Into the tipping machine

I’m deep into Charlotte du Cann’s, ’52 Flowers that shook my world, a radical return to Earth’. So far, it is a good and unsettling book- makes you think:

I’ve been doing a lot of thinking lately, in the light of this book, looking at my own life, what is working what isn’t.

On another track, but related: In an attempt to come off my extreme anti-marketing position and try to work with the channels available, I had a gallery owner here looking at my oil paintings. He liked the work, but it isn’t unique enough, and I myself don’t carry enough of a reputation to enhance the gallery’s ambiance.

I realise that if, at this stage, I want to show my work, I would need to put a huge amount of time and effort to building up an image of my art and myself as desirable and exclusive. Unless, of course, as I did when I first came here, I  go around to libraries and community centres, and frame, hang and show the work for free, then take it all home again- having supplied them nice no-charge wall decorations for a month. the path of exhibiting in galleries, as I felt, is not tenable for me.

Then this: recently I read an article about the new transition type art- mostly shamanistic, conceptual, often with a social message relating to shifting paradigms. And realised that my art isn’t directly about that either!

And while I was digesting this, my husband showed me a wonderful article by the director of a Dutch bank working with alternative values. The author was taking a look at transition and associated terms- the ‘tipping points, the cultural creatives, economy transformers, paradigm shift’ etc. He was asking if these new buzz concepts didn’t leave behind some valuable things. He said that there are certainly things in the  ‘old’ paradigm worth holding onto- but to voice that is a new taboo because, ‘everything has to change-  it all has to go into the tipping-machine’.

My neighbours are just normal people. They take care of the old and ill in the street, work in the community gardens, keep the local billiard club going- they just do these things naturally. They don’t sign petitions for women’s rights in the Middle east, they just do the shopping for the woman next door. They don’t know that you can lease a recycled pair of jeans, but they hardly ever waste things because ‘that would be a shame’. They don’t start a social media community, but they do volunteer work for their community centre.

They like nice, good things- the garden, children, friendship and warmth. And they work together for the benefit of their school, street and billiard club.

All of this completely ‘person-centred’ and ‘sustainable’.

Do they even know that?

Jeroen Jansen Director of the ASN Bank

It is what I keep coming back to: being here fully. Taking time to do the things that need doing well, caring for the home, the garden and others.

And the questions about where my art does or doesn’t fit in aren’t really the relevant ones, though I admit that matters of recognition and success still come up as a result of  being a professional artist all my life.  But I sense that my answers don’t lie with identifying too much with either the transition community or the ‘old’ career ways, but with sending roots down into myself, anchoring in my own story, as well as the local area.

And as far as my painting goes, it is, like Tai Chi, my discipline; it is something I can go  deeper into every day forever, and be led to layers of discovery and insight. It is where I come up against myself, and am lifted above myself at the same time. Du Cann emphasises internals. Questions of success and recognition, or having a visible task, of standing out either here or in the transition community are externals and all depend on validation from outside.  How do we validate ourselves inside? seems to be the task at hand.

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