Friday, March 2, 2012

The Creative Call: Listening

I have been working through the second chapter of The Creative Call. At the heart of this chapter is the theme of learning to listen to the Spirit and the assurance that the Spirit listens to us. One way, according to the author, that we may listen to God is through the reading of the scriptures and, conversely, the primary way God listens to us is through prayer. The main thing I learned from this chapter is that it is not only right, but essential to ask God how He wants us to exercise our creative gifts and to ask for the means by which to do that. I need to learn to listen for the answers.

The main thrust of this chapter is the emphasis on daily journalling. This is how we as creatives can actually dialogue with the God. The issues that cause our creative blocks can be dealt with in the pages of our journals, and insights and ideas for our creative work can come through the pages of our journals as well. Our prayers can be written if we so choose and the responses may come through our own writing. It is imperative, the author asserts, to journal at least twenty minutes every day, first thing in the morning if possible.

I don't want to go too much into prayer and journalling here. The author covers all of this very well in the chapter. I want to share today my own observations about communicating with the Spirit in a way that diverges a bit from what the author presents. I think another way that the Spirit communicates with us is through dreams. Every time I start one of these creativity programs, I start having bizarre dreams. This time is no different.

I recall two powerful dreams this week. I'm not going to share too many details about my dreams. I am sure the symbolic language in the dreams would have meaning only to me anyway. Let me just say that the messages that came to me in both of these dreams is this: I spend more time taking care of others than taking care of my own well-being, and that I feel excluded from the mainstream creative community. However, that being said, I am still being taught many things by the Spirit that I would not be able to learn from anyone or anywhere else.

There is one thing I do want to share in hopes that someone can give me some insight. In one of the dreams there was a white dog that looked like a husky or a malamut or some sort of Alaskan/Siberian breed. An elderly Asian man in the dream said that the dog's name was "Tzi-Chi" and that it was important that I learn how to pronounce the dog's name. Does anyone have any idea what the words "tzi-chi" may mean? It sounds Mandarin to me. I googled the term but nothing came up. A similar word, "Zi", comes up with the meaning "beautiful" and I know "chi" means "life force." Does this mean that I have a "beautiful life force?" Or that I don't have it and I have to strive towards that? Any insight would be helpful.

So I am trying to listen in all the ways the book's author suggest plus one of my own. I think, though, I need some help in interpreting what I hear.

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This chapter's key scripture verse is: "In the morning, LORD, you hear my voice; in the morning I lay my requests before you and wait expectantly." Psalm 5:3. And here is my visual response:


"Psalm Five:Three"
Photo Manipulation

ljgloyd (c) 2012

Saturday, February 25, 2012

The Creative Call: Beginnings

I’ve been journaling my fingers off since last Wednesday in response to the first chapter of The Creative Call. There’s a lot of stuff already emerging having to do with blockages, annoying people, and inner critics – the same stuff that always seems to come up when I do a program like this. The difference, though, is that through it all the voice of the author comes through time and time again in this chapter: You are a creative person because God made you that way. And He made you that way so you can be a part of His continuing creation of the world.

One of the exercises in chapter one was to write my own definition of "artist" by completing this statement “I think an artist is….”

Here is my definition: I think an artist is a conduit of God’s grace through whom God exercises his role as Creator. God does not need us in order for Him to be the Creator, but He desires to share that role with us and the blessings that come from it.

Creative people are compelled to make art, make music, write, act, cook, garden, build furniture, design websites, fix computers, et cetera because they are wired to do so. Since we were crafted that way, then it is obvious that to not develop our talents and exercise them is, at best, not living up to our potential, and at worst – to use “churchy” vocabulary – living outside the will of God.

So this chapter offers an amazing affirmation to all creatives. With this, you would think we could just close the book and get on with our work.

No.

The chapter goes on to ask pointed questions about the obstacles to creativity. For me, namely, it’s other people and my own self. Okay, it’s mostly my own self, but I can go on and on about both me and them.

The author, however, is quick to point out that even though the Critics in our lives may be a hindrance, we will learn in future chapters how to stop blaming them and begin forgiving.

Forgiveness? Oy! I think I need to buy a lot more paper to journal on.

This first chapter opened with some verses from the Gospel of John: In the beginning was the Word, and the Word was with God and the Word was God. He was with God in the beginning. Through Him all things were made. Without Him nothing was made that has been made (John 1:1-3). This seems an appropriate verse in a discussion about the creative action of God and artists, so in response to this passage, I felt compelled to make this image:




"John One:One-Three" (Digital Painting)

ljgloyd (c) 2012

Wednesday, February 22, 2012

A Practice for Lent: The Creative Call

Today is the first day of Lent. I was casting about for something to do (or not to do) appropriate for the season. Since this period is supposed to be a time for self-reflection, I decided I would wed this season with my working through The Creative Call program.

