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I was no longer satisfied with the elegant drawings for which I was receiving such high praise from my teachers--my quest for fire precluded any complacency.<\\/p><p>There was no map for this journey.\\u00a0\\u00a0In my musings, a set of guidelines began to emerge.<\\/p><p>I decided to work in the media referred to as \\\"crafts\\\" -- clay, fibre, wood, metal. I chose them because I knew nothing about them, and imagined that my lack of technical facility would open me to unknown possibilities, to a fresh experience of the creative\\u00a0<span class=\\\"il\\\">process<\\/span>. I thought about how these materials have been shaped by human hands for thousands of years into objects of Beauty and usefulness and deep meaning, and I imagined that perhaps therefore the materials themselves held a connection to the roots of human creative experience. I also mused that if my quest failed, at least I might end up with a useful pot or two.\\u00a0<\\/p><p>Another guideline had to do with the selection of image and color. I always had a second, private sketchbook, filled with images of my visionary and dream-life. The images in this secret sketchbook were not meant for others to see. They were personal in a way that did not communicate with others. I decided to let my artworks flow from the same secret source as the images in my private sketchbook. As I wove, I selected color by symbolic and mythic meaning, rather than by the system of color theory with which I was so familiar.\\u00a0<\\/p><p>My third guideline was the decision to limit my experience of altered, meditative, visionary states of consciousness to times when my hands were immersed in\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0materials.<\\/p><p>I spun yarn, dyed it with plants, threaded my loom and wove tapestries of my dreams. I carved wood, making objects of power. The artworks emerging were lovely to me. They received praise from teachers and fellow students. Yet, I was aware that they emerged as a souvenir of\\u00a0<span class=\\\"il\\\">sacred<\\/span>\\u00a0experience, rather than a direct evocation.\\u00a0<\\/p><p>One day, I attended a workshop by Paulus Berenson.\\u00a0\\u00a0He spoke of things that had been mentioned by no other\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0teacher or text. He radiated creative integrity, which seemed to arise from his spiritual center.\\u00a0<\\/p><p>I was too shy to fully participate in the workshop, but was profoundly encouraged by the integrity Paulus modeled.\\u00a0\\u00a0I was aware, for the first time, that I was not alone in my quest, and that the grail I was seeking existed.<\\/p><p>After the workshop, I sat on a hillside, holding a ball of clay, cold, damp, and heavy in my hands. I thrust my thumb into the clay, and began to turn it in my palm. 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The flame within the artworks ignited an answering flame within me.<\\/p>\"},\"elements\":[],\"widgetType\":\"text-editor\"},{\"id\":\"ce76f2b\",\"elType\":\"widget\",\"settings\":{\"image\":{\"url\":\"https:\\/\\/rose7717.dev34.info\\/wp-content\\/uploads\\/2020\\/03\\/IMG_7545.jpg\",\"id\":5529},\"image_size\":\"medium\",\"align\":\"left\"},\"elements\":[],\"widgetType\":\"image\"},{\"id\":\"088ec0f\",\"elType\":\"widget\",\"settings\":{\"editor\":\"<p>My father told me that, as a child,\\u00a0\\u00a0I used to stomp fiercely down every stone step between the lions of the\\u00a0<span class=\\\"il\\\">Art<\\/span>\\u00a0Institute of Chicago if we left before I saw all of my favorite artworks. When I was eighteen, and remembered this story, I wondered what quality in those artworks had inspired such a passionate devotion in my seven-year-old heart. The beloved pieces were of immense variety -- Rembrandt\'s woman standing in an open half-door, her hands resting on the wooden edge of the lower panel; archaic terra-cotta tomb guardian figures and horses from Japan; a painting by Georgia O\'Keefe of a pelvic bone suspended against the bluest sky; a carved wooden mask from Africa; Bonticou\'s spiraling stitched canvas construction encircling a mysterious opening; a particular embroidered Chinese screen; Monet\'s water-lilies, Van Gogh\'s red and golden room. As the image of each entered my eyes, my entire being was engaged. I felt my knees bend; my eyes filled with tears. It was more than viewing; it seemed that a vivid relationship formed between the artworks and me. I beheld them with all my senses, they responded by revealing ever more intricate layers of their Beauty. These artworks were, in a sense, alive and sentient, and I received immeasurable gifts from each of them. I imagined that they had emerged from the heart-fire of the artists --- that the artworks had been formed from the flame of creative passion and contained some of that brightness burning within them. The flame within the artworks ignited an answering flame within me.<\\/p><p>In 1969, I left school to begin a quest. Remembering the fire within the artworks I so loved, I longed to find the secret, the way in which I could transmit the creative spark from within my own heart into the artwork I created; to bring it to life, so it could touch the hearts of others. I was no longer satisfied with the elegant drawings for which I was receiving such high praise from my teachers--my quest for fire precluded any complacency.<\\/p><p>There was no map for this journey.\\u00a0\\u00a0In my musings, a set of guidelines began to emerge.<\\/p><p>I decided to work in the media referred to as \\\"crafts\\\" -- clay, fibre, wood, metal. I chose them because I knew nothing about them, and imagined that my lack of technical facility would open me to unknown possibilities, to a fresh experience of the creative\\u00a0<span class=\\\"il\\\">process<\\/span>. I thought about how these materials have been shaped by human hands for thousands of years into objects of Beauty and usefulness and deep meaning, and I imagined that perhaps therefore the materials themselves held a connection to the roots of human creative experience. I also mused that if my quest failed, at least I might end up with a useful pot or two.\\u00a0<\\/p><p>Another guideline had to do with the selection of image and color. I always had a second, private sketchbook, filled with images of my visionary and dream-life. The images in this secret sketchbook were not meant for others to see. They were personal in a way that did not communicate with others. I decided to let my artworks flow from the same secret source as the images in my private sketchbook. As I wove, I selected color by symbolic and mythic meaning, rather than by the system of color theory with which I was so familiar.\\u00a0<\\/p><p>My third guideline was the decision to limit my experience of altered, meditative, visionary states of consciousness to times when my hands were immersed in\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0materials.<\\/p><p>I spun yarn, dyed it with plants, threaded my loom and wove tapestries of my dreams. I carved wood, making objects of power. The artworks emerging were lovely to me. They received praise from teachers and fellow students. Yet, I was aware that they emerged as a souvenir of\\u00a0<span class=\\\"il\\\">sacred<\\/span>\\u00a0experience, rather than a direct evocation.\\u00a0<\\/p><p>One day, I attended a workshop by Paulus Berenson.\\u00a0\\u00a0He spoke of things that had been mentioned by no other\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0teacher or text. 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These artworks were, in a sense, alive and sentient, and I received immeasurable gifts from each of them. I imagined that they had emerged from the heart-fire of the artists --- that the artworks had been formed from the flame of creative passion and contained some of that brightness burning within them. The flame within the artworks ignited an answering flame within me.<\\/p>\"},\"elements\":[],\"widgetType\":\"text-editor\"},{\"id\":\"088ec0f\",\"elType\":\"widget\",\"settings\":{\"editor\":\"<p>In 1969, I left school to begin a quest. Remembering the fire within the artworks I so loved, I longed to find the secret, the way in which I could transmit the creative spark from within my own heart into the artwork I created; to bring it to life, so it could touch the hearts of others. 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The flame within the artworks ignited an answering flame within me.<\\/p>\"},\"elements\":[],\"widgetType\":\"text-editor\"},{\"id\":\"ce76f2b\",\"elType\":\"widget\",\"settings\":{\"image\":{\"url\":\"https:\\/\\/rose7717.dev34.info\\/wp-content\\/uploads\\/2020\\/03\\/IMG_7545.jpg\",\"id\":5529},\"image_size\":\"medium\",\"align\":\"left\"},\"elements\":[],\"widgetType\":\"image\"},{\"id\":\"c524b0a\",\"elType\":\"widget\",\"settings\":{\"editor\":\"<p><span style=\\\"text-decoration: underline;\\\"><strong><em>A photo my papa took on a hike in the Smokey Mountains<\\/em><\\/strong><\\/span><\\/p>\"},\"elements\":[],\"widgetType\":\"text-editor\"},{\"id\":\"088ec0f\",\"elType\":\"widget\",\"settings\":{\"editor\":\"<p>In 1969, I left school to begin a quest. Remembering the fire within the artworks I so loved, I longed to find the secret, the way in which I could transmit the creative spark from within my own heart into the artwork I created; to bring it to life, so it could touch the hearts of others. I was no longer satisfied with the elegant drawings for which I was receiving such high praise from my teachers--my quest for fire precluded any complacency.<\\/p><p>There was no map for this journey.\\u00a0\\u00a0In my musings, a set of guidelines began to emerge.<\\/p><p>I decided to work in the media referred to as \\\"crafts\\\" -- clay, fibre, wood, metal. I chose them because I knew nothing about them, and imagined that my lack of technical facility would open me to unknown possibilities, to a fresh experience of the creative\\u00a0<span class=\\\"il\\\">process<\\/span>. I thought about how these materials have been shaped by human hands for thousands of years into objects of Beauty and usefulness and deep meaning, and I imagined that perhaps therefore the materials themselves held a connection to the roots of human creative experience. I also mused that if my quest failed, at least I might end up with a useful pot or two.\\u00a0<\\/p><p>Another guideline had to do with the selection of image and color. I always had a second, private sketchbook, filled with images of my visionary and dream-life. The images in this secret sketchbook were not meant for others to see. They were personal in a way that did not communicate with others. I decided to let my artworks flow from the same secret source as the images in my private sketchbook. As I wove, I selected color by symbolic and mythic meaning, rather than by the system of color theory with which I was so familiar.\\u00a0<\\/p><p>My third guideline was the decision to limit my experience of altered, meditative, visionary states of consciousness to times when my hands were immersed in\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0materials.<\\/p><p>I spun yarn, dyed it with plants, threaded my loom and wove tapestries of my dreams. I carved wood, making objects of power. The artworks emerging were lovely to me. They received praise from teachers and fellow students. Yet, I was aware that they emerged as a souvenir of\\u00a0<span class=\\\"il\\\">sacred<\\/span>\\u00a0experience, rather than a direct evocation.\\u00a0<\\/p><p>One day, I attended a workshop by Paulus Berenson.\\u00a0\\u00a0He spoke of things that had been mentioned by no other\\u00a0<span class=\\\"il\\\">art<\\/span>\\u00a0teacher or text. 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The conference focused on the necessity of refocusing our collective memory, and to the cultivation of vision, creativity, insight, and the celebration of life. The conference was moderated by Joan Marler and featured presentations by scholars and artists who acknowledge the significance of Dr. Gimbutas\\u2019 research and theories. 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