Symbol of Woman’s Emancipation

I learned to ride a bicycle when I was about twelve years old. I rode my bike around the neighborhood in the Sunset District in San Francisco where I grew up. I didn’t travel very far or wide. I had six younger siblings and a lot of household responsibilities. In her late forties, my mother got a bike as a birthday present. It was maroon-colored and called Indian Princess. It seemed somehow exotic to me. My father put training wheels on it; my mother never took them off. It never left the garage.

When I married at age 19 and moved to southern California, I wanted a bike but my young husband didn’t agree. After I had my first daughter, I pictured myself riding through the flat neighborhood of Lemon Grove Estates with her in a bike seat behind me. Again, my husband thought I was being frivolous.

For a long time after that, I thought that I had outgrown bicycles…that I was now too mature to ride a bike. The notions that we have. At 36-years old, I bought myself a Schwinn mountain bike for women…blue, shiny, sturdy, I took up bike-riding. I rode around San Francisco. I never did get a helmet although I would advise my younger self to wear one now. I rode from Daly City, partway around Lake Merced, down Sloat Boulevard to Great Highway beside Ocean Beach. Along the Great Highway past the Sunset and Richmond Districts, then up into Golden Gate Park. Past Queen Wilhelmina’s Windmill and tulip gardens. Up through the park to ninth avenue and the Big Wreck Baseball Field…and then back again. This became a regular route for me.

I brought my bike with me when I moved to Mt. Shasta. I thought I’d ride it often. I rode it sometimes, but rarely. Mostly, it’s been in storage. When polled recently to see what their most valuable possession was women responded…their car keys. I would agree with that. However at one time, the bicycle was a symbol of freedom for women. It changed fashion and gave them mobility at a time when they were definitely constrained.

“One hundred years ago, Alice Hawkins, a suffragette, cycled around Leicester promoting the women’s rights movement, causing outrage by being one of the first ladies to wear pantaloons in the city. During the fight to win the vote the bicycle became not only a tool but also a symbol for the emancipation of women.”

The American civil rights leader, Susan B Anthony, wrote in 1896:

“I think [the bicycle] has done more to emancipate women than any one thing in the world. I rejoice every time I see a woman ride by on a bike. It gives her a feeling of self-reliance and independence the moment she takes her seat; and away she goes, the picture of untrammeled womanhood.”

This little collage turned into a woman riding a bicycle.

A Reckless Moment

Thank God for the reckless moment in painting.  I am in process with a piece.  Although I’m in motion, the painting is feeling forced.  Who am I trying to please here?  What god am I being obedient to?  The one who is too cautious?  The one who wants to be certain that others will approve?  The one who is critical?  The one who demands perfection?

Then, an abandon of sorts enters.  I swipe my brush across the canvas and a whole new direction is created.  It’s a must…to follow that reckless moment.  Once, in such frustration, I took black and white and squiggled lines across the canvas and left the painting overnight.  The next day, emerging from this chaos was the form of a tiger!  I brought her forth and voila, a whole new painting than was originally intended.

tiger.2014.final

That’s where the magic is.  When I become too precious about something in the painting, I try to preserve it and work around it.  But then, something else isn’t working.  The freedom for the piece to become what it truly wants to be is sacrificed to save this portion of the painting.

It’s like in writing, you’ve written a line or a paragraph that you think is absolutely brilliant.  The seasoned writer is going to tell you to toss it!  Yes, toss it because now it has become a block to the real writing that wants to come.  Don’t you hate that!?!?

For some reason, when I’m grappling with this inner unrest, I don’t recognize that this is a stage of the creative process.  I forget this almost every single time.  I want this painting to be finished.  I want to be satisfied.  I want my fellow artists to approve.  I want my audience to like it.  I want to be representational in my painting.  I want…I want…I want…

Then, the surrender once again to what is being asked of me.  Go wild.  Be reckless.  Forget the false gods that you have been trying to appease.  Abandon the old constraints and allow the next steps to unfold.  As has been said, be in the flow.

Responding to the Call or not…

Fear of being judged.

Sometimes I don’t respond to the call.  Sometimes, the universe delivers precise messages that it’s time to do an art show.  Locally, invitations come to me.  I find a reason to say “no, thank you.”  I make excuses that seem true in the moment… “I’m grieving.”  or “It’s too costly to get frames and prep the art for a show.”  or “I’m mostly self-taught–I haven’t gone to art school.”

In retrospect all of these reasons (excuses) seem false, constructed to protect myself in some way.  Our art is, after all, our progeny and we protect it accordingly along with our fragile artist’s ego.  Behind all of this, is the fear that others are going to judge me and my art unfavorably.  Time to get past that.

You cannot be discovered and invisible at the same time!

Recognizing and making opportunities.

Think about the attention that has come your way through your art or writing or poetry–when you deign to share it.  That old “don’t hide your light under a bushel” parable comes to mind.  Given a gift, it is meant to be shared.  I have to remind myself of this when I humbly dismiss an invitation to have an art show or decline to read a poem publicly.

Notes to self:  1)When someone says that they like my art…that they want to purchase something because it speaks to them or that they’d like to see more of my art, say “Yes”.  2) And, when they say that a painting is something they could live with comfortably and appreciate daily, don’t dismiss that.  Share more of what you do with them.

I’ve been thinking about the unlikely places to share my art as well as the generous offers from a local hotel and a gallery.  Take a little expedition within a thirty mile radius of where I live.  Who could host a piece or two of my art.  I’ve made  up those business cards–but I could give them a fresh look.  And then, actually hand them out!

If not now, when?

Truly, can any one of us measure the length of our lives?  We didn’t come here to be invisible.  We are each an expression of something that the universe has brought forth for a good reason.  We are meant to be seen and heard.  With due respect for others of course.  It’s not a competition.  It’s more like an ARRAY.  What a beautiful word.  In an array of flowers, there is not one that has to be the most beautiful.  Again, reminding me of the word “synergy” where the parts aren’t greater than the whole…they work together in a harmonious array.

STOP PLAYING HARD TO GET!

So it is with your art…joining the league of artists, each a star in his/her own orbit.  What a brilliant idea!

Another quote I love and refer to time and again:

“When I dare to be powerful, to use my strength in the service of my vision, then it becomes less and less important whether I am afraid.”   – Audre Lorde

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What I’m saying is:  Any one of us is being called on in some way to express ourselves at this time.  I heard the phrase recently “You are here on purpose.”  Wow, that’s a good one to contemplate.  What you are working on or creating in your life right now, what would it be like to share it with another, others, the larger community?

The Unbeautiful

The question I asked in an early journal (2012) “Can I bring beauty to the perceived as unbeautiful.”

For some reason, this question seems as timely as it did when I asked it in 2012. In the last blog, I mentioned being present and pondered why it seems unsustainable.

I live in a beautiful place. I look out the windows and there is INSTANT BEAUTY surrounding my cottage. Within five minutes, I can be walking beside a pristine lake. We are saying farewell to a winter that sparkled with white snow, tree branches etched with snow, unique snowflakes whirling then landing. We are turning towards the first crocuses, daffodils and tulips–the heralds of spring.

I am always stopped by a spring flower. I pause to acknowledge it. Yet, how quickly I leave that beauty behind and retreat into my head. Into the same old annoying thought patterns. That nowhere land around which my mind circles. I am resisting the beauty that surrounds me. Why? Why do I choose these thoughts over this present beauty? Why this incessant need to solve what is insoluble.

As far as bringing beauty to what I perceive as unbeautiful, I think that’s not really the question. The real question seems to be why am I once again missing the beauty that is. If the unbeautiful represents the shadow in humanity, in you, in me, then as I understand it, it needs acknowledgment from me. “Yes, you’re there too. I welcome and accept you.” And then there comes a time when the fascination with the shadow desires to lessen. Isn’t there?

Our media, in case you haven’t noticed, gives weighty attention to the mess that humans continue to make of things. The media is often a fear monger. I have heard that it takes seven uplifting thoughts or things of beauty to counter one negative message. Yet, we are bombarded by a media that perhaps knows exactly what it’s doing–keeping people in fear and immobilized. An amnesia for what is beautiful takes over.

Some of my friends don’t read or listen to the news. They seem generally happier for it. Is it sticking one’s head in the sand not to read the news? Is it irresponsible not to stay up on world affairs? Some would say so. How much better off am I for reading the news, the conflicting news, the reporting that creates dissension and division? There are things in the realms of politics that have been set in motion that I don’t seem to have control over. There are certainly decisions that I don’t align with…and yet, how is my dread of them going to change anything?

What if I could go out today and really be with the beauty that is around me? What if I could wander in the wonder of what it is to be alive today? What if I could hold the mystery of our being-ness closer and worry less about the uncertainty?

Can I make the unbeautiful beautiful? No, but I can meet the unbeautiful with it’s counterpart of beauty. For everything has a counterpart.

While working on a painting, I remember what one teacher said “work with what’s working.” That’s a good reminder for life. There is a lot that is working and that I can easily take for granted.

Rejoining the Beauty
by Christine O’Brien

The chief beauty of the world
pattern of patterns
To tap into that beauty
to let it be the motivator
of this day
Jane’s tree, Crissy’s flowers,
the amethyst ring,
a smile, the cuddly cat
These things know
what I only surmise
A creator who
set this world in motion
where I join with this source
in my own creation
a masterpiece in the making
Within the stumbling,
the waywardness–
beauty
In the lost or
unlit places–
beauty
There is no waiting for me
to reach that highly evolved state
in the present incompleteness–
beauty
In what’s for dinner and
who I met for breakfast yesterday–
beauty
In the unknown tomorrow
the tentative step forward, the risk–
beauty
In the potential for love,
the yearning for peace–
beauty
The stone in my shoe set free,
rejoining the beauty

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Music is certainly a way to engage beauty. Remember to listen to music.

A Delicate Balance

Recently, I watched a film produced by Patagonia–
The Refuge: Fighting For A Way Of Life.
The film illustrated the plight of the Gwich’in Nation of Alaska, specifically the area of the Arctic National Wildlife Refuge (ANWR).

“The Gwich’in population is located in northeastern Alaska, the northern Yukon and Northwest
Territories of Canada. Known as ‘The Caribou People,’ the culture and life of the Gwich’in has
been based around the Porcupine Caribou herd for thousands of years. The Gwich’in peoples
have relied upon the caribou for food, shelter, clothing, tools and medicine. So intertwined with
the Porcupine Caribou herd, the Gwich’in have named the Coastal Plain of the Arctic Refuge
“Iizhik Gwats’an Gwandaii Goodlit” which translates to ‘The Sacred Place Where Life Begins.’
The Coastal Plain is the destination of the Porcupine Caribou herd, which migrates to the Coastal
Plain each year to birth and raise their young. Not only does the life of the caribou begin on the
Coastal Plain, but it is also where the life of the Gwich’in nation is supported. The lives and
heritage of the Gwich’in are directly tied to the caribou herds – much like the Plains Indians
relied on the buffalo. Without a healthy caribou population, the Gwich’in culture would
struggle to survive.” from http://www.alaskawild.org/educate

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This painting is my tribute to the Gwich’in Nation in recognition of their intricate and interdependent relationship with the Porcupine Caribou. In legislating, thereby allowing corporate oil moguls to exploit this sacred region, we are influencing climate change to our detriment. In saving this region from such exploitation, we are not only protecting the rights of the Gwich’in Nation, the Caribou and migrating birds, we are protecting the future of a healthy earth for generations to come.

Blog on Hiatus

Hi Everyone Who Reads My Blog…

I hope that you’ve appreciated my art, poetry and essays over these past five years. I’ve taken short breaks at times, but mostly I’ve been here. As a writer, it’s been a good thing for me to show up to this writing space daily.

Life is certainly giving us challenges by the truckload these days. Sometimes, there is the need for quiet contemplation and introspection. It’s been forced on many by social distancing and sheltering at home during the pandemic.

There is so much going on in the realm of politics. In the US, it consumes the media and our minds if we listen to it for very long. There is such a basis of fear in the way the media delivers the news. The most immediate concern to me is Climate Change. We are each individually and collectively affected by this across the planet. I don’t know what has to happen before humans begin to relate to the earth in a more reciprocal way. Heaven help us.

We have leaders, outside of politicians, to guide us in accommodating the changes we need to make in order to survive beyond the next twenty years. There are solutions that can be implemented now. These are covered quite effectively in this book edited by Paul Hawken, Drawdown: The Most Comprehensive Plan Ever Proposed To Reverse Global Warming. I might have mentioned this book in an earlier blog, but it bears repeating. My 25-year old granddaughter and her boyfriend were visiting recently. I handed the book to them to browse through. My granddaughter looked directly at me and said “I’m going to give this book as a gift to everyone that I know!”

It is a book that offers precise information about what we can do NOW to change course. It’s going to take strong leadership to do this. However, behind that leadership it’s going to take each and every person to line up across the earth. Forget the idea of different countries, cultures, religions, beliefs, skin colors, foreign languages–we need to unify to save our earth, which is saving ourselves and all the other amazing species in this one ecosystem.

Blessings to everyone

Christine
Mt. Shasta, CA, USA

Santos Dolls–Sort of Although Not Really

ballerina1.

Santos Dolls take their name from the Spanish word for Saint.  In the 17th century, these dolls became popular.  They were originally carved by priests as a tribute to a saint.  They embodied a virtue or a quality that you wanted to bring into your life.  They were used for in-home altars.  If a small village didn’t have a priest, the in-home altar with the Santos Doll sufficed.  Also, during times of war, especially in the 1700’s and 1800’s when people were unable to travel to church, their development flourished.

Julie Ann Lee taught a class on making Santos Dolls.  Her dolls are more authentic with crackly faces to make them appear antique.  I veered off course to make my own meaningful dolls.  I enjoyed creating these little dolls so much that I decided to make several.  They are not strictly Santos Dolls.  This was where my creative impulse lead me.  A ballerina with red galoshes for instance.  A mermaid queen.  A woman with a purple dress.  And the androgynous figure with a magenta jacket.  What’s it all mean?

Carl Jung would certainly have something to say about these figures who emerged from my own subconscious.  None of these dolls was planned.  For me, they were a very intuitively guided process.  Entering into that place of being guided, is somewhat like being in a shared dream…you and your creation in communion.

 

 

Drawing Hands

dandelion

Drawing and painting hands can be one of the banes of an artist.  Urgh, she says, as she works intently to make a hand that looks like a hand.  Even drawing this very basic hand was challenging.  The fingers, in relation to one another, folded over the palm.  The palm, the wrist, the forearm.  Not so easy as it might appear in this photo.

I find it interesting that an artist, who draws portraits or any aspect of the human figure, does a study of a particular feature if she wants to improve her craft.  She could spend years, literally, and not have mastered the hand, the eye, the ear!  An artist can decide to render certain features of the face or aspects of the body in an abstract way.  And that’s acceptable too if it fits with the mood of a piece.

Or hands can disappear beneath a fold of fabric, into a pocket, overhead into the ethers or off the edge of the substrate, imagined.  If need be, you can resort to collaging them in if you can make it work.

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Really, though, an artist wants to gain some mastery of hands and that comes with making studies, giving them attention.  At this time, that’s not what I want to give my attention to.

At any given time, we are called, as artists, to sort of follow our bliss or in these precarious times, to sense what the need is.  Artists, poets, writers, musicians have a calling and that seems to be to tend to the times in which they live.  Sometimes, they hold the conscience and the consciousness for their particular generation(s).  In fact, we all do…but artists have a way of tapping into that which begs to be seen and heard.

 

Becoming a Painting

Another painting of a landscape prompted by Sherry Lynch Woodward.

There isn’t much to say.  Lay down colors.  Then add other colors, shapes, textures in a randomly “planned” way.  Then hone in a little.  Add horizon lines, the building, the island, the sky, water, boats, some farther away, some nearby.  That’s what I seem to remember when crafting this painting early last year.

It’s isn’t nearly “perfect”.  In fact, it’s practice.  Reminder to self:  practice is important…it’s how we get better at something.  Let there be plenty of practice as you learn something new.  No judgment.  Noticing what works, what doesn’t work, following your inclinations.  Stepping away from the painting to get an overview.  I find when working on a landscape that when I’m too close, I can’t see how things are working together.  Stepping back, ah, yes, now I see.

If I were to address this painting today, I’d make some changes.

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When I wrote the word, changes, I thought of “ch…ch…changes” a song by David Bowie.  I’ve always liked the melody but missed most of the lyrics.  Living in this time of flux and change, I honestly find that there is less to rely upon–the things that we once thought were stable are less so.  Today, I give myself permission to be flaky.

Remind me, one day, to tell you the story of going to see David Bowie with my sister–his Serious Moonlight Tour at the Oakland Coliseum.

A Painting Odyssey

abstract.1

Embarking upon a journey is one way to look at creating a painting.  The artist begins with inspiration!  Inspiration can lead to action or non-action.  Preferably, it’s action.

When I take a class, I am provided with the inspiration and instruction.  And, of course, at some point, my own inner guidance takes over.

This abstract is prompted by fine artist, Sherry Lynch Woodward’s expert and fun lesson.  It is the beginnings of a landscape painting.

Sherry makes brilliant use of color and she enjoys mark-making and using tools that add texture and interest to a piece.

When I look at this abstract today, I can imagine going in many different directions with it.  I see a shoreline, an ocean, or a lake, maybe a building.  What do you see?

I also decided not to go any further with this piece…the journey concluded early because I liked it as is…the inference of images gives me a pleasing feeling.  I like the way the colors work together.  I don’t need to define anything further.

I don’t paint many abstract paintings.  When I first started painting in 2014, I searched for recognizable images in a mishmash of colors and marks on a canvas, I wanted to define an image…and quickly.  Today, I’m beginning to feel a bit differently about that.

I think that abstract accesses a different part of the brain.  The part that can’t quite see what the future is going to be.  And with that, there is a way of meeting what is to come with curiosity, acceptance and yes, grace.  Abstract, the unknown, have a unique appeal for me at this time.