Skip to main content

Ask yourself: Why am I alive?



Meares Island  1000 year old tree with our group

We all know that everything in this world is interconnected. At least we know it in our heads. But each time I teach one of my Workshops in Wild Places week-long painting classes, I more clearly understand the interconnection between the land, our paintings, our lives, our bodies, our emotions, and our spirit. In teaching about connecting with the land to create abstract paintings, I realize how the land opens us up, how art opens us up, but only if we are willing. Leaning against a 1000-year old tree on Meares Island near Tofino, BC two weeks ago, I was suddenly overcome with emotion. I had such gratitude for this ancient tree–that I was able to experience it, consider what its seen in 1000 years, stand inside the hollow part of its trunk, and sit on its huge roots as I leaned on it, feeling its big calm energy.

Under Mother Tree-photo by Julie Brogan

In my Workshops in Wild Places, we do various exercises to connect with the land––walking meditations, sitting meditations, gratitude meditations, writing, and other reflective activities. While connecting with the earth, we also connect with ourselves and to deepen that relationship, I invite artists to ask themselves and the land profound questions.

Seaweed on Cox Bay

Cox Bay Beach, Tofino, BC


While I originally envisioned the workshops as creating paintings that are reflective of a deep relationship with the land, I had not given enough importance to the artists’ relationship with themselves as well as with the rest of their lives. In this last workshop, as one person struggled with inner conflict, I was reminded that of course, everything is interconnected. The earth is not separate from our lives, our bodies, our spirit, and us. We know that in our dealings with climate change. In the same way, painting is not separate from us or from the world we inhabit. Everything’s connected.


Lone tree-Cox Bay



ME: Why am I alive?

OLD WOMAN: Because everything else is.

ME: No. I mean the purpose.

OLD WOMAN: That is the purpose. To learn about your relatives.

ME: My family?

OLD WOMAN: Yes. The moon, stars, rocks, trees, plants, water, insects, birds, mammals. Your whole family. Learn about that relationship. How you’re moving through time and space together. That’s why you’re alive.

From Embers: One Ojibway’s  Meditations by Richard Wagamese






Comments

  1. Thanks for sharing so much of your self with the artistic community. I am always inspired to read what you write. I have ordered the book EMBERS by Richard Wagamese. At this time I am doing detailed drawings of natural objects that I find on my walks and in my garden such as roots, pods, leaves, dried flowers. twigs. I have come to believe that all we have comes from plants and Mother Nature teaches us that all things are connected. What we do to Nature, we do to ourselves. So hugging a tree sounds like a very natural thing to do. You might be interested in a book I am reading: THE REVOLUTIONARY GENIUS OF PLANTS, A New Understanding of Plant Intelligence and Behavior by Stefano Mancuso. It is a fascinating look at plant life and helps you understand an intelligence that is not based in a central nervous system or brain but based in an extreme sensitivity to their surroundings. Which makes me think we humans have lost our sensitivity to our surroundings. But I digress. Again thanks and I hope your Art In Wild Places will continue after the pandemic.

    ReplyDelete

Post a Comment

Popular posts from this blog

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...

Lessons that Stone Walls Teach

Dry stone wall in the Burren, Co. Clare, Ireland   I've just returned from teaching a Workshop in Wild Places class in the Burren in County Clare, Ireland. Writing this post, I'm reminded of another post I wrote after visiting Inishmaan, the middle of the Aran Islands off the west coast of Ireland several years ago. Stone walls crisscrossed the island in tight webs like a fisherman's net. I wrote then that the web of stone walls made me think of the idea of putting limitations on our painting as a way of exploring more deeply and how walls give limits against the limitless. You can read that article   here. As our group hiked in the Burren with our guide, Marie McGauran we learned that the walls are stronger because of the holes in them. The wind can pass through. The oldest stone walls, estimated to be 3500 years old are at Skara Brae, a Neolithic site in Orkney. Most walls were built in the 18th and 19th century, marking areas of private ownership and resultin...

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 ...