Skip to main content

Endings and Beginnings

The final week of my journey was a pilgrimage to the island of Iona off the west coast of Scotland. To reach Iona, I had to take the 8:21 train from Glasgow to Oban, a spectacular 3 hour trip, then a ferry to Mull, past the Lismore Lighthouse, glowing white against the mountains behind.  A one hour bus ride across Mull and a 10 minute ferry to Iona. I stood up top on the ferry, loving the cold wind against my face.





It was called Quiet Week.  Nineteen of us stayed in the Abbey, eating communal meals, washing up afterwards, sharing stories by the coal fire in the cozy Common Room.  We attended daily sessions with Stephen Wright, an interfaith minister, learning about the Contemplative Way, meditating and praying. We attended two services a day in the tiny Michael Chapel that was lit only by candle light.





It's difficult to find the words to describe how I feel as I come away from Iona.  I wish I could always carry Iona with me.  I spent a lot of time alone, meditating in the cold, empty stone Abbey or hiking to the sandy rock-strewn beaches that surround the island. The  weather this November was clear but cold with a raw wind.  I collected stones on the beaches, lots of green and white marble ones.  Iona marble it's called. There used to be a marble quarry on the island.



St. Columba landed on Iona circa 560AD, exiled from Ireland, bringing Celtic Christianity to Scotland. The Book of Kells was started on Iona we learn.  It's a sacred place.  Pilgrims come from all over the world.  Mostly in the summer.  There were few tourists in November.  Thanks be.

It is said that if you pick up a stone or two on Columba's Bay at the southern end of the island, you could give to them something you wish to  throw away.  Your doubts or fears or worries.  You throw that stone into the ocean.  You might also wish to pick up another stone which would represent something to carry home with you.  I threw a few stones.  And I brought home lots.


People come to Iona again and again. Perhaps it's impossible to hold onto this place.  Many of the group I was with had been many times.  Nine times for one man.

 In his essay, Why we Travel,  Pico Iyer, says that travel is like falling in love.  We come to travel open-hearted, awake to every moment, present....."it's a heightened state of awareness, in which we are mindful, receptive, undimmed by familiarity and ready to be transformed."  We come to Iona like this.  And we leave on the early morning ferry in the predawn moonlit darkness, clutching our white and green marble stones against our chests, feeling that Iona has changed us, determined to come back.  "Most people do", says the shopkeeper at the Craft Shop near the ferry.






Comments

Post a Comment

Popular posts from this blog

Meet the Owners of a Scottish Castle

Anne Tristine Nguyen, Ali Orr Ewing, their children, Ava, Atticus and  their dog, Harriet Beecher Stowe. Dunskey Estate, Portpatrick, Scotland Anne Tristine Nguyen and her husband, Alistair Orr Ewing are the owners of Dunskey Estate near Portpatrick, Scotland where I will teach a painting workshop in September. Dunskey is a splendid Edwardian castle on 2000 acres of ocean-front land with miles of walking trails. As well as daily workshop sessions in the studio on the top floor of the castle, our small group of artists will enjoy breathtaking hikes, superb accommodation and fabulous meals.  Not having met owners of a castle before, I asked Anne if I could interview her to hear a little of their background story and that of the castle. Can you tell me a little of your personal story and that of your husband, Alistair Orr Ewing? Anne emigrated to America when she was ten years old, but it was at an art gallery in Saigon, her birthplace, where s...

The Importance of Silence in Art

Gathering Light 60x60"  Oil on canvas © 2014 Janice Mason Steeves  Michael David Rosenberg, the musician known as Passenger, sings, "See all I need is a whisper in a world that only shouts." In the workshops I teach, I find that one of the most common problems with paintings is that they shout. Most have too much going on: too many small shapes, too much texture, extremes of colour, too many lines, too much, too much. One thing I say most often as I walk around the classroom working with students individually, is 'make bigger shapes'.  But not only bigger shapes. Quiet shapes.  Where can your eye go and rest in the painting? That isn't a consideration in much of contemporary painting or much of contemporary life.  Ours is a noisy world both visually and auditorily.  Ours is a world that shouts.  People are afraid of silence. I wrote a blog post  3 years ago about planning a retreat in my own home, where I shut off the computer ...

Liminal Time

 The word liminal comes from the Latin, limen meaning threshold. an in-between place, a place of transition, a time of waiting and not knowing. Dawn and dusk are considered liminal places. Crepuscular animals, like foxes and coyotes are most active at this time of day, a time that is considered a magical time in Celtic spirituality and to Indigenous people which is perhaps the origin of their designation as tricksters.   As I write this, the northern hemisphere has just passed the vernal equinox, where day and night are of equal length.We are in a liminal space between winter and spring right now, unsure if we will have one more storm or snowfall before spring finally settles in. We're also in a liminal place as we live through this pandemic with the  anxiety and discomfort of not  knowing. A  time of great transition for the entire world, wondering what we've learned from this and what lessons we'll carry forward.     Author and Fr...