verse goes (Rigpa translation):
Whenever I see ill-natured beings,
Or those overwhelmed by heavy misdeeds or suffering,
I will cherish them as something rare,
As though I'd found a priceless treasure.
H.H. Dalai Lama explains in Transforming the Mind that "This verse refers to the special case of relating to people who are socially marginalized , perhaps because of their behavior, their appearance, their destitution, or on account of some illness." At first I thought this verse pertained primarily to murders, however, there are many degrees to which a person can become ill-natured or overwhelmed by suffering. Individuals or groups suffering from loss, whether it is grieving the loss of a loved one or of many loved ones lost in a disaster, behave unsociably, often look unkempt, and are certainly made ill by emotions and mental stress.
Why would helping others in these conditions be something to cherish or be a priceless treasure? It is a gift to be of service. It is being wisely selfish, at HH Dalai Lama says. We are all interconnected and to help others we are helping ourselves. Art is a tool I know how to use and it has helped me. I extend that experience, strength, and hope to my students. It gives me joy to see others heal.
Thank you to all the teachers, healers, artists, and art therapists working compassionately in this world.
The gouache and color pencil illustration I created for this verse is of a hyena. Hyenas are rather scruffy, bad table manners, loud, and hard to get along with. It's a light hearted symbolic connection to verse four.
Next week in verse five I'll write about trying to not take things personally.
Until then . . .
Be Well,
Susan
Thursday, July 12, 2012
Art and Dignity
In my every action, I will watch my mind,
And the moment destructive emotions arise,
I will confront them strongly and avert them,
Since they will hurt both me and others.*
*Verse 3 of the Eight Verses of Mind Training
I remember Patrick Gaffney, one of Sogyal Rinpoche's principle students, giving a teaching on working with negative thoughts and emotions. He suggested that you view your mind as a garden and tend it from pests – like a large pig that is trying to get in and wreck havoc. Sometime we need to smack the pig on the nose to get it to leave the garden. As it is with negativity, sometimes we need to be firm in "watch[ing our] minds and driv[ing] out mental afflictions."
Only by being mindful of what we focus on and create can we have any hope of choosing to do no harm to ourselves and others. In previous blogs I wrote about the principles of bodhichitta, one of which is diligence. Choosing to follow a spiritual path requires that we practice principles of good diligently in all of our activities . . . Principles that cultivate love, compassion, kindness, wisdom and equanimity.
In regards to art I have found Chogyam Trungpa's writings very inspiring, especially his book Dharma Art. In the chapter "Art in Everyday Life" we read "Awareness practice is not just sitting meditation or meditation in action alone. It is a unique training practice in how to behave as an inspired human being. That is what is meant by being an artist."
So, to be an inspired human being we certainly can't be dragged down by negativity. We need to train the "elephant of our minds" through meditation and contemplation, by recognizing we have a choice in how we act, and to feed our minds with teachings that point to our true nature. Then, our authenticity will be revealed and we will be real artists. Artists not only of what we paint but what we create in our lives.
The image that I painted with gouache and colored pencil for this verse is of an elephant. There is a diagram in Tibetan teachings on "calm abiding" or shamatha in which the elephant represents the mind that we wish to train. In the diagram shows a monk is chasing an elephant at the beginning and by the end he is riding the tamed and purified elephant. The elephant also is a symbol of dignity. The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer is an excellent resource for understanding Buddhist imagery.
May we all be able to tame our minds and act with dignity.
Be well,
Susan
Thursday, July 5, 2012
What is a Humble Artist?
Most artists that I know are humble. They don't go around boasting of their magnificence and expecting the sea of crowds to part for them – an image that comes to mind is a stubborn, entrenched, loudly honking goose. I'm sure there are artists like that out there, and I've met one or two, but the majority of artists are humble.
When I read verse 2 of the Eight Verses of Mind Training I have a hard time with the wording. But what I think it is suggesting is that we see ourselves with humbleness, be gracious, and have respect for others. To be humble is not to be humiliated or degraded; it is to let go of an exaggerated and prideful opinion of oneself. I have also heard that being humble is to be teachable. I like that.
Here is verse 2 (Rigpa translation), you'll get its essence:
Whenever I'm in the company of others,
I will regard myself as the lowest among all,
And from the depths of my heart
Cherish others as supreme.
