Art and Concentration

This morning I wrote the blog below considering the connection between art and concentration. Then I posted it. During the day today I had time to reflect on what I wrote and I don’t agree with some of it. Luckily I realized my self-disagreement while I was listening to Pema Chodron’s CD on “When Things Fall Apart.” The irony isn’t lost on me. So with kindness for myself I am reminded how much I have to learn. I am also aware that if it wasn’t for this process of exploring what makes a Bodhisattva Artist, I probably wouldn’t even be thinking about some of these things. With that being said, I am going to leave what I wrote and add new commentary in italics where I’ve needed to round out the story. So here we go. . .

Art and Concentration

Looking at the path of a Bodhisattva artist we've explored discipline, patience, and diligence. It seems only natural that the next principle of compassion would be concentration. Concentration (artistically speaking) is how we as artists focus our minds and attention. As in meditation, it is important to have the right environment; one that inspires and is free of distractions.

An environment like the Studio! It is a sacred space that one enters with awareness and joy. The studio is a retreat from all the busy-ness of the world. When we enter this refreshing space we can leave the Eight Worldly Concerns at the door: let go of fear of loss and hope for gain, fear of pain and hope for pleasure, fear of criticism and hope for praise, fear of failure and hope for fame. These concerns distract us from our creative center and true nature.

Not true for art. Or meditation. I have a bad habit of wanting perfection. Perfection to me is a comfortable place where I don’t feel bad. Concentration and meditation are not about getting rid of thoughts and emotions, especially fear, so that I’m comfortable. Neither is art. Art is more of a place of becoming familiar with and being with our thoughts and emotions. As Pema would say, “Meeting it face to face” and being with ourselves and practicing loving kindness no matter what comes up.

I have to be in a calm frame of mind to create. If I am too excited about an idea it is difficult for me to concentrate. Sometimes I need to do some yoga or energetic sketching to balance out my energy. Then I can really focus on art. Even with my meditation practice it is helpful for me to do 10 minutes or more of yoga before I sit on my cushion. It clears my mind, emotions, and body of feeling frazzled. Also, if my energy is low that isn't a good time for me to create either. This can be remedied by checking in with myself to see if I need to eat (refuel) or if I need to rest (regenerate). Balance is key to maintaining focus.

Not completely true. I have done some very interesting and worthwhile art while grieving, while angry, while depressed, confused, longing, and a lot of other uncomfortable emotions. Maybe someone wouldn’t want to hang it above their couch but it is still valid art.

The studio is where we can concentrate on the stillness within. Time disappears in the studio. The pace is set by the creative process of being artful and present. When I'm painting I don't worry about the future, or regret my time in the studio, or feel lonely or ambitious, I'm just me. I feel inspired and open.

Not always.

Creativity nourishes the spirit. This relates to Patrul Rinpoche's writings on ordinary concentration (Word of My Perfect Teacherp. 250). When we feel "bliss, clarity, and free of thoughts" that is considered ordinary concentration. This is a perfect description of a good day in the studio . . . when everything flows. As with my meditation practice, some sessions I'm focused and most sessions I'm distracted. This is true with painting too. Sometimes the painting goes easy and sometimes it's a struggle – especially if I'm trying something new.

Pema Chodron talks about becoming Comfortable with Uncertainty (Shambhala Press). Our egos are always planning and wanting to feel comfortable. When we try some new art technique, it can feel uncomfortable and we start in with judgmental thinking. One way that we can bring our minds back to the task of creating art is to focus on the breath, gently bring your awareness to the breath going in and going out. Sogyal Rinpoche says to give bit more attention to the outbreath. I like to feel my whole body just relaxing with the outbreath.

Another way to refocus when you're feeling unhappy about your artwork is to think of other artists who struggle with their art. You can relate and understand because you've had those experiences. What would you want that other artist to feel – acceptance? peace? humor? Can you give yourself the compassion you'd offer another? Imagine yourself sitting in a chair across from you, now send that other you some compassion and light heartedness. This practice is call Tonglen.

Patrul Rinpoche writes that clearly discerning is the next aspect of concentration. This is when we are free of attachments to our practice, process, and results. Perhaps like the Fool in Tarot - completely carefree and detached. This also seems like renunciation – whereby we embody the understanding that everything is impermanent. Our art is impermanent, who knows how our art style will change, how our creative capabilities will change, or even what will happen to our art after we die. I don't feel depressed when I have this attitude, I feel more free. It sort of makes me feel happy to see those silly thoughts with detachment. In some ways it's easier to let go of the pressure of my art and what am I going to create. Instead there is space to be self-less and more interconnected.

Next aspect is Excellent Concentration. This relates to art when we have let go of all concepts of what art is, how to do art, techniques, process, or even what it is to be an artist. Our concentration is so focus on the now that mind's need to concretize had completely dissolved. Duality ceases. I'm sure there are artists that have this level of concentration. I have a ways to go. The sand mandalas and thankas of Tibet come to mind as examples of art created with excellent concentration. Or medicine sand paintings or any ritual artifact created with prayer and concentration. Art created in this mind state feels good, feels healing.

Sogyal Rinpoche in The Tibetan Book of Living and Dying talks about clear seeing. He uses the analogy of a candle that's flame is still and bright. Our mind in excellent concentration will be still and bright, and then we will truly see. The drawing above is of the candle's flame. (Created with gouache and colored pencil.) I created this as a reminder of these teachings.

I’m visual, and the language of icons helps me remember multiple teachings within one image.

Next week is the last of the six principles: Wisdom. When I write next, I will have just returned from a weekend workshop on "Concentration and Art" with Sue West at Shambhala MountainCenter. I will come back with inspiration to share.

Be well,

Susan

Art and Diligence - How to persevere with spirit as an artist

The idea of becoming a Bodhisattva Artist was introduced by my teacher Sogyal Rinpoche. However it wasn't a call to artists alone to be Bodhisattvas, Rinpoche said the world needed Bodhisattva lawyers, doctors, and people in all professions integrating the principles of compassion and wisdom into everything they do. The previous articles on the principles of generosity, discipline, and patience have elicited responses from readers that this sort of platform for sharing of experience and strength helps to give us hope along the path and thus helps us to persevere.

Continuing forward, the forth principle (paramita) is diligence. Included within it are the previous principles where spirit of generosity, discipline to manage our objectives, patience, endurance and courage, all build our spiritual muscles for diligence. When we refer to Dilgo Khyenstse Rinpoche's writings he has divided diligence into three sections: Armor-like diligence, Diligence in action, and Diligence that cannot be stopped. These three aspects can readily be applied to the experience of most artists.

Firstly, the armor that Rinpoche is referring to is a protection or bolstering we can mentally don by remembering the difficulties that the masters (art or spiritual) have faced and overcome for their higher calling. We can feel encouraged to keep on going, following the path of those artists we wish to be like, knowing that they were like us, and that they created great art and developed great spirit. I am often inspired by the lives of artists like Georgia O'Keeffe, Judy Chicago, and Beatrix Potter who met adversity about being women and artists and yet went on to create their visions. It is often the artist's story that makes their art that much more meaningful. As mentioned in the article on patience, artists face fear head on with warrior-like spirit. This gives me great courage to do the same.

Artists have done and continue to stay on course through studying techniques, styles, and concepts that we want to incorporate and by practicing what we've learned (understanding and skillful method). This is diligence in action. Looking, seeing, being, integrating, painting, repeat – just like in our spiritual practice of study and application. And we know what happens when we procrastinate – time flies and we've created nothing. As Dilgo Khyentse Rinpoche clearly reminds us:

"Death comes closer with every second.

If you unhurriedly put off today until tomorrow,

Beware of tears and regret upon your deathbed!"

(p. 246 Words of My Perfect Teacher)

Of course he is referring to setting aside worldly preoccupations and studying the dharma. Is art a worldly preoccupation? If so, than perhaps it is this principle that requires the most intention to create art that embodies greater heart and mind. If we can do this with a deep rooted determination, steadily, consistently, and with tenacity this would be diligence that cannot be stopped. To integrate goodness of heart and mind for all beings into your art may be the supreme mission of a Bodhisattva Artist.

What is the propellant for diligence? It is devotion. Sogyal Rinpoche writes in The Tibetan Book of Living and Dying that "Real devotion is an unbroken receptivity to the truth. Real devotion is rooted in an awed and reverent gratitude, but one that is lucid, grounded, and intelligent." (p.136) Vow to create art that comes from a place of devotion.*

The drawing above I created with gouache and prisma pencil. It is the feet of the Buddha with the wheel of dharma on the sole. This is about diligently following in the footsteps of the masters.

Susan

Next week is the principle of concentration.

*I'm sure we could have a whole discussion here about low brow and high brow art. Or even uni-brow art (Frieda would love that). Even if low brow art is a rejection of high brow art standards, it still has a mission. It's based on the artist's intention. Whatever brow the art is, if there is any delineation still, it can still be created with a desire to bring more understanding and compassion in the world.

III. Art and Patience

If my reaction to the previous topic of discipline was to groan slightly, I'd have to admit that my reaction to the word "patience" was a sigh. Pema Chodron understands this perfectly when she writes "by patience, we do not mean enduring – to grin and bear it." ( Comfortable with Uncertainty, p.137) What patience is about is relaxing, surrender, and detachment with love.

Patrul Rinpoche in The Words of My Perfect Teacher divides the principle of patience into three sections: patience when wronged, patience to endure hardships, and patience to face the profound truth without fear.

What sort of things in the art world can cause us to feel wronged and angry? Anything from the art supply store being out of what we need, to finding out something got damaged in shipping, to a variety of mishaps and misunderstandings with people, places, and things. We perceive wrongs as happening to us, but it is often our own attitude that is at fault. It only takes six degrees change in how we see things to change the whole picture.

For example, do you ever feel like creating or art business work has to get done now and the only way to do it is to push your way through? These feelings may relate to speed and aggression. Which means hoping for everything to be good and afraid that it's going to be bad. It is being driven to always pull what we want toward us and hold on, push away what we don't want and build walls, and to do it fast. So fast that we don't even know we're doing it. It's the human condition of suffering. And my reaction to speed and aggression is often to feel afraid, angry, and very impatient to not feel that way. I have lost my connection with the present moment. It's time, as Sogyal Rinpoche says, to "bring [my] mind home." Pema Chodron's talks and writes often in regards to patience when wronged (whether we wrong ourselves or by others). She has a beautiful article in Shambhala Sun on the antidote to anger being patience; always reminding us to practice kindness. http://www.shambhalasun.com/index.php?option=content&task=view&id=1309

The second of Patrul Rinpoche's explanations on patience is to endure hardships. As Pema says, this doesn't mean to grin and bear it. Yet, no one said that making a life as an artist was going to be easy. It takes discipline, patience, and a bit of humor. I don't know if it is because artists see the world differently and feel everything deeply that we have to build up some resilience. When I create a piece of art that is like my child and then try to sell it to the world. Ugh! Really, that can be hard. Exposure and rejection are not my favorite experiences. But that creative spirit always prevails. A new idea blossoms or some opportunity arises. Hope blooms again. I watch again as my mind swings between fear and hope. Then, through mindfulness, I find my center in the present moment and can walk the middle path.

There are some great art business books out there that can help an artist when they need a pep-talk. A couple that come to mind are Art and Fear and Fearless Creating. These were recommended to me by my art mentor, Andie Thrams, and I recommend them to all artists.

Finally, patience to face the profound truth without fear. I can only tell you what this means to me, because I know I have a lot to learn. It means (for me) that while everything I do as an artist adds up inherently it has no meaning at all. This doesn't mean to me that my art efforts are meaningless. All art form and acts are bestowed with meaning and value. And the meaning and value that are placed on these art forms are all constructed by the human mind. Beyond that they are empty. I think Rothko was trying to convey that emptiness - as do many artists try to express the inexpressible whether in abstract or realism. As artists we meet that place of emptiness-that-contains-everything each time we begin to create. Buddha said, "Form is emptiness and emptiness is form." Artists are courageous spiritual warriors who patiently face fear repeatedly.

The image that I drew for patience is the hands of a Buddhist nun holding a new plant about to go in the garden. Thich Nhat Hahn talks about not pulling at the sprout to make it grow faster. Here, the hands are patiently nurturing life to grow at its own pace. Created with gouache and colored pencil.

Until next week . . . be well and create joyfully.

Susan

II. Art and Discipline: Willingness

How does the Buddhist principle of discipline apply to murder, stealing, choices, and creating happiness in the art world?

This entry is the second exploration into an understanding on what may be involved in training to be a Bodhisattva Artist. Last week I wrote "Art and Generosity" which examined the first bodhichitta action principle of giving. Discipline is next in line - a word that usually makes people groan – but may not be as bad as we think.

While rereading Patrul Rinpoche's writings on the principle of discipline a saying from the 12 Steps program pops up repeatedly: "Obedience to the unenforceable." I like that. Why? Because discipline is a choice that comes from my wish for everyone to be happy. To be obedient to my choices bases on spiritual principles applies directly to the aspiration of bodhichitta. To find out more specifics I turned to the teachings on discipline as written in Words of My Perfect Teacher which are divided into three sections: Do no harm, do good, and dedicate the good to others.

Great. So how does that apply to an artist considering what it is to be a Bodhisattva Artist? Patrul Rinpoche writes that to do no harm one rejects the ten negative actions of body, speech, and mind. I looked those up too. . . Not taking life, stealing, sexual harm, lying, sowing discord, harsh speech, mindless chatter, covetousness, wishing others harm, and wrong views. That seems pretty intense; yet, I've heard from a couple of teachers to "do the best you can do." Ok, so to the best of my artistic ability I will do no harm.

Have any of you seen the movie Rape of Europa? The movie views WW2 from the perspective of art – how Hitler was obsessed with art and strategically stole art and harmed millions in the process. This is a perfect example of using art to harm. As are the examples of any warring that revolves around icons, symbols, and images of different cultures.

Simplifying it down to my own personal experience as an artist, how do I try to do no harm? I use art and framing materials that are environmentally friendly. I choose images from nature or whimsy that I think are harmless (however, someone else may disagree). I don't murder for or steal art, I haven't sexually harmed anyone with art, or any of the other harms listed above.

I wonder about other's art that is violent or disturbing. How do we know whether this type of imagery is doing harm? I really don't know how one gauges that. It seems that it would depend on the artist's intent, which hopefully they've written into a clear artist's statement.

What is an artist statement? In an artist statement we can discover the artist's intention about the art they've created. The process of writing an art statement can be a challenge for artists who usually prefer images to words. Yet, the process of understanding why we are creating what we create is very clarifying and empowering. The process and statement are a personal inventory that can act as a gauge in determining the nature of our artwork. To see my bio and art statements go to http://www.facebook.com/note.php?note_id=289672387770339 .

"Doing good" can sometimes feel as if it's never enough. I like the second part of the Sutra of the Wise and Foolish:

"Do not take lightly small good deeds,

Believing they can hardly help:

For drops of water one by one

In time can fill a giant pot."

(p. 239 Words of My Perfect Teacher)

So each small depiction of happiness or creating something beautiful can be seen as doing good. As too is being mindful in my daily approach to art. More can be read on being mindful and wishing other well in my article "Cultivating Kindness in Art" http://susankeale.blogspot.com/2012/04/cultivating-kindness-in-art.html

The last aspect of discipline seems to have a lot to do with intention and dedication. In focusing on the happiness of all beings I am also taking my own happiness into account. The way to create more compassionate art for everyone is to train in how to create happiness overall – it takes discipline.

More later when I delve into "art and patience."

The attached image was inspired by the sutra quoted above.

Art and Generosity

Buddhism has a rich art history from many cultures. In our western world Buddhism is touching the arts deeply both in visual form and in philosophy. My teacher, Sogyal Rinpoche, has said that our world needs Bodhisattva artists. I am exploring what it means to be a Bodhisattva artist. A Bodhisattva is like a Saint in that they are enlightened and act to bring others to enlightenment. I am no where near enlightenment, but I am in training. Part of training my mind includes cultivating skills that bring happiness. In this series of six articles I will examine the arts in relationship to six skills of cultivating happiness which are generosity, discipline, patience, diligence, concentration, and wisdom.

Before I begin, it is important to set the intention that whatever we do be for the benefit of others – for the good of all of us. Rinpoche has often given the example that "many > one." May these writings be of help to you.

In the Buddhist teachings on generosity, there are three parts: First is material giving, second is giving of the dharma, and third is giving protection from fear. It is easy to see how art relates to material giving. For example, there is art that is donated by artists for charity events and there are philanthropic gifts by people who support the arts. I support the arts in my community and beyond by attending art fundraisers, giving monetarily to the arts, and by donating pieces of my work when I can.

Why are the arts so important to our wellbeing? Because through art we connect with and express what it is to be fundamentally human. We interconnect by sharing our experiences, strengths, and hopes for ourselves, our families, friends, and the world. Art via the right hemisphere of the brain is also the ultimate arena for creative problem solving and thinking outside of the box. How are we going to creatively find new solutions to the problems our world faces if we don't support the arts? Visual and performing arts access that part of ourselves that is boundless and sees beyond limiting constructs.

With that in mind, how can art address the second part of generosity - giving the dharma? In a sense, supporting the arts is practicing the dharmic behavior of generously giving what will maintain balance in the world. In all of my classes I teach how the practice of art is an act of mindfulness. In the act of sitting, looking, and being with our artwork we are slowing down, becoming more present, and opening our minds and hearts to truly see. We see what is as we are balanced in the present. Our intention is to connect with inner happiness and peace.

When art really resonates with us inside it creates an opening both in and out. This opening can be equalizing, hopeful, relieving, inspiring, and a place of refuge. When art allows ones' spirit to unfold and offers a refuge from suffering it is plausible to say that art has acted generously in giving protection from fear; which addresses the third part of practicing generosity.

It is this aspect of generosity that I connect with most artistically. I have found great relief and freedom in the process of drawing and painting. Many times when I have been anxious and afraid I have found the process of creating opens a space in, derails my distressed thought pattern. Much like meditation or mantra, art focuses my awareness. The images that I choose are often nature for its healing beauty or symbolism for its profound meaningfulness - because they inspire me.

The little drawing that is attached here "Generosity" is a combination of images that express giving the dharma. The lotus is typical for representing purity and compassion and dharma; it is resting in open hands for those who wish it.

With generosity comes gratitude. I am truly grateful for my art teachers and my spiritual teachers. It is because of their generosity that I have the skills to craft my life. Thank you.

Two suggested readings:

The Tibetan Book of Living and Dying by Sogyal Rinpoche

The Words of My Perfect Teacher by Patrul Rinpoche