The Creative Call: An Artist's Response to the Way of the Spirit is a book written by Joyce Elsheimer as an alternative to Cameron's The Artist's Way (TAW). TAW is a fantastic program, and I have employed it on several occassions to break through creative blocks and get my creating self moving again. However, the "source" or "higher self" referenced in TAW is ambiguous at best. The Creative Call is for those artists, writers, muscians, and other creatives who have a more focused view of that divine source for the creativity -- that is, God.

The Creative Call (CC) is less rigorous than TAW calling for a commitment of only eight weeks as well as only 20 minutes of journaling each morning. In addition, CC emphasizes prayer and scripture reading/memorization as part of the program of breaking through the hindrances to creative output. CC's main assertion, at least for me, is that God gives us our talents and urges us to develop and exercise them for His glory and our personal fulfillment in life. Given this, I thought working this program might be the perfect activity for Lent. The program most likely will flow past Easter, but somehow that seems right too.

My plan then is to read one chapter a week, do the prescribed exercises, and journal every day. At least once a week -- maybe more, maybe less -- I will write a short reflection piece here.

So, if you don't like hearing about God or Jesus, or are uncomfortable with scriptural quotations, then I understand completely if you don't want to follow along with these posts. However, part of my "recovery" as a creative person is not to hide from what I am and what I believe, and I will be writing about these things. I do hope you will come back and read and maybe even follow along.

Thank you.

The Gate Keeper, Ash Wednesday, 2012










ljgloyd

Thursday, February 9, 2012

An Artist's Alchemy

This story was inspired by and has excerpted from the article Anatomy of Creativity at the Soul Food Cafe
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“This place is freezing,” Kendalyn muttered to herself. She pulled off her wet rain jacket and scarf as she marched across the living room of her small apartment.

“How could I have left this open?” A frigid wind blasted through the bottom of the window in her dining area. She quickly shut it and then fiddled with the thermostat next to her wall furnace. As the furnace kicked on, she grabbed a green flannel blanket draped over the back of her sofa. Wrapping it around herself, she yanked the first headpiece at hand from the wall hook next to the door-- a big floppy sun hat. She knew she looked ridiculous, but the blanket and hat would keep her warm until the apartment heated up.

She considered going to the Bellowing Cow Saloon, just down the block from her building. The manager usually had a fire going, but the thought of spending an evening with the miscreants and malcontents that hung out there just turned her stomach.

Kendalyn had started going to the pub a few months ago when she discovered that it was a place where a number of local artists gathered. She just wanted to be with some like-minded creatives to “talk shop” and generally have a good time. It was good at first, but over the months she found herself spending more and more time there instead of working in her studio. Even worse, the interactions with the artists had devolved from professional talk to nasty gossip and strife.

The kicker came just a few days ago when a business disagreement arose between one of the artists and the owners of the Scarlet Shrike gallery. A lot of foul language and accusations had been exchanged between them, and many of the other artists, including Kendalyn, were set upon as well for just being present and voicing an opinion on the behavior of the individuals.

Stung by the assault on her personal reputation by the individuals involved, Kendalyn left the Bellowing Cow that night and swore she would never set foot in there again. She would rather freeze in her apartment than go anywhere near that pub.

Just thinking about the last horrible encounter there made her queasy. She should have known better and not tried to be the voice of reason. She padded into the kitchen to get something to settle her stomach. As she poured some ginger ale into a glass, she heard a soft thud from her studio which was adjacent to the kitchen. She peered through the doorway of the studio and froze in alarm. The studio window was opened about six inches at the bottom, just like the window in the dining room.

Kendalyn knew she had shut and locked that window before she left for work that morning. Her eyes darted around the room looking for an intruder. There was no place anyone could hide in the cramped, small room and the closet was too full of boxes of art supplies to conceal a person.

Then her eyes settled on her work table. “What--?”

Situated in the center of the table among her brushes and tubes of paint was a small wooden box. She cautiously approached the table to get a better look. Then she saw the intricate carving on the lid of the box: a familiar crest of leaves and curlicues entwined around the letters, “S.R.”.

Kendalyn relaxed and smiled. S.R.: Sibyl Riversleigh. Artist, writer, global traveler, and Kendalyn’s friend. There was no point in wondering how the box came to be on her studio table. That was Sibyl’s way and Sibyl was, well, magical.

Kendalyn lifted the box’s lid. In it was an envelope inscribed with “Kendalyn J. Pelican” in Sibyl’s flourished handwriting. Underneath the envelope was a silver rectangular case nestled in the red velvet lining of the wooden box. Kendalyn slipped open the flap of the envelope and pulled out a letter.

