Janice Mason Steeves

Iceland As I'm exploring potential wild, remote locations for art workshops, I'm learning what sort of landscape I most resonate with. According to the huge interest I've received for these potential workshops though, the idea of travel to out-of-the-way places has struck a chord with many others also.  What is it about being in wild and relatively silent locations ( in a world where wild and silent places are becoming increasingly fewer)  that draws us in? I'm rereading Sara Maitland's A Book of Silence . After challenging herself to spend 40 days alone and in silence in a remote cabin on the Isle of Skye, Maitland, described the experience and went on to explore many levels and kinds of silence. "I began to realise", Maitland wrote "that it was not peace and contentment that I craved, but that awed response to certain phenomena of the 'natural' world in which words, and even normal emotional reactions fail". She goes on t

I love to travel to wilderness locations such as the ones I described in my previous  blog post , where one can be overwhelmed by the size of the landscape and feel for a time, completely alone, lost in the vastness. It's partly to do with the silence in such landscapes, where you can almost hear your heartbeat. Northern Sweden Northern Sweden I consider the idea of visiting remote places an aid to helping artists develop a more mindful response to the land, and as well, to find a visual vocabulary to express that connection. Mindfulness is the key. Not only being mindful of your own body, feelings and thoughts, but becoming mindfully aware of nature. And then, finding ways to creatively express that connection. I find it so easy when I go for a walk to forget about where I am and think about my problems, or worries or get lost in daydreams. Iona, Scotland Iona, Scotland Iceland Iceland There are many ways of developing a sense of place. One way t