ABOUT VISIONARY ART AND ‘INNERSCAPES’

ABOUT VISIONARY ART AND ‘INNERSCAPES’




World Tree


Q Where do your images come from?


Everyone has innerscapes - the view of the inner eyes.

I am a mystic and a visionary artist. I record my personal soul journey.

Since childhood I have had a strong capacity to ‘daydream’ and this description was always put as a criticism. But as a visionary artist this is a wonderful asset. When I consciously enter an altered and receptive state with shamanic or meditative practice, I see an unfolding 'story' - rather like Alice down the rabbit hole!
My task is to depict exactly what I have seen with my inner eye - my ‘innerscapes’ - to the best of my ability. I tell the story of where I have been and what I have seen.


Q What is the world you go into? Is it another dimension, or just imagination?


Imagination is an extraordinary part of our wider senses that counterbalances our automatic filtering system. If we didn’t filter - ignore and prioritise - the vast amount of input we receive constantly from the world around us we would be overwhelmed. Imagination helps to take off some of the filters and see a wider reality. In this wider reality there are many layers. In some of these layers there are the unseen beings that inhabit this beautiful world with us.
I trust that what I experience in this wider reality is real, but I cannot prove that, nor do I need to. It works for me. Everyone has their own unique experience.


Q How can I explore this wider world?


Imagination plus a clear intention creates a doorway through which to explore. Clear intention - a purpose - is vital as it shifts the daydreaming [that is usually undirected and ungrounded] into a deeper place where we can see clearly with our inner eyes.


The key is to keep it simple. Intention keeps us on track and we can begin with simple explorations to get used to the feeling of shifting consciousness and returning to the everyday world
.
For instance, to start with you may make marks about a vivid dream you have had [I don't use the term 'drawing' in this context], or simply find symbols, colours, shapes and images which make you feel well and happy. Or you may explore the energy of a particular flower or stone by observing it with all your senses, making marks to record the experience or taking photographs, making a collage - there are no rules.


Writing about what you experience can also be part of the process of increasing awareness. Such a creative journal is also somewhere you can note what works for you, and what does not.
And of course the act of making a painting, poem, dance or even a photograph can itself provide that gateway as we see the world more vividly or in a new way.

BY FAITH NOLTON


Faith has worked with earth spirituality
for many years, making icon-like images of
her own soul world and holding workshops
on sacred earth relationship, creativity
and in the ancient ways of the
Medicine Wheel and shamanism.


Over 15 years ago Faith founded Sacred Hoop Magazine (www.sacredhoop.org),
to network the growing interest in shamanism, and continues to write for the magazine and act as Design Consultant

If you look at the Title of the Current Issue for Sacred Hoop Magazine, you'll notice it's about HEAL-ing ONE-s PSYCHE !! !! It's a SIGN




CREATIVE-DEVELOPMENT

RESTORING CREATIVE CONFIDENCE


Q What if I haven't got 'art' skills? I have been told I am not artistic…


It is irrelevant whether people think they are artists or not. That kind of evaluation just straightjackets the beauty of the individual. Take no notice. Creativity is simply a natural part of healthy, happy life for anyone. When the creative spontaneity and passion are blocked, there are all kinds of energy consequences.
The rather exclusive and narrow-minded art scene, of which such judgements are symptomatic, is slowly transforming. All the wonderful new art materials available mean the options for creativity have never been so plentiful. art is being democratised and making things has become accessible and fun. Also there are many wonderful free lessons online and via dvd, shared by the new and more generous breed of enthusiastic creatives.
Don’t forget that the labels 'artist' and 'artistic' come from a certain kind of specialization that has happened in western culture alone, where early segregation at school into 'artistic' and 'not artistic' camps perpetuates the myth that some people are just born with the gift - it is down to Fate. Before this children express themselves directly - how life feels, what the heart sees. Pictures don’t have to be recognizable, they are songs of the inner world.


Q Even if I could make a realistic image, I don't think it would have the right feel. Why is that?


Much of the world’s aboriginal traditions of art use a language of symbols, seeing this as a truer equivalent of the whole human perceptive experience.
In our western art traditions a realistic portrait of a person, for instance, may document that person and be a fine piece of skilled observation and brilliant technique - but for other cultures a handprint or footprint represents the energy presence of the human in a different and powerful way.
Using symbols and patterns is within anyone’s scope. How often have we seen love hearts and initials carved in tree bark - a powerful symbol that both witnesses that relationship, reinforces it, and puts that symbol outside of everyday time.
Sacred paths also have a language of symbols that express deep and complex concepts and which bear witness in the material world and also create links with the energy world.


Q I have lost confidence in my creativity. How can I get over this?


It’s not about ‘art’ or performance. Liberate your inner soul-doodler!
Don’t try to make ‘proper pictures’. Enjoy yourself, and remember it's OK to throw everything away at the end of the day - it's allowed. It’s not failure, it’s being in charge.
But before you decide to bin the work, try looking at what you have done with curiosity - it may not be what you think. Turn it upside down, or put a paper ‘mount’ [mat] round it like a frame [or you can keep a few for this purpose easily obtainable at many stores.]. That can make it look very different, and we are used to looking at ‘proper’ pictures in this way, framed away from the surroundings. It is also a way of honoring what you produce. Or maybe hold it up to a mirror and see what that does. Cut out and save any parts that you like.
Next - try to stop the internal judge giving yourself marks. That is a learned reflex we all have - but school is over! Now there are no rules, and no pressure to perform. Enjoy and explore, celebrate being. Our enjoyment goes out into the energy of the world and the world needs every bit of pleasure and beauty it can get dreamed into the mix...
Sure, there will be frustrations, things to learn, bad days - we all have those. But like gardening, it's a process of pulling out weeds, planting, seeing what will grow, trying new things.


Q You are a professional artist, trained and experienced. That makes a difference, surely?


Certainly I have learned particular skills over time, and don’t have others. There are always limitations and anyone has to work within these. And inevitably the physical painting or sculpture is rarely what is seen radiantly in the heart's eye, in spirit form.
Mostly what you see in any artist’s work is simply the result of experience - a lot of practice, a lot of getting back in the saddle, not giving up.
And for myself, I am always adding new skills. Right now I am wanting to work with coloured glass, as I just love pure colour and light. There are places for me that paint just doesn’t reach! So I am going to classes to learn. I am sure I will struggle with the unfamiliar tools and feel really ham-fisted. I will look at the instructor's ease of handling the materials in awe, but I will have to remind myself that they had to learn in their turn. It's no good comparing to others - just wade in and have fun.


Q I am timid by nature, but I would love to have the courage to paint


Take on small projects to start with - postcards, not the Sistine chapel ceiling! And remember your creations are not public property - you don't have to show anyone.


Creating anything is powerful practice for real life situations. It expands our confidence and risk-taking. Those little acts of courage - facing the blank canvas, the uncut sheet of glass, the new page - they all have equivalents in wider life. Starting new things, having the confidence to take a chance, and then keeping on at something when we feel failure looming, or even being able to acknowledge when a new start is needed - all of this gives a more spontaneous and adventurous outlook

MAKING A START




Q I find the prospect of starting something, a painting say, too daunting - how can I get past this block?


First rule - don’t stress out - it’s not that serious. Do what you enjoy. Forget whether you can draw - just doodle!


Second rule - there are no rules, you can copy, trace, take a line for a walk, colour in… The history of Fine Art is full of renowned artists who cheated and bluffed and pinched other peoples’ ideas shamelessly. One famous landscape painter built little landscapes to paint from indoors, with broccoli trees!


Find out if you can what really freaks you, and then challenge it quite deliberately and with gentle humour. Daunted by that blank white page? Then work on teeny weeny bits of paper. Or the inside of cereal packets.
If there is an issue about ‘spoiling’ the paper, do it right off and get it over with - rub some charcoal or butter or spill some coffee on the page and then explore with delight what is has happened and keep adding to it.
Stick stuff on, cut it up, run it under the tap…..


And why not keep a box of treasure scraps handy that you can use to experiment and play with - glue, sequins, wool, ribbon, fancy papers...
I also keep a box of magazine clips and postcards of things which get my enthusiasm going on a dull day. It holds everything from fine art postcards to magazine photos of interiors or landscapes, pieces of patterned gift wrap, internet printouts and old Christmas cards. If I feel stuck, I go and look through them and soon find direction again.


Q There is a bewildering choice of art materials today - how do I know what to choose?


There is no holy cow about materials. You don’t need to buy whole sets of stuff you might not use. Don’t forget you can use what’s at hand. You might rub on the colour from flower petals, or use ash from the grate, or revel in wonderful multicoloured felt pens, metallic biros, wax crayons or nail polish. Concentrate on the process, the enjoyment, not the end product. I call this ‘soul doodling’ - a wonderful way to explore tend your inner soul garden.


There are only a few basic principles you need to know about how materials work, and which ones to invest in. I have put some information about this in ‘TECHNICAL INFO'’ and will answer any questions I can if people contact me. Also art materials suppliers and artists’ tuition sites online have so much useful information.

ENERGY ASPECTS OF CREATIVITY


Q Your work focuses on ‘soul gardens’ - on a spiritual side to life. You describe yourself as a mystic. Where does that fit in?


Some years ago my spirit guides showed me my soul garden - a place of beauty and knowing within, a place of true self that needs attention and tending just as much as the physical body, mind or emotions.
When I visit my soul garden in a state of creative openness, with clear intention, I nourish my core being and tap into a great source of intuitive wisdom far beyond my conscious resources.
I believe that we each have this inner sanctuary and source of healing. Usually we draw close to it in times of inner quiet, and when we spend time in nature. It is the place of contemplation and stillness. Unfortunately this is more and more rare in urbanized life and is a symptom of our disconnection from natural vitality and from source energy. By finding that place again within, visiting that soul garden either through sharing the vision of an artist or composer or poet - or by entering the creative making process ourselves - we re-balance and restore our essence.


The creative process takes us into the place of meditation and sacred connection, a zone where time and space have less effect. An hour can pass in a flash, or a minute last immeasurably. I can become so engaged with this creative journey that it is only when I return from it I realize my foot has gone to sleep or it has got dark outside.
I personally access this connection through shamanic journeying, although this is only one way. Others may do it through forms of meditation or deep reflection.


Q This sounds a bit spooky - Alice might not come back from the trip down the rabbit hole!


When we naturally daydream our consciousness shifts for a while and it is usually brought back by the next bit of life happening - the phone rings or someone speaks to us.


When we shift consciousness deliberately, we need to be in a safe place with something that links us back to the everyday consciousness - the route back up the rabbit hole!. We need a time and place that is undisturbed, that feels safe, and where timing is measured out clearly.
If we decide to enter this deeper level of dreaming, as in creative processes, meditation or shamanic journeying, there are certain signals that we can build in to mark the starting point, and then alert that exploring consciousness that it is time to return.
These ‘beginning and ending’ signals are simple and important.


Without a clear beginning and ending process we may get a bit stuck between the two states. Sometimes I mentor people who have previously delved deeply into creative space through natural abilities, and have ended up feeling spaced out, jarred, deeply emotional, or confused. This kind of experience can cause people to shut down their creative imagining, leaving their natural abilities very frustrated and unfulfilled. Once they find the right boundary signals - the traffic lights of the activity - there is usually no problem.


Q So what are these signals like?


They are simple, outward physical signs that convey inner meaning so that the body can act as an anchor for the dreaming part.
Therefore, when starting, we may light a candle, or ring a bell, and reverse this when it is time to finish - ringing the bell again or blowing out the candle. We may set a timer [not too loud a ring tone!], or many people find putting on a particular piece of clothing, a hat or overall for instance, can be the outward sign of creative work starting, and when it is removed the ‘everyday world’ returns. We come back to earth, to body, back through the rabbit hole.
Each person has to find the signal system that works for them. There are no rules or aesthetic correctness involved. But it must be simple and clear, and it may take a bit of trial and error to find what works best, so do experiment.
It is also good to make sure you are fully present again in your body at the end with something physical like a drink of water, or some food, a shower, or walking in bare feet. Again, an individual choice.


Q What signal system do you use?


I have had many ways over the years - and it took me a long while in the beginning to realize how - unknowingly - my sloppy creative altered states were making me feel extremely uncomfortable!


Right now I have a wonderful crystal that has come to work with me and I uncover it and ask for its help during my working time, and then thank it and cover it up afterwards. If I don’t, I usually feel muddled until I remember. It’s a bit like the tuning of a radio - you tune to a slightly different wavelength and then retune.
I also work with shamanic spirit helpers who guide me and keep me in line - but that is not a necessary part of developing the inner creativity process.


Q Should all artists do this?


I wish it were part of art training, for the sake of those who are working with inner perception without realizing it.
I think all people who create experience a mild shift of consciousness, but some artists are working with their responses to what is outside of them, rather than inside them, with their outer - rather than their inner - eyes. So they are tuning in to their process in a different way and so they naturally stay more grounded. But if anyone feels unfocused after any creative work - and I include the whole creative field - storytelling, dance, music making - it is worth considering exploring these gateway signals.







ENERGY-ASPECTS-OF-CREATIVITY