“Kenda, darling,

Aren’t you the mess! What has happened to you, dear? You are not the woman I used to know. I think you need a little transforming and I have just the thing for you. I was in Venice this summer -- oh, you wouldn’t believe what happened to me there -- but that story is for another day -- Anyhow, I was in an antique shop near the Ponte di Rialto and found a book which I was told had belonged to an alchemist. There were oodles of formulae in it, but this one just stood out -- just for you, I knew. I want you to take these words to heart:

Carefully mix 300 pounds of daily writing; pray to the creative spirit under the moon; purify your house with the right amount of sage; add twenty five ounces of the divine; spend hours in silence; stir in a pinch of imagination; meditate upon a mandala; daydream a lot.’

Now open the silver case.

Hug, hug, kiss, kiss, and get off your arse, dear.

Love,

Sibyl
Kendalyn sat down at the table and read the letter again. Sybil had always been there with good advice. Kendalyn reflected on the last few months. It was more than just hanging out with the wrong crowd and not working. It was neglecting the inner world that fueled her work.

Kendalyn set aside the letter and opened the silver case. It was a mirror. Just an ordinary make-up kit compact mirror. She placed the open case on the table and sat back to consider it. Nothing happened. It was just her, wrapped in a blanket and wearing a goofy hat, looking back from the mirror. She began fingering one of the paint brushes on the table as she pondered the alchemist formula.

It was like a recipe, or a spell. No, it was more like a ritual or a liturgy. She realized then that whatever art she created lately, or words she wrote, were not coming from that sacred space within. They were mundane, or worse: mechanical and dull. There was no magic in her creations.

Kendalyn closed her eyes and looked inward for the muse that used to live there. Was the duende spirit still there? Or had she been totally abandoned.

“Um... hello? Are you there? Look, I know it’s been a while and I know I totally screwed up by not talking to you lately, but I’m wondering if you and I.... what I’m trying to say is that I need your help. I need to move back to that place... you know the place I’m talking about, right? That place where you and I click and really cool stuff happens. Well, anyway, I’m here if you want to talk to me.”

Kendalyn sat for a moment, waiting for... well, anything. Just as she was beginning to feel very silly about having a conversation with thin air, she heard a tinkling sound, like a strum of chimes. Her eyes flew open and she saw herself in the mirror with a trail of glittering stars swirling about her.

She smiled. Everything had suddenly changed.


ljgloyd © 2012

Saturday, January 21, 2012

Art Journal: Weekend Spread, Do Not Fear Success



This weekend's spread is all ready to receive writing which I think will be white gelly roll on the left side. I don't want to put in any writing on the right, but I'll have to see how much room I need.

The first layer of the background was gesso over blue watercolor crayon followed by several layers of green and blue tissue, art papers, and a computer printout of the female figure. The image is embellished by glitter glue. (I don't fling glitter, I squirt it! :)

Creating the image was a project in itself. I found a vintage image of Mata Hari. I am not particularly interested in Mata Hari herself, but the image presented to me all sorts of possibilities in terms of manipulation and embellishment. It took about an hour to colorize the whole image in Photoshop, resulting in about a dozen layers to achieve the final effect.

So what is this spread about? A couple of weeks ago during a meditation time, the words "Do not fear success" popped into my mind. It was an interesting insight that made me consider that my lack of progress in certain areas of my life may not have anything to do with a fear of failure, but rather from a fear of being successful. This insight is something that I am going to have to give some considered thought.

I debated with myself as to whether I should rephrase the title of the spread into a positive affirmation such as "Welcome Success". But since those were not the words that came to me, I stuck with the original statement.


ljgloyd (c) 2012

Monday, January 16, 2012

Art Journal: Weekly Spread January 16 Onward


Here is my spread all ready for my multi-day journaling for this week. Nothing fancy: just gesso over watercolor crayons, then stampings, followed by a drawing. I will handwrite my entries in black Pitt pen.

ljgloyd (c) 2012

Saturday, January 14, 2012

Mosiac Spread: It's All About the Journey





This is my full weekend spread for January 14 and 15 (awaiting text for the 15th). It employs the mosiac and "hidden" tab prompts from earlier this week. I created the background by laying down some white gesso, fushia acrylic paint and black gesso. The mosiac tiles are cut from a paper I made of light wash of the fushia paint rubbed over by a thin layer of copper metallic acrylic paint. The labyrinth is a computer print out. I embellished with glitter glue. At first I was hesitant about using too much glitter but then I thought "You can never use too much glitter!" Woo-hoo.

ljgloyd (c) 2012

Wednesday, January 11, 2012

Art Journal: First Week

Here is the front cover of the journal:



The journal itself is a 9 by 12 soft-bound sketchbook. I painted over the cover in cerulean blue, green and copper metallic acrylic paint. I pasted a photo that was taken in a low-light setting by a friend. The friend who took the picture was going to delete it since it was so blurry, but I just loved the effect and knew it would someday show up in a piece of art. Here it is. Finally, the text is stamping on a piece of blue tissue paper.



