I finished two new, but very different, pieces last night.
The first is a Happy Buddha mala, or set of prayer beads, which I am selling over at Nine Ravens Studio. I really loved putting this together — the happy buddha bead is filled with the potential of joy — a combination of reverence and mirth as they would say in some traditions. Right now, he is hanging out on my creative artist manifestation altar, along with a thank-you letter from Stepping Stones Nigeria for the fundraising campaign we did last year.
I ventured into the world of physical collage with this piece for the auction at the Red Dragon Feast this year. I had worked on the image of Issac Hayes for a commission, but the client didn’t like it. So, I repurposed the image as part of this collage. I had fun getting my hands dirty with paint and matte gel, but it was a bit nerve-wracking to know that each step was essentially not un-doable — unlike PhotoShop where you can control-z your way back to the step before you messed up. I didn’t think it was coming together until the very last steps last night. I am pleased with the results (or else you wouldn’t be seeing it here).
Monday night I shoo’d the cats out of my studio, turned on “Shaman Dreams” on my iTunes, lit the candles, and began to breathe. I set up my materials from this place of being grounded and centered. I choose green paint.
My intent was to the open to the energy of the moon to connect and communicate with my unconscious, Younger Self. I didn’t really have time this week to work through the astrological correspondences. Instead, I tried to let go of all that and just draw. Throughout the session, I find that I need to bring myself back to the breathing, to be in the flow and not fixate on judging the aesthetic quality of my drawings.
I find that I prefer when the paint is thicker, so that I can see the paint through the newsprint as I work. Perhaps I will move to tissue paper, which is more transparent. But with the newsprint, I feel like I am drawing in the dark — my fingers and hands reaching out and fumbling with the images. Which in a way is what I am doing by delving into the unconscious and pulling up images from there.
I only got to draw for about 30 minutes before the elder cat (our cranky 15-year-old) pushed her way back in the studio. The latch on the door is not very strong. And the kittens pounced in and around my paint board. And then the husband was at the door, just coming home from work and wanting to know if I had been fed, and worried that he had interrupted.
At least, I got to draw some before reality came crashing back in.