Resolution of inner conflict was at the heart of my decision to create a virtual place as the creative output of the Creative Project . This project would, I hoped, reconcile seemingly divergent ontological aspects of myself and in doing so potentially create something of interest to others. After months of consideration, I settled that creating a digital application (‘app’) might be both a cathartic and symbolic merging respectively of my professional experience and my personal passion. In seeking this reconciliation, I was unexpectedly accompanied by my daemon. The product of this companionship was to be ‘The Book of Daemon’, a digitised book whose primary aim was to inspire potential readers to possibly establish, renew or develop a conscious engagement with their personal daemon. In undertaking this initiatory endeavour, which is in process still, I had hoped the exercise would engender a deeper knowing of myself by learning new skills and subjects. What I would not anticipate was the extent to which undertaking praxis ‘and entering into unknowing’, would bring me to the edge of sense and in doing so instigate a complete re-visioning and shift of my very being.
This creative project was inspired by a trip to Lindisfarne, also known as Holy Island in Northumberland . It was here that Eadfrith created the Lindisfarne Gospels, ‘one of the world’s greatest masterpieces of manuscript painting’, around 698 CE (Backhouse, 2014 p.7). The Gospels were created in honour of St. Columba who having died in 687 CE, was formally declared a Saint when it was found his body had not decayed on its exhumation in 698 CE. After a walk around the Lindisfarne Priory ruins (which date from 1093 on the site of the earlier monastery), the project to ‘do some Celtic artwork’ was hatched in a café on the island and I went home clutching a copy of ‘The Celtic Design Book’ (Meehan 2007).
You Are Because Yew Is with Louise Livingstone – Sunday 17th October 2021 – 3pm-5pm (UK time) – via Zoom – £15
Reciprocal relationship/co-creative partnership embraces both parties in the wholeness of their being and creates the possibilities for a world where all beings can live within the fullest expressions of their own nature. This idea applies not just to human-to-human relationships, but also human-to-more-than-human relationships.
Can we access the archetypal ideas via the practice of painting. Does “being in the world” have an effect on the soul of the artist, by retreating into a world of interiority but remaining wholly present can we access the soul?Can we create a dialogue with the imagination which is reflected in the strokes the artist puts upon the page? How does active imagination equate to this. Can we see through our projections? Can we see the “gods” in the landscape and if so, how does the painter interpret this? Is this Alchemy?