This image was created for my January 8 journal entry (January 7 also had a similar image). I just didn't know what to make as a focal point image so I just traced my hand and started doodling in it. I painted black gesso around it for contrast and wrote the text with a Sakura white gelly roll pen. A number of people in the Book of Days group have commented that they too have used the motif of the hand in this week's journaling. How synchronicitous is that?

I am working on my multi-day spread for this week. I want to incorporate a mosiac effect into what I have already started, but that may not work so well and I'll have to use the mosiac effect on my weekend spread.

What I find interesting about this project is that I have had the discipline to do it every day thus far, even if it is only a word or two. We'll see how long that lasts.

More to come.

ljgloyd (c) 2012

Pantry Improv: Huevos Rancheros










My huevos rancheros recipe is not really an improvisation, rather my interpretation of a classic, soul-soothing breakfast dish. My guess is that someone originally improvised this from food on hand in the pantry.

From the pantry:
vegetable oil
corn torilla
canned refried beans
salsa (or you can make fresh if you like)

From the fridge:
eggs
queso fresco or some other soft white cheese

Completely cover the bottom of a large skillet with the vegetable oil. Heat the oil until it starts to shimmer. Lay a corn tortilla in the oil for about two minutes or until it starts to get crispy. Carefully flip the tortilla and crisp the other side. Remove from the oil and drain on a paper towel. Fry one tortilla for every serving.

Spread a couple of tablespoons of refried beans on the tortilla.

In another skillet, fry an egg in a bit of oil, either sunnyside up or over easy. Scrambling doesn't work so well because you want a runny yolk in the finished dish. Place the fried egg on top of the beans and tortilla.

Spoon a bit of salsa and sprinkle a little cheese on top of all.

This breakfast dish is wonderful for lunch and dinner as well.

Click HERE to read about my personal pantry improv project.

ljgloyd (c) 2012

Friday, January 6, 2012

Watching Bread Rise: A Metaphor for Growth


This week I made bread from scratch. I'm a bit of a foody, if you haven't already figured that out, so the process of watching the bio-chemical replication of yeast is something that fascinates me. Yes, I know, I need to get a life, and that is indeed what I hope to do this year.

Bread-making is an appropriate picture of life growth. Yeast is a living creature -- Saccharomyces cerevisiae -- a one-celled critter that procreates like crazy if you give it enough sugar and warm water. When you combine these happy little yeastie-beasties with flour, salt, a lot of time and a little heat, you get bread.

I have an idea for a long-term life project. I have been tossing the idea around in my mind for several months, and now I want to nurture it with the hope it will rise like bread dough. The idea is the flour, the yeast is the planning, and the sugar and warm water is the research. Hopefully, the planning and research will make that idea rise up into reality. I don't expect achieving my goal will be easy. I expect a little heat along the way, but you need some heat to bake good bread.

I'm sorry to be so vague on the specifics of the project. I'm still in the planning stages, and, if you have ever made bread, you know that if conditions are not right, the bread dough won't rise. So I'm not going to say any more about it now in case things fall flat.

But to leave you with a little more than my ramblings, here is the recipe I used to make the gorgeous loaf of bread in the picture above:

Thoroughly mix together in a large crockery bowl:

1 1/2 cups whole wheat flour
1 1/2 cups all purpose white flour
1 teaspoon salt

In a separate bowl, combine:

1 package of dry active yeast
2 tablespoons of sugar
1 cup plus 2 tablespoons of warm water

About 10 minutes later, when the yeast is frothing on top of the water, add the liquid to the dry ingredients and thoroughly mix. Put a little flour on a bread board and dump out the dough on it. Vigorously knead the bread for about 5 minutes. (Great therapy). Return the dough to the crockery bowl and cover with a clean kitchen cloth. Put it someplace warm and leave it for about 3 hours.

After the dough has risen (it should double or even triple in size) add some more flour to the board, dump out the dough, and knead for another 5 minutes. Shape the dough into a ball and place it in a large cast iron skillet. Cover and let it rise for another hour. About 15 minutes before you plan to bake the bread, preheat the oven to 375 F. (about 220C). Uncover the skillet, put it in the oven and bake for about 25 minutes (or until the top is golden brown).

Prepare to swoon from the aroma.





ljgloyd (c) 2012