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

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 19^th 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 Arles with Gauguin. However, without a lineage master and supportive community to study and practice with, it is obvious that van Gogh fell into deep confusion and loneliness. His angst may have included confusion about martyrdom, perhaps leading to his unhappy choice of suicide; which is not what is meant by the Buddhist philosophy of "taking on the suffering of others."

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

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 Understanding^ft 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.

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

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

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

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