This can be confusing to me if I try to view if from my commercial/want to get ahead/competitive art field mentality. I mean, aren't I supposed to be über confident in my self and artwork, promoting both at every opportunity? Isn't that the path to becoming a known and successful artist? How am I to make it in the world if I follow the principles of verse 2? Verse 2 would imply that I recognize that I am one of billions of people on this planet; that I want to be happy just like everyone else; that the best way to be happy is to generate happiness; to listen with my whole being, to act with kindness, and to cherish every living creature because we are all interconnected with each other.
So, how can and do the principles of verse 2 effect my approach as an artist? It makes me think beyond myself and to be more human. Maybe I could be more open to learning from other artists. Or listen with an open mind to a critique of my work. Or rejoicing in the success of other artists. How would you apply this verse to your art and art world interaction?
Yesterday I read a beautiful article in Shambhala (July 2012) magazine by Thanissaro Bhikkhu entitle "I want to be . . . Loving." He suggests that to be skillfully loving is to have a simple attitude of goodwill by wishing others happiness. How as artists can we create more respect and goodwill?
An artist whose illustrations I love is Maryjo Koch. She is a bug and plant lover extraordinaire. In her book Dragonfly Beetle Butterfly Bee she makes the insect world delightful. I learned how necessary insects are and how interdependent we are to the work they do. I think her work is a lovely example of humbleness and respect.
The illustration that I created for Verse 2 is of a small ant. The symbolic reference is simply that ants are low to the ground and small in size (compared to humans that is) suggesting humbleness. It is with that view that I practice (and it does take practice) the root version of verse 2 by Geshe Langri Thangpa:
In particular, view yourself as lowly and cultivate respect for others.
Wishing you happiness and well being,
Susan
Thursday, June 28, 2012
Eight Verses for Transforming the Artist Mind – V1
Being dedicated to training my mind in compassion and wisdom and expressing that in everything I do leads me to find tools to help me work with the challenges life presents. The Eight Verses of Mind Training are just that, tools that I can use to change my thinking. Even if my thinking changes just a little, sometimes that is enough to let a crack of light shine in to soften whatever dissatisfied thought is there.
The Eight Verses were written by a Buddhist master named Geshe Langri Thangpa in the 11th century. He wrote them for his own use, to work with his own mind and heart. Because they are so inspiring, practitioners ever since have found them invaluable for training the mind. I first learned of the Eight Verses at a Loving Kindness retreat in
Training the mind as the Dalai Lama notes in chapter one is an inner discipline. It is a choice I make because I believe that all of us want to be happy. In order to do that I have to start with myself first. Choosing to work with my mind and heart, to develop peace and contentment within myself, that is my commitment so that I may be a cause of good for others. This keeps me pretty busy, my mind is a full-time job. (There are many tools for inner discipline from every culture and spiritual path to fit each person's disposition.)
So what are the verses and how do they relate to art? Well, I thought we could start with Verse 1 and see how it goes. There are a few translations of the Verses and in this article I will be using a Ripga translation by Patrick Gafney.
Verse 1:
By thinking of all sentient beings
As more precious than a wish-fulfilling jewel
For accomplishing the highest aim,
I will always hold them dear.
Here's how I interpret this verse . . . If my aim is bodhichitta (enlightenment for the benefit of others); then the reason I am training my mind and heart is for all of us to attain enlightenment; so every sentient being (bugs, animals, trees, flowers, and people) are my purpose and therefore very precious. To hold them dear is to be grateful for and wish the best for them.
I still haven’t gotten to the art part. What comes to mind is what it is to be a working artist. In a day I can be painting, contacting galleries or venues for teaching, writing, bookkeeping, corresponding with students, any of which can involve ups and downs. So when things go wonkie what do I do to keep myself from spinning out? I check my attitude. If I can remember a verse, how precious this life is and the wonder-full-ness of the simplest things, a shift in my consciousness takes place. This helps me to respond with kindness to my stressed self first and then extend that outwards.
For example, I recently submitted a series of pieces to a show in
Helpful hint: I've found it helpful to have visual reminders around my studio and office to keep me on track. Being a visual learner I wanted to create something that would help me remember the verses. I associated characteristics that we attribute to certain animals with aspects of each verse. The first verse has the word "dear" in the last line. This was easy to associate with the grace and gentleness of a deer. The image above is very small, created with gouache and colored pencil. I had bookmarks printed with the root version of the verses and corresponding animal image. The pith or root version (by Geshe Langri Thangpa) for Verse 1 is:
Cultivate the view that all beings are extremely kind.
I keep my study-bookmarks around here and there as reminders when I need to regain my focus.
Stay tuned next week for Verse 2.
Be well,
Susan
Tuesday, June 19, 2012
Auspicious Inner Support - images of humor and impermanence
In Tibetan symbolism there are the Eight Auspicious Symbols. They include the Parasol, the Golden Fishes, the Treasure Vase, the Lotus, the Conch Shell, the Endless Knot, the Victory Banner, and the Wheel. These symbols signify good fortune and are generally used in events marking new beginnings, gratitude, and for blessing on activities. Both Robert Beer's Tibetan Symbols (Shambhala Pub., 1999) and Dagyab Rinpoche's Buddhist Symbols (Wisdom Pub., 1995) are incredible resources for uncovering the deep and rich meanings behind buddhist symbolism. I have spent many hours reading and reflecting on the images in both these texts. Both books have detailed descriptions and utilization of the Eight Symbols and suggest that they go far beyond a cultural wish for well being; they embody the most profound truths about life, death and happiness as taught by the buddhas. Upon contemplating these symbols in relationship to inner support I immediately saw a connection between the human skeleton and the basic aspects of each symbol's attributed blessing. For example the Golden Fishes generally wish one to have abundance and fertility in all aspects of their lives. This idea relates to the pelvic and hip bones, their ability to support the body in reproduction and creative energy.
Bones also have a deeper significance of our impermanence and death. Georgia O'Keefe and Frieda Khalo painted bones and their poignant relevance in our acceptance of life cycles. Cultures such as Tibetan and Mexican embrace this lightness and humor in their images of bones and skeletons. These images reflect the integrated understanding that there is no separation between life and death. Often there is such humor expressed in these images that one sees the lightness beyond the grim. Chögyam Trungpa Rinpoche writes, "A genuine sense of humor is having a light touch: not beating reality into the ground but appreciating it with a light touch." (Shambhala: The Sacred Path of the Warrior, Shambhala. p 32.)
Choosing aspects of the human body for symbolic reference is not new to me. In a flash of artistic vision I saw that the Eight Symbols corresponded with aspects of my skeletal structure, our inner support system. I found this delightful and place for play. It is interesting to note that Dagyap Rinpoche included a translation of The Heap of Good Fortune Sutra (Symbols, p.32) in which the Eight Symbols are compared to the head, eyes, neck, tongue, speech, hands, body, and feet. In further reflection and sketching flowers appeared. Perhaps Georgia O'Keefe and Frieda Khalo were inspiring me with these ideas. Yet, it made sense to incorporate flowers and the meaning associated with them into these drawings. It was as if the bones were the structural means and the flowers the compassionate wisdom.
Bone meal is often used to fertilize flower gardens, blossoming new life. Flowers are culturally used to express joy, love, sympathy, purity, and much more. Combined with the bone images are specific flowers that encourage contemplation of death and rebirth, impermanence and enlightenment, compassion and wisdom, and the precious good fortune of inner support.
This series of eight illustrations layer the Eight Auspicious Symbols with structured areas of the human skeleton and the integral beauty of life experienced through flowers. I created them with Prisma pencil over watercolor wash on cotton rag paper (10" x 10"). The representational/narrative quality is intentional to create a feeling of underlying humor.
Be well,
Susan
Wednesday, June 13, 2012
Breakthrough: Painting Through the Dark
When I lost both my parents and husband within the year's time I was fortunate to have a spiritual program, supportive friends and health care professionals. However, time felt endless, hours dragged and nights, as you can imagine, were dark. Over the cycle of a year and especially a period of excruciating weeks I had to find ways to focus beyond my debilitating anxiety and depression.
I turned to art. While I have a background in art this may have been a natural place for me to turn. Yet I had to force myself to paint. I had to agree with myself that I would do at least one painting a day during the darkest weeks. This may seem like it was easy but don't be fooled. Anxiety and depression make everything hard. It was hard to see or find the point to anything. That was my experience.
Creativity became one of the strengtheners, courage builders, which carried me through panic and terror. At my kitchen counter I had a "care station" set up with my art supplies where I could paint at any moment standing up. (Part of the anxiety experience was that my back and legs shook, quaked, and standing while I painted seemed to help).
First I used a huge Sharpie then I moved to a large box of unused tubes of acrylic paints. The consistency reminded me of finger paint and the bold colors seemed appropriate somehow. Also, I decided I would only paint with my left hand, my non-dominant hand.* This was different than the art that I usually did which were small, detailed illustrations. My thinking was to access the child in me who was free and without concepts of how the painting (and life) should look. It wasn't about looking good. The paper was nothing special, a large 18" x 24" sketch pad. I needed room to scribble and move.
Each day I'd go to my art station whenever I needed to. I would say to my inner girl, "OK, I don't know what you want to paint today. . . you show me." I wouldn't think of anything really, maybe a question or wish, but no set idea. It felt good to quiet my mind. I just let my left hand choose the colors and then feel how the brush felt on the paper. I let the brush move where it seemed to want to go.
These painting moments brought me relief, if only for the time period I was actually painting. I was often surprised and delighted by the images that came out. It was as if my small, sweet inner-self was encouraging me to feel better. Grace was working through my inner child. I painted whatever I wanted and the innocent joy that came out was so contrary to how I felt, it gave me hope; hope that I would emerge from the desperate darkness.
As I said, the anxiety and depression lasted about a year. I did get through it, one day at a time, one painting at a time. The process was neither a spiritual crisis nor nervous breakdown, although the medical world may call it that, it was a spiritual breakthrough. Inside, I found resilience and resolve. You can too. May this article and paintings help those in need of hope.
Be well.
Disclaimer: No part of this article in any way suggests that you replace professional help with art. If you are anxious and/or depressed go see your doctor. The information is this article is an activity you can do as extra support for your wellbeing.
*Non-Dominant Painting© Susan Keale
Thursday, June 7, 2012
Art and Wisdom
Having returned from a weekend workshop at the
So why do I feel frustrated? Because my ordinary mind came roaring back the minute I got home which happens particularly when I'm tired. I found myself being very critical of my art and accomplishments. In today's daily reading from As We Understood I am reminded that we all have our talents and gifts to share. Sue West also said on the first day of our retreat that we are radiant beings. This is proven by the fact that we radiate heat and therefore energy. Anything from a smile to art from our hearts is radiated forth to the world. With these reminders I return to balance.
The system that I have been reflecting on in regards to what makes a Bodhisattva artist is from Buddhism. In an article from Shambhala Sun entitled "The Bodhisattva" Chogyam Trungpa Rinpoche explains that, "the bodhisattva is not a god or deity but a way of being we can all aspire to." It is an ideal to which we commit ourselves to put others before ourselves. Sogyal Rinpoche puts this into a simple formula: many > one. When we work to benefit the many, we too benefit since we are part of the whole. Checking our artistic intentions when we create is a good place to remember our interconnectedness. Are we creating from a place of joy and delight? If not, say for example we are expressing grief or fear in our art, is our intention to heal? When we realize that suffering and confusion exist in ourselves and others we commit to alleviating it. Through training our minds and actions we can realize inner peace.
This is true wisdom. We can develop this wisdom by listening and reflecting on the teachings of enlightened beings and then through meditation we gain the practical experience that eliminates our doubts. As an artist this can be accomplished by attending workshops that provide an environment within which we can hear the experiences of other artists, contemplate on the shared truths and information, and have the opportunity to move beyond our habitual way of perceiving. We work to see through habitual mind and delusion. In Words of My Perfect Teacher under "Transcendent Wisdom," Patrul Rinpoche presents "eight similes of illusion." They are poetic descriptions of how to perceive our inner and outer world with non-attachment and gentle humor. When we see the falseness, the delusion of our thoughts and emotions we, as Pema Chodron writes in Comfortable With Uncertainty, uncover "the wisdom we are blocking – the wisdom of bodhichitta – [which then] becomes available." If we practice art from the very depths of our hearts with the aspiration to be of benefit to others then we are definitely working to manifest being Bodhisattva Artists.
The art that I created above is inspired by contemplating on wisdom. Traditionally wisdom is represented by the bell and the feminine. (And the dorje and masculine depict compassion. Both compassion and wisdom are necessary for enlightenment.) While I was reading about wisdom I also watched a documentary on string theory whereby everything is interconnected. This is represented in my drawing by the wavy lines in the background. This piece is created with gouache and colored pencil.
This concludes the series on the six principles of bodhichitta in regards to becoming a Bodhisattva Artist. I am grateful for the inspiration from my many teachers. May these my musings be of benefit to you.
Join me next week as I begin writing on the good wishes within the Eight Auspicious Symbols (Tibetan) and Art.
Joyous creating!
Susan
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