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
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
Be well,
Susan
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