Posts Tagged ‘creative imagination’

What You See Is What You Get

Wednesday, August 12th, 2015

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“This world is but a canvas to our imagination.”–Henry David Thoreau

When I traveled in Nepal, Tibet and Bhutan last fall, I was of course struck by the wealth of sacred art. The particular ceiling in this photo was taken in a private home, so these arts are not relegated to skilled monks or to antiquity–they are still practiced by village craftsman. (Granted, in Tibet these craftsmen are an endangered species, since the Chinese are co-opting and controlling everything about Tibetan culture.) Imagine living in a home where your neighbor painted this extraordinary piece of art.

How would looking up at such a ceiling every day affect your vision of the world?

I think sacred arts have been created for many reasons, but one of them must be that the piece of art preserves the vision of the sacred world–and the invisible one–and passes this vision forward, preserving it as part of reality.

When we create any kind of art we are preserving or encoding a view we have of a certain aspect of reality. In that sense, what we saw when we made the piece is what we get as a future.

There’s another sense in which “what you see is what you get.” All the theories that abound today about creating your own reality are based on the idea that our thoughts can become manifest. And our thoughts are largely visual. It’s as though we have a vision–whether it be of ourselves coming down with a cold, or reuniting with a friend–and often we are either grabbing a tissue or answering the phone, delighted at the “coincidence.”

Vision has been proven to affect performance so strongly that  most serious athletes visualize that perfect high dive or ski run. Since I’m recuperating from foot surgery and don’t want all the muscles in my left leg to forget they’re muscles, I’m picturing myself dancing, hiking and walking on the sand. Science tells me that my muscles will believe they’re really doing it.

The link between vision and manifestation works from the inside out, and also from the outside in. When I traveled to the Berlin Wall in the ’60’s, I was shocked to see the wall, even though I had studied about Berlin and knew intellectually all about the efforts to divide people from each other. We know there is a big difference between intellectual and emotional knowing. Once I had seen it, I knew I would always be against such walls and would take a stand for what unites rather than divides us. The seeing changed my mind and heart, and became part of me. What I saw was what I got.

So how can you use this notion that what you see is what you get? I can think of three ways:

1. You can purposefully go on treasure hunts for beauty. With your camera or just your physical eyes, you can collect images that will become part of you, in mind, body and spirit.

2. When you see something disturbing, do a re-frame. Instead of focusing just on how disgusting or sad or scary something is, you can ask what the deeper purpose of your seeing could be. That way, you will literally “see” this scene differently, as if you put a filter on your mental camera.

3. You can point out beauty to others. Everyone does not see the subtleties of the pearly light on the foggy mountains. Some people just see grey and “bad weather.” You can always ask if someone sees how many different shades of green there are in the forest. It may literally expand their vision, and thereby their experience.

Beauty is good medicine. If what we see is truly what we get, then I’ll choose beauty any day of the week.

How to Make a Great Decision

Monday, February 9th, 2015

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Sitting in sacred circle with a group of women, I listened to stories told by a group ranging from 19-90. Do you resonate with some of what they shared?

“I’m bursting with energy, but confused. How do I prioritize all I want to do?”

“I have a list of things I love, but I’m not doing that list.”

“I’m so distractible, interested in everything. I need to focus.”

“I have physical symptoms that tell me I’m not on the right path, and it’s still hard to trust doing what I love and know to be true.”

So what is the theme? It sounded to me like the question, “How do we see our path, and then how do we follow it?” This is an important and recurring theme that follows us through life.

Is the answer to discipline ourselves? To crack down and force ourselves to focus and choose? I think not! That is the old way.

This circle, facilitated by dear friend Elise Collins Shields, was an honoring of St. Brigid, descended from the Celtic goddess of the hearth. And so I asked Brigid to whisper in my ear about what we as women leaders, who are immersed in complexity, need to do. How do we discern in the new way? Here is what I “heard:”

As goddess of the hearth, I say, build a fire within to warm and bless your heart’s home–the place inside where you are who you’ve always been and always will be. This is a place outside time and space, a place only the heart knows.

Sit by the hearth, the place of warmth, comfort and safety within your heart and have a fireside chat.

Say to the Universe, “In this great journey where there are so many possibilities to manifest, I wish to liberate myself from outdated stories and beliefs and embody the IAM, The One, the Beloved, the Truth.

Now ask–no, command that the Truth within you enter this room with eyes open, head held high, and speak what is next for you. Listen and “take it in.” Embody that Truth.

Then, rooted in and embodying that Truth, you will conduct a mediation with the mind, which will be a great help to the Truth in working out the third dimension details.

This is the right order of things.

This message from Brigid has stayed with me, and it reminds me of some important things I want to remember:

  1. The heart is the first place I want to go when making any decision. That is “the right order of things.”
  1. The heart is fearless about moving forward and telling me the Truth, and that will always come in Love.
  1. My mind is useful as well, and is a wonderful implementor. I don’t have to worry that my heart will lead me down a scary or impractical path, because the mind will always help with the strategic, clever and practical ways to manifest the heart’s truth in the “real” world.
  2. We all know more than our mind admits. So another question to ask   myself is, “What if I just did what I really know is next?”

This kind of discernment and decision-making is a great gift for a heart-centered leader. It will save time in the end, and move us forward in important ways.

Will you join me in making decisions in this way? Try it and let me know how it works for you.  I look forward to your comments.

 

 

 

What Kids Taught Me about the Active Imagination

Thursday, May 16th, 2013

 

Since I was in love with photography, I wanted everyone else to be as well (nothing like the fervor of the converted.) So,I decided to teach small group photography classes in my living room.

Right away, it was clear to me that I raced through the part about f-stops and dove into explorations about light, the energetic nature of matter, and the spiritual elements of photography. After listening to me for one lesson, an adult student approached me and said she thought her son should study with me.

Billy was learning disabled, though in those days there was no label for that. Frustrated by school and in need of a success experience, Billy would “get’ the right-brained way I taught photography. Would I give him lessons?

I had another close friend with a daughter Mary, who was also having learning problems. So for $5 an hour, I worked with the two of them every week for 1 ½ years.  As a former classroom teacher, I had already formed a strong curiosity about why certain kids weren’t learning. Now I was studying all I could find about the new discoveries about the right and left brain. I felt I was being led on a treasure hunt.

The exercises I designed for Billy and Mary became the basis of curricula I would design and teach in both public and private schools. As an artist-in-residence for the South Pasadena, CA school district, I had the privilege of doing a photography project with 60 5th graders. It was called “Seen one Rock, Seen ‘Em All,”( a brazen slam at Ronald Reagan, who had made that comment about national parks.)

I gave each student a rock, and led them through a guided imagery exercise where they allowed their active imagination to play with the inner picture of that rock, allowing it to become part of a larger scene and story. I had them draw the scene and write the story.

Now the fun began. Their next challenge was to figure out how to make a photograph of that drawing, using the rock and other objects. “That’s not fair!” some of them began to protest. “You didn’t tell us we’d have to make this into a photograph! I wouldn’t have thought of something this complicated if I had known!” said one.

The student, Jack, showed me a drawing of a rock that had become an island surrounded by water, topped with trees, and blown by a strong wind causing big waves. “How am I going to do this?” he said as if it were obviously impossible.

It was a class in problem-solving, so I hinted that he might think of movie sets and dioramas. I teamed the kids up and gave them a week until the day we’d set up a simple photo studio and make the photographs, which they would then print themselves later in the studio I had now rented.

The photo above is an example of the student work, which became a school exhibit. Anna “saw’ her rock (at the top of this article) ‘turn into” her ballet slipper, well-worn from all her attempts to make it into a toe shoe, successfully poised on top of the rock it resembled. The hardness of the rock matched her hard work. The beauty of the shape matched the beauty she captured in her treasured slipper. Beautiful, I thought, and a deep message about how important dance was to Anna.

As for Jack, I couldn’t wait to see how my biggest protester would solve his problem. And so I grinned proudly when, on the day of our shoot, he walked in  with his partner, holding a plastic tub he would fill with water, tiny trees he’d made of paper, and a hair dryer.

Seen one rock, seen ’em all? Sorry, Reagan. I don’t see them that way. And neither do kids, who can see more than we think, when we give them a chance to keep their imaginations alive.

The creative wellspring

Tuesday, April 23rd, 2013

 

When I was about 30, I entered therapy, thinking that what I wanted was a better marriage, but unconsciously beginning a long journey into becoming more of my real self. I wanted wholeness, the real meaning of the word “healing.”

During that same period, I bought my first 35mm camera and began taking pictures of my two adorable daughters. And then, photographing in a much more serious way. A symbolic way.

One of my photos was of a cutting from a houseplant  The photo was of slender roots emerging into the water contained in a Mason jar.

 I made a print of my photo and gave it to my therapist, explaining that it was a self-portrait. I was like that cutting now—severed from my past and growing my own tentative versions of new roots. When I finished therapy years later, I gave my therapist a tree! I had grown, and now identified as not just the tree, but also a bird whose nest was in the tree. I could fly and also had a safe home. (And, I later wrote Flying Lessons!)

All of this was expressed best by my creative self, who also took up the guitar, filled numerous journals with bad poetry, and played the piano and sang sad old standards. She (that creative self) had come out of the closet, and the observer in me wondered why the explosion of self-expression.

Along with that creativity came a flood of sexuality (I’ve always been a late bloomer) and a deep dive into spirituality. I began to ask myself, “Do creativity, sexuality and spirituality all emerge from the same wellspring?”  And, “What is their connection to my healing journey?”

I’ve had plenty of opportunities to pursue those questions as a writer, photographer and two-time breast cancer survivor. And, I’ve watched many clients now over the years. And here’s what I think:

1.     Creativity, sexuality and spirituality are all forms of the Life Force, and so they do all emerge from a deep wellspring within us, and within the Universe as a whole.

2.     Healing happens from a deeper place than the mind, which understands little of the Creation and its miracles.

3.     When we begin to heal, Life Force is released, and we can’t help wanting to express the joys and sorrows we experience when that happens.

 

4.     When we express ourselves in any creative form, the life force has a place to be seen, appreciated and anchored in our system.

5.     And so, creativity begets more healing. It’s a positive cycle

So here’s the takeaway for you:

1.     What form of creativity is YOU, right now? Remember, it doesn’t have to be art. Cooking, gardening, decorating, creating something beautiful…these are creative acts.

2.     What does it feel like in your body when the life force is moving through you? Call on that feeling and trust that it is healing you in every way.

3.  What if you trusted that just giving yourself time to create might heal all that does not feel well or whole or right within you?

Even if you’re in a period of your life where you feel cut off from your self or your past, you may be growing the roots of a great tree. See if you can trust the life force within you to show you the way.

An Audience with Ansel

Friday, April 12th, 2013

 

It was the summer of 1983, and I was soaring. Griegs’ pianto concerto was blaring in my brown VW bus, and I was heading up Highway 1 to Carmel. I had a date with Ansel Adams.

 I had taken all the photography courses my community college offered, and had moved through a “Masters’ course” at UCLA. So, feeling pretty heady, I applied for the Master’s Class Ansel Adams would give in Carmel for his last time.

It was now or never. My work wasn’t anything like his, so I doubted I would be accepted. Among the slides I submitted with my application, not one was of monumental scenery. Mine were architectural or landscape details and portraits of women,  and none of them demonstrated any of the darkroom expertise for which Ansel was famous. But I had been accepted, and was now on my way to join 59 other students and to meet four other artist/faculty members. I was thrilled.

The 60 of us were divided into four groups of 15 each. Every day for five days, each group would work with a different artist. In the morning, we would see the artist’s work and hear about their experiences, techniques and artistic influences and theories. In the afternoon, we would show our portfolios and get the artist’s critical guidance. Exciting and somewhat terrifying.

I got to eat, sleep, talk and dream photography for five days–the complete opposite of my life as a mother and part-time photographer/teacher at home. My favorite faculty member was Barbara Morgan, who was in her ’80s. Every time she looked at our work, she turned our prints upside down. “I think we should turn everything upside down,” she explained. If it didn’t work as a balanced design, it didn’t work.

On the final day, our group went to Ansel and Virginia’s house for our day with him. He held court in a gallery room with skylights above, his grand piano in the center, and his famous prints ringing the walls. (In my grainy snapshot, you can see the before and after versions of Moonlight Over Hernandez.)

In his 80’s, Ansel was getting ready to retire. Virginia was his charming hostess, showing us the house and serving refreshments. His darkroom assistant, John Sexton, now a renowned photographer/teacher, showed us the famous darkroom and shared some secrets.

Ansel, the Elvis of the photographic world back then, joked, told stories, and wasn’t that much into teaching. But as the inventor of the Zone System and the technique of pre-visualizing a finished print with just the gradations of black and white one wants, he left me a basic and enduring legacy: photography is all about chasing the light.

And that’s what I’ve been doing ever since: chasing the light. Ansel cared about light more than his “school” of photography over someone else’s. I took it as a supreme compliment when, at our student exhibition the last night, he pointed out one of my “Women in Hats,” a color print with layers of Marshall oils (not his style.)

I figure that even though I’ve taken “chasing the light” to a spiritual level, he wouldn’t judge my “school,” and might appreciate how he inspired me.

Every time I walk down the hall to my home office, I pass a framed poster of his Aspens in Northern New Mexico,which he signed for me that night. Ever the flirt, he punctuated his autograph with a wicked smