Tuesday, 26 April 2011

Simon Starling: Recent History
5 February  –  2 May 2011
Simon Starling, Autoxylopyrocyloboros, 2006
Simon Starling
Autoxylopyrocyloboros 2006
© courtesy the artist and The Modern Institute, Glasgow

Tate St Ives presents the first major exhibition in the UK of the work of Simon Starling since he won the Turner Prize in 2005. The exhibition draws on important works made in the last five years; almost all previously unseen in the UK. In addition, Starling will create a major new site specific work, commissioned especially for the show.
Employing video, film, slide projections, photography and sculpture, Starling’s work reveals rich, unexpected and complex histories, brought to light through his forensic - if sometimes elliptical- unravelling of an image, object or event. The exhibition’s selection of works, in the very particular context of rural Cornwall, emphasises Starling's long-running interest in the relationship and interplay between culture and nature, and his ongoing examination, excavation and transformation of the material world.
A major new commission will be created by Starling, further developing his interest in architectural spaces and their histories. He will recreate an exact, full size replica of a gallery space from the Pier Art Centre, Stromness - where he recently showed - in the spectacular curved sea facing galleries at Tate St Ives. Collapsing together two geographically disparate spaces - one at the northern most extreme of the British Isles and the other at the far South West -the work will appear as a kind of ‘ship in a bottle’, incongruously reconnecting two remote sites which share a strong cultural history and interest in post-war British art, and in particular the St Ives Modernists.
The exhibition will also include The Long Ton 2009, a sculpture featuring two rough-cut white lumps of marble suspended in space. The larger of the two stones, an import from China weighing one ton, is counterbalanced by approximately 250 kg of Italian marble thanks to a 4:1 ratio pulley system that allows the two stones to sit in perfect equilibrium. On closer inspection it is clear that the two stones have exactly the same form, the Italian stone having been precision laser-cut to exactly the same, although reduced, specifications as the larger Chinese stone. Despite its long voyage to Europe, the Chinese marble has a similar market value to the European stone one-quarter its weight.
Also on display will be his work Red Rivers, 2008 a video work which brings together the stories of two journeys made a century apart: the first a nineteenth century anthropological expedition into the Congo to capture and document the elusive and little known Okapi; the second a journey made by Starling down the Hudson River in a handmade strip canoe, culminating at the American Museum of Natural History in New York City where specimens of the Okapi finally ended up in a famous ‘diorama’. Taking the form of a series of still images, the video is as much a meditation on the fast disappearing processes of photography itself.
One Ton II, 2005 deals very directly with the material world. Making explicit the huge amounts of energy used to produce tiny quantities of platinum, one ton of ore, mined from the South African open cast mine pictured in the images, was needed to produce the five handmade platinum prints that comprise the work. In this way a simple but intrinsic relationship is established between the processes and economics of mining and refining platinum, the images of the site itself, and the chemical photographic process used in the production of the work. Inventar Nr. 8573 (Man Ray) 2006, is a slide projection that performs and documents a similar material excavation - this time at a microscopic level - on a photograph by Man Ray. The camera slowly zooms in on the photograph until it moves into the very surface of the print itself, finally revealing the individual silver particles that make up the image.
Continuing this interest in mining, excavation and geology, Starling will produce a new work, drawing on recent research into the Cornish China clay mines, emphasising the contemporary use of China clay in the paper industry as a glossy coating for fine papers.
British artist Simon Starling was born in 1967 and studied photography and art at Maidstone College of Art, Trent Polytechnic Nottingham and Glasgow School of Art. In 1999 he was the first recipient of the Blinky Palermo Grant, open to artists from all over the world. In 2005 he won the Turner prize. Starling lives and works in Copenhagen and Berlin. He is a professor of Fine Art at the Städelschule in Frankfurt am Main.
Simon Starling: Recent History is a collaboration with the Contemporary Art Centre,  Malaga, Spain; a full colour publication will accompany the exhibition.
James Stirling: Notes from the Archive
5 April  –  21 August 2011
Clore Gallery (Tate Britain) London, England: study model for the east elevation, 1978–86. wood, cardboard, plastic and paint                                                      AP140.S2.SS1.D60.SD1.P127
Clore Gallery (Tate Britain) London, England: study model for the east elevation 1978–86
wood, cardboard, plastic and paint AP140.S2.SS1.D60.SD1.P127
James Stirling / Michael Wilford fonds, Canadian Centre for Architecture, Montréal © CCA

Free Entry
It is eighteen years since James Stirling’s death, and he is long due a retrospective exhibition. Given his close association with Tate, in the form of the Clore Gallery and Tate Liverpool, Tate Britain is an especially appropriate place to review his work. This exhibition, curated by the renowned architectural writer Anthony Vidler, draws on the Stirling archive held at the Canadian Centre for Architecture in Montreal. It will be presented in the Clore Gallery, designed by Stirling and opened in 1987. Unfashionable at the time, it, like its designer, is the subject of renewed interest and appreciation. The exhibition will cover the whole of Stirling’s career, from the iconic Engineering Building of 1959 at Leicester University through to the late 1990s, including built and unbuilt projects, drawings, photographs and furniture.
The Unilever Series: Ai Weiwei

Tate Modern 12 October 2010  –  2 May 2011
Previous imageNext imageZoom In
The Unilever Series: Ai Weiwei
Sunflower Seeds 2010
Photocredit: Tate Photography
© Ai Weiwei

About the exhibition

Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
DLA Piper Series: This is Sculpture
1 May 2009  –  1 April 2012
Antony Gormley, Bed, 1980–1
Antony Gormley
Bed 1980–1
Tate © Antony Gormley

Free Entry
DLA Piper Series: This is Sculpture takes an ambitious and revolutionary look at the history of modern and contemporary sculpture. This new Tate collection display continues to examine and question the trajectory of artistic innovation in twentieth-century art and beyond.
Sculpture in the form of object, installation, assemblage and ready-made will sit alongside more surprising forms, such as painting, video, photography, language and performance.

Joseph Beuys - Fat Chair

Ruth Barker - And The Three Mothers Ask: Don't You Know Me?

Three Mothers

Wednesday, 20 April 2011

Virgil Marti

Austrian Swag by Virgil  Marti

Austrian Swag, 2009

Lucia Nogueira

Kettle’s Yard, Cambridge, UK
Russell Baker famously quipped that ‘The goal of inanimate objects is to resist man and ultimately defeat him.’ While this remains true, ‘Mischief’, an exhibition of Lucia Nogueira’s sculpture and works on paper at Kettle’s Yard, shows a tender side of our often wilfull inanimate adversaries. The array of found objects and everyday materials firmly plant themselves in a grounding of dadaist assemblages and combinations of textures and sensations. Several of the pieces in the exhibition insistently interfere with the viewer’s personal space – either by getting underfoot and refusing to be relegated to a set region of the gallery.  On some levels this seems mostly an aesthetic choice, as in a work from 1992 simply titled ‘…’ in which a red ribbon, like a musical leitmotif, connects a pail, a metal frame, and a burlap sack of sand, but also cordons off it’s own sphere of influence in the gallery. Others, such as Needle (1995), challenge the human viewer for primacy: it’s not just that one is afraid to step on the neon pink plastic cord that is stitched into the wooden flooring, it’s that by the time you notice Needle you probably already have. But without stanchions or even a marking on the floor, you never had a chance to avoid it, leaving open the question of who has invaded whose space.
Guilt and alienation are recurring themes in the work. Nogueira’s objects inhabit a world of mistakes, of closed or darkened spaces, and of practical objects which cannot, or refuse to, fulfill their intended function – there are shelves that do not ‘shelve’, wheels that cannot roll. One-time useful pieces of furniture are rendered useless or possibly even dangerous. For example, Hide and Seek (1997) greets the visitor entering of the gallery, an unplugged refrigerator still framed by its packing material, its door facing the wall. Seemingly engaged in a game, the stocky appliance is cutely anthropomorphic, the odd sweetness of the appliance is amplified by the framed photograph of rabbits perched on top. Now that the fridge has a personality though, there is psychosis as well, not only is play evoked, but the troubling gesture of an upset being facing the wall, hiding from us as well. This emotion is repeated in Untitled (1992), in which a wooden silver-painted cupboard is bedecked with a chain and topped with two nondescript aluminium cans faces in towards the wall, rendering itself useless and leaving the viewer with the sensation that it has something to hide. Full-stop (1993), a large cable drum is succinctly, almost cruelly hedged into a corner, palpably bursting with potential energy. Mischief (1995), on the other hand, seems fraught with one-liners and practical jokes: a wooden chair with its seat missing presents a painful and unfortunate eventuality, while the bin liners dragged across the floor are reminiscent of toilet paper stuck to the shoe, or a randy child or a pet who has decided to be destructive for their own entertainment.
The works on paper in the exhibition, all untitled and mostly undated, are loosely and dreamily painted. They inhabit a zone somewhere in between amorphous and humanoid, but frequently have a dark, vaguely threatening edge. Helicopters could also be yellow jackets, rockets might be flowers – occasionally a figure emerges. There is a play of symbols – some organic, some manmade – with a sensuous rhythmic repetition. Nogueira’s only foray into filmmaking, Smoke (1996), black and white and shot on 16mm, is also included, as it is at her concurrent exhibition at Tate Modern, and it too posits a strange parity between objects and their makers. It is a record of a one-time installation created at Berwick-on-Tweed in which visitors were supplied with umbrellas or kites. Kites and flags wave in the wind, and the spectators disjointedly look on, with little concern given to cause or effect. A stepladder placed on a dune waits for a person to climb up and admire the view, but perhaps the ladder is already doing that.
William Corwin

Artists Pan Hoggang and Hu Youchen and their pieces

Pan Honggang and Hu Youchen

Magician Space, 798 Art District, Beijing, China
In an art district replete with giant galleries and accustomed to large-scale works capaciously arranged, ‘Them or Us?’ feels unusually intimate. Magician Space is an up-and-coming gallery quietly but assuredly staging strong exhibitions by emerging artists at its modest 798 location. This scale is refreshing – it cultivates a feeling of closeness to the work that has become diluted in many of the area’s larger venues. In ‘Them or Us?’, a collection of works by Pan Honggang and Hu Youchen, a young couple from Sichuan, this atmosphere is particularly potent. Together they have created a group of anthropomorphic sculptures, their bodily forms and features in some ways human, in others animal; they are objects with which the first encounter is intriguing and uncanny.
In the first room, a group of figures is arranged in a rough arc, with sand dusted on the floor around their supports. At the apex is a naked, child-like male figure entitled If There is if No.1 (2009). His painted resin skin is greyer than that of the others but similarly translucent. His head is half-covered in a cat-eared hood as if from a costume, yet its colour is the same as his skin. His eyes are big, their downward gaze seemingly removed from the gesture shaped by his hands and arms – something like a shrug, bent from the elbow, palms facing up. It is this figure alone that enacts a human-like expressive gesture; the rest are unanimated or odd: crouched, mounted (there are two busts) or standing on dried, rough-skinned tree trunks of varying heights – natural perches from which they cannot move.
Here we find ourselves amidst a cultish community of beings – milky in tone, greyish or white as if having germinated in a lightless place. Their eyes, when not large and anaemic, are disarming for their likeness to those of tired children; the skin around them is puffy and pink-tinged like their other extremities – nipples, fingertips, snouts and knees. These are not robust creatures but restricted and flightless ones. A common feature is pointed protrusions like tiny horns, ear flaps, antennae or stunted tusks that create an aura of inertness and restriction. One notices seams in their skin that detract from the norms of organic growth – joins at the neck and wrists, or a line between the chest and back on a particularly weird figure, If There Is If No. 3 (2009), its lips fused together beneath its drooping, pointed ‘beak’.
The artists use form as a baseline from which to convey their emotional state. It is likely that these sculptures are borne of the isolation felt by the one-child generation in China; although they depict physically different creatures, they share enough in common – negative features that are products more of nurture than nature – to suggest a silent cohesion among them. They seem to occupy a fragile space between cuteness and darkness, vulnerability and horror, their pink tips suggestive of hurt, their eyes shrunken by tears or enlarged by paranoia.
If humans are selfish beings inclined to conform, then this exhibition becomes more about the emotional state of the viewer. To enter the exhibition at Magician Space alone is unnerving, as it thrusts you into a group of beings you recognize in part but cannot penetrate. Their partial likeness to people clashes with our innate compulsion to categorize and understand, sparking the kind of silent judgments we intuitively make upon meeting someone for the first time. Quickly, however, their alien features intercept our path to ‘knowing’ them. Coupled with a sense of emotional awkwardness from which humans naturally disassociate themselves, these sculptures perhaps capture, in physical form, the unease we keep inside. Emanating through pallid skin, theirs is a power that strikes remarkably close to the bone.
Iona Whittaker

Artist Lucy Minyo and her work 'Ren Zhitian'

Ren Zhitian

Art Labor 2.0, Shanghai, China
Beijing-based artist Ren Zhitian has been working with ink since the early 1990s. In recent years, these kinds of painted works – executed using techniques connected to traditional Chinese ink painting, shuǐmòhuà – have been receiving increasing interest. Following the saturated oils of movements such as Cynical Realism, ink offers both relief and a closer connection to national identity. Titled ‘ānyú wúliáo’ (Elegant and Empty), these ten works are the second edition in what will form a suite of 100 pieces upon its completion.
Ren sourced machine-embroidered silk, and followed the surface relief using ink made from fuel ash residue collected by a willing team from garages across Beijing. The issue of carbon emissions is certainly present here, but it is perhaps the most two-dimensional aspect of the work. The fluidity of the ink can’t be entirely contained; the untreated silk carries the delicate strokes through its grain, and the original design is blurred. Brush marks and ink weight add a second pattern, utilizing the flexibility of ink in its application, and further demonstrating the artist’s long-standing affinity with his medium.
The effect is certainly pleasing, but Ren is resolute when saying that his brush, dipped in ink, results in something that merely ‘appears to the eye like shuǐmò’, explaining that ‘the works just present a form, a composition, that supports a concept […] I wanted by means of something that looks very much like a painting, to oppose painting’. His prior works, entitled ‘hànzì tóngkǒng’ (‘Script and View’, 2008), appear for example to take much from the Southern School of shuǐmò and its dexterity with monochrome ink tones. He inverts this tradition, dipping his brush in solvent to etch his strokes into a prepared inkjet surface.
It seems however that a deep connection, perhaps even a kind of sentimentality, towards China’s artistic heritage, especially silk, comes to the forefront. ‘To invent weaving technology capable of something so delicate and exquisite, they really sought to express beauty; this moves me greatly,’ says Ren. ‘When painting with these patterns, I am continually able to experience something pure and happy, something originating from a pre-industrial age.’
In this show, the fantastical scale and significant presence of domestic manufacturing seems to rise over and above the issue of carbon emissions. Ren continues by saying that in parallel with silk, ‘the car is equally important. Through the usefulness of this object we can live our daily lives in a more civilized and refined way.’ Something similar could be said of the contribution made by China’s exports. The process enacted in these pieces brought the artist closer to the spirit and the innovation of his predecessors. However, he implies that the feeling delivered by our widespread adoption of today’s innovations is convenience in excess, resulting in wúliáo, or, merely nothing.
Lucy Minyo

Monday, 18 April 2011

Beatrix Potter :)

Charles rennie Mackintosh drawing, I love it!

Mona Hatoun 'Hanging Garden'

Mona Hatoun 'Hot Spot'

'Paravent' by Mona Hatoun

Mona Hatoun

Roadworks (Performance-Still) 1985-1995
According to the artist herself, the oppressive atmosphere at the Slade School of Art may have contributed to that fact that she abandoned the sheltering institutions and began to explore the possibilities of performances. From the outset, the body has always been a central element in Hatoum’s work, whereby she rejects the separation of mind and body she observes in the Western world. For the first time, at Slade, she came into contact with stances such as feminism, which she eventually abandoned as she did not consider it to represent her particularity as a Palestinian woman, but that would lead her to a broader analysis of the relations between different power structures. At the time, performance became the most groundbreaking instrument suited to the urgency of her needs. Therefore, throughout the first half of the decade of the eighties, Hatoum carried out a series of controversial performances brimming with political content.
This piece was produced within this framework, in 1985, on the streets of Brixton, a predominantly black working class neighbourhood, located in the outskirts of London. Hatoum carried out two performances pertaining to an action organised by another artist Stefan Szczelkun entitled Road Works, in which the intention was to create a relationship between a specific group of artists intervening in an impoverished community. In this way, these artists would produce their work in an environment and for an audience very different that that customarily visiting museums and galleries.
Hatoum is portrayed in the photograph barefoot and strolling along the neighbourhood streets with a pair of heavy Doc Marten’s boots tied to her ankles. Her feet appear naked and vulnerable compared to the sturdy boots traditionally worn by the police or by skinheads. The artist presents herself as an impoverished person who questions the system, trying to make manifest its structural mechanism through an action in which even the basic act of walking becomes difficult.
In another of the artist’s performance, carried out with Szczelkun himself, two people with their mouths covered with masking tape, dressed in black jumpers and also barefoot, intermittently lay down, the person remaining standing a white mark, like those at the scene of a crime, around the body of the prostrate person. Right away, the person on the ground substitutes the imaginary forensic officer, this time outlining the silhouette of the person that had been standing up before, and leaving the outlines of the fallen bodies on the ground. This type of action gradually disappeared from her work as they began to be absorbed by the institutions, and subsequently losing their impact and political resonance. In later years, the artist’s body gradually disappeared from her works in order make way for the presence of that other body belonging to the spectator. Her works, although ever less narrative and ever more ambiguous, do not seem to have abandoned that political sense that characterized this type of action carried out during the early eighties. M. M. R.

Friday, 15 April 2011


Ok, I've been thinking, I sat this morning for a while and had a think about where I see myself going with this project and I just don't know if I'm completely happy with my brief and the things I have chosen to develop work based around.  Over the holidays and before I read the brief I had the idea that I would base my work around whatever I continued to have my attention drawn to and the things I couldn't help but notice all the time was the potholes in the road.  I really liked the idea of working with the idea of detachment as each time I saw a pothole quite close by there was a wheel trim, which had, I presume, become detached from the wheel of the car when the car went down the pothole.  I have just had an idea, I had never really thought of this in this way before when I leave Tenerife I am being detached from the place and the people there, when I'm there I become attached to the people and the island, its like the wheel trim it was once attached to the wheel and then became detached because of the pothole.  So Maybe I could think of Tenerife as being the pothole and hole.  So I could look at things being attached and what causes them to become detached. 

Thursday, 14 April 2011

Tenerife Ilove you!

"Eucalyptus Bench" by Julia Klemek

Color Symbolism Chart
 Excitement, energy, passion, love, desire, speed, strength, power, heat, aggression, danger, fire, blood, war, violence, all things intense and passionate.
 Pink symbolizes love and romance, caring, tenderness, acceptance and calm.
 Beige and ivory symbolize unification. Ivory symbolizes quiet and pleasantness. Beige symbolizes calm and simplicity.
 Joy, happiness, betrayal, optimism, idealism, imagination, hope, sunshine, summer, gold, philosophy, dishonesty, cowardice, jealousy, covetousness, deceit, illness, hazard and friendship.
 Peace, tranquility, cold, calm, stability, harmony, unity, trust, truth, confidence, conservatism, security, cleanliness, order, loyalty, sky, water, technology, depression, appetite suppressant.
 Turquoise symbolizes calm. Teal symbolizes sophistication. Aquamarine symbolizes water. Lighter turquoise has a feminine appeal.
 Royalty, nobility, spirituality, ceremony, mysterious, transformation, wisdom, enlightenment, cruelty, arrogance, mourning.
 Lavender symbolizes femininity, grace and elegance.
 Energy, balance, enthusiasm, warmth, vibrant, expansive, flamboyant, demanding of attention.
 Nature, environment, healthy, good luck, renewal, youth, spring, generosity, fertility, jealousy, inexperience, envy, misfortune, vigor.
 Earth, stability, hearth, home, outdoors, reliability, comfort, endurance, simplicity, and comfort.
 Security, reliability, intelligence, staid, modesty, dignity, maturity, solid, conservative, practical, old age, sadness, boring. Silver symbolizes calm.
 Reverence, purity, birth, simplicity, cleanliness, peace, humility, precision, innocence, youth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical.
 Power, sexuality, sophistication, formality, elegance, wealth, mystery, fear, evil, unhappiness, depth, style, evil, sadness, remorse, anger, anonymity, underground, good technical color, mourning, death (Western cultures)

Back to the library for a researching afternoon :)

I typed in google emotion of colour as I was thinking about colour and ho it is connected with emotion, how we use colour to symbolize emotion.  I was originally trying to find an artist called Jaunes Innttin who works with emotion of colour in his work but I couldn't find any information on him anywhere.  I think I probs maybe haven't spelt his name correct lol

I love these shoes!!!

Photo 1 of JUNIPER Pink Suede Block Heel Court Shoes

Corneila Parker again

One for the police perhaps. As for ‘Measuring Liberty with a Dollar’- were you making a political statement?
I like the play on words more than anything.
The below post was an interview with Cornelia Parker I forget to write that and I know I will go back later and be like "what who said that?" so just thought i should kepp it noted lol :DDDDDDD
That’s quite abstract for the Police. While we are on the subject of string, I’ve noticed that you like measuring things. Does size matter?
Well, the other reason for being at St Paul’s was to demonstrate the scale of Everest, like they do in old encyclopaedias, by taking something big that is manmade and measuring it against something really big that is made by nature. I like using cultural things to try to measure more unfathomable things, like measuring Niagara with a teaspoon, as if you were trying to ladle out a waterfall. I actually had a teaspoon melted down and made into a wire the height of Niagara Falls.
I just typed 'space between two places' into google images and this was the image that came up so I clicked on it and this came up, I dont know if its even going to be intereating for me look at but I thought I would record it anyway.  I see that Cornelia Parker and her work has been metioned so thats my next task to do some research (lol my favourite word) on her.

The Internal Slipping Out into the WOrld at Large
mariele neudecker, using 'florescent fishing line'
increidble visual effect, illusion of light manifested in physical form, using a well known common material, depicting. 3d model/photograph.

my actual door to door idea, space, distance, place etc- use fishing line or thread to create a palapable space between two doors, corresponding to an actual set distance. this creates a medium for something else to happen. meshed space between the two doors exists only to connect the two places
measuring liberty with a dollar, cornelia parker. exact length of statue of liberty drawn out into wire from a silver dollar piece.

key words

Greek Mythology
Distance - how many miles from Scotland to Tenerife
Space - between people, friends, visits, places, emotions
Time - length or period of time until I return to Tenerife

Wednesday, 13 April 2011

http://www.contemporary-art-dialogue.com/art-and-spirituality.html the websit I got these quote (below) from
"Through art, people discover their bonds with each other, with nature, and with the universe," Ikeda continued. "Into all the forms of art is impressed the symbol of ultimate reality. The soul of the artist stretches beyond the physical dimensions of the work to seek union with ultimate reality, to cosmic life. The work is life itself, born of the union of the self and the universe, the microcosm and the macrocosm."
Art and spirituality transcends organized religion to a wholeness in the human experience. "Art has always been central in human life because it has the power to integrate and reveal the wholeness of things," said Daisaku Ikeda in a speech at the Academie des Beaux-Arts, Institut de France, Paris, June 1989.

Even more quotes lol :)

Newport Beach gallerist Brett Rubbico wrote, "One finds art and spirituality very closely linked, interconnected, and interdependent. Simple cave drawings through today's modern street art scene effectively communicate powerful messages of spirituality.

"Deeply inspirational art will consummate with a physical experience, emotional feeling, and/or other worldly encounter. These attributes represent the trinity of natural man (created art) and the Trinity of God (Supernatural Spirituality). The spiritual world is real and when sensitivity, execution, and relationship are engaged, developed, and matured artwork is made using these multiple and complex layers." Brett Rubbico

"Often artists have a profound experience physically or spiritually which must be communicated by making art, other times nature speaks to the artist. From the point before an actual physical artwork is created spirituality has already begun. " Brett Rubbico

And more Quotes

"The bottom line of spirituality in art to me is appreciation of life," wrote Laguna Woods based Sally Johnson, poet, artist and a university staff member. "Art and spirituality aspire to more than the usual known reality. This may mean burrowing the depths of the ordinary, clawing out of the mundane cocoon. Instead of seeking 'A Life Less Ordinary,' art can reveal a single moment manifest, resulting in the profundity of a daily experience.

"The 'now' becomes calmly good enough," Sally added, "and larger than the life we limit. Once you have pressed the reveal button, the fractals of creativity dance openly and repeat patterns from the largest to the smallest and back again, yet neither explode nor implode."

More quotes :)

Sculptor Cheryl Ekstrom says about art and spirituality, "It is only during the actual making of my art that I can experience the freedom of self. A freedom of transcending into an unconscious state of addictive euphoria! My need to experience this feeling is the primary motivation behind all of my endeavors as an artist. When through this experience a work of art can capture that euphoria for the viewer, I feel as though a vulnerable piece of myself has been made visible. When this happens, I believe the process has come full circle."

Installation artist Leah Vasquez adds, "Creating occurs (for me) primarily in a focused, immensely singular event unconscious of itself. It reveals itself only through interruption as self-awareness, bringing forth insight and form. The closest I come to describing my view is spiritual agnosticism: the openness to possibility without doctrine. It is what becomes observed while losing the conscious self. It is focused yet natural, an unexplainable awareness when unaware, without ritual, hierarchy to define it is an appreciation of the unknown with compassion to accept possibility."

Some cool quote I found

Here are some intriguing quotes I found :D I love the way of looking at art and spirituality as being connected

"This cyclical process begins with the artist's thought, proceeds to the making of art, and is then released for all others to enjoy and receive in their own subjective spiritual way."  Brett Rubbico

"Art and Spirituality confirms the belief that what one is doing is somehow imperative," says Orange County, CA artist Arie Galles. "Mere commercialism, even for the few who are well known, isn't the fulfillment of one's efforts.

"Somewhere within one's drive, there is a consciousness of the matter of creation being more important than the actual resulting product. Spirituality doesn't interfere or assign work; it is always renewed with each stroke of a brush, pencil, chisel and motion or sound.

"In that state of being one is transported to a reality where time and space is actually bent, where physical exhaustion is nullified by the joy of something that never before existed now coming off the work of one's efforts."
I just posted below some cool actually fantastically fascinating stuff which I found on this website http://www.orderofthewhitelion.com/qabalah@/Spisoulperson.html I have started to think more about my previous post and after reading it and how it was talking about emotions, our human soul and so on I researched this on google, oh I love google don't I lol
Spirit: Soul: Personality: Body:Click Image
(and the Tree of Life)

The Tree of Life is an all encompassing image.
In very basic terms, it is one map that can be used to help us understand a multitude of complex questions.
Firstly, it gives us a constructive picture of the different 'parts' of :-
Ourselves (Personal Tree)
Humanity (Human Tree)
The Universe (Cosmic Tree)
and shows us how all these things work together.
There are many other areas it can be used to describe, but in the initial stages it helps to begin with personal understanding
This page will be looking at our Personal Tree.
Who are you?
All of us are very aware of our physical bodies, and there is no doubt that each of us has a personality that governs the way we behave in life.
Indeed, we sometimes get so caught up in the events of our everyday circumstances, such as how we 'look', and what we are 'thinking and feeling', that we can be excused for believing that this is all there is.
However, there is so much more to us than that!
We are Spiritual Beings
(each one of us is a Divine Spark of the Creative Fire)
But in order for this Brilliant Light to be able to manifest in the immense density of our earthly world, our Spirit is housed in a series of 'bodies' or 'vehicles'.
The Soul
The Personality
The Physical Body.
It is easier to see these areas, if we place them on the Tree of Life. (See diagram above right)

Each Circle is called a "Sephirah" (Plural = Sephiroth)
The lines that join them are called "Paths"

Generally, most of us are only really aware of the circle (sephirah) shown in green, which relates just to our physical body (on our Personal Tree)
So just by looking at the picture above, you can see how much more there is to know about ourselves and who we really are.
The Personal Tree
Our Spirit is the Essence of ourselves. It is pure energy, and represents our Spiritual Will or urgency to manifest, and to Love and nurture that creation.
Our Soul is the 'vehicle' for the Spirit. It expresses our moral values through our Ideals, Conscience, and Intuition.
Our Personality is the 'vehicle' for both Spirit and Soul. It is governed by our Feelings, Thoughts, and Subconscious reactions.
Our Physical Body is extremely dense, and houses our Spirit, Soul and Personality. Thus the light of our Spiritual Energy manifests on earth and shines from within. In our body the Brain represents our Spiritual level, the Heart our Soul, and the Navel our Personality.

The Chakras on The Tree of Life
If we stand or sit with our back to The Tree of Life, we can see that it fits perfectly across our physical bodies, including the central line of our chakras.
In the Lotus position, the Base Chakra aligns with the feet. The 3rd Eye is situated in the middle of the Sephiroth (circles 2 and 3) in the Red Triangle.
On the Tree of Life, the Heart Chakra aligns with the upper section of Sephirah No 6, and the Solar Plexus is aligned with the lower section.
The Throat Chakra is shown by a grey circle. This is what is known as a 'hidden Sephirah'.
(For more information about the Chakras see our Chakra Section)

The Mirror Image
What is 'within', also reflects 'outwards' - hence our physical body is also surrounded by an energy field that emanates from each of the various 'vehicles' (or bodies), and is known as The Aura.
The Aura can be seen by those with Clairvoyant sight. It can appear in various colours according to the health and general outlook of the person at the time.
So you see, it is not really important how we look physically, but it is very important how we are inside, for this reflects out into our everyday lives, and makes the difference between a shallow, closed individual, or one who radiates their Spiritual warmth to those around.
Children of the Divine.

All of us have a Spiritual entity that - as a Divine Spark and Child of the One Creator - is perfect. And that Spirit seeks to manifest down the planes in order to gain experience in the density of other levels of existence.
Just as our own children on earth are born innocent, but gain wisdom through experience, so our Divine Spark is born perfect but enhances and matures that perfection through experience.
Its purpose is to return to the Creator as a perfectly rounded specimen of "Itself" - an extension of the Creator, but also a Supreme Being in its own right - just as our own children are an extension of ourselves, but grow up into adults in their own right.
In order to do this the Divine Spark moulds a 'vehicle' or 'body' which is dense enough to allow entrance to the next lower plane - this is called the Soul.
It is the Soul that then moulds the Personality (from the denser plane below) and in the same way, the Personality moulds the Physical Body - thus enabling the Spirit to finally manifest on the most dense of planes.
In a sense we could say that:-
Our Spirit is the 'child' of The Creator
Our Soul is the 'child' of our Spirit
Our Personality is the 'child' of our Soul
Our Body is the Temple that houses these 'children' of Light.
The Divine Spark may be perfect but, as it begins its journey, it has to mould an effective Soul Body for the experience needed. A new Soul in turn has to learn how to mould the Personality. The increased density of each lower plane, therefore, tends to bring about distortions of the original perfection, so the 'bodies' that house the Spirit are not necessarily perfect.
And it is believed by many that perfection on all levels can only come after many physical incarnations - each one improving and refining the soul, which in turn moulds a more worthy personality for the experience needed in the lives that follow.
Those who allow their subconscious reactions, malicious thoughts, or selfish feelings to dominate their lives, are expressing personality distortions that are damaging to progress. And those who have bigoted ideals, lack of moral conscience, or false pride, are indicating dangerous blockages to the development of the soul.
In very besic terms souls can be divided into 2 catagories:-
Old or young souls,
(which are determined according to the amount of experience they have had).
Low grade or high grade souls,
(which are assessed according to the way they have used experience to the benefit or detriment of themselves and others).
The Earthly Temple
One of the most dangerous things to assume, however, is that those born with a weak or injured physical body are an example of such distortions, although it is true that some sickness stems from emotional difficulties.
Nevertheless, the physical body is just a 'vehicle' or 'temple' in which the other 'bodies' gain experience, and some of the greatest learning and strengthening of the soul can be brought about by physical disablement.
So it is often by 'design' not a mistake that the earthly body is formed in such a way.
Those with impairment can develop extraordinary inner senses that the 'average' person does not use, and often their attitude to life can leave many a more robust individual cowering in the shade.
The damaging factors to Spiritual growth are brought about by the vices of Soul and/or Personality, and both of these bring about negative karma.
We all make mistakes, but we are supposed to learn from them, and the circumstances of our present life are just a reflection of what we need to understand on this most dense of planes. (see Karmic Section).
So however 'good looking' or 'plain' we may consider ourselves or others to be, the challenge to overcome these vices, and allow the real beauty of our 'Inner Light' to shine, is absolutely equal for us all.
It is an exciting adventure of trial and error, realisation and achievement, that leads us ever onwards on our journey through the stars.
And whoever we are - and whatever we look like, feel, or believe - we are all still the Sacred Children of The Divine, and perhaps the greatest guidance we will ever find in life, is by making the effort to remember?
Egypt image © Gilbert Williams : Personality tunnel © S.Johanson : Aura images © www.crystalinks.com/aura.html Blindfold Image © Josephinewall.co.uk : clipart © http://www.systemaxonline.com/
All writings © J.Shell 1981 - 2005 (unless otherwise stated). All rights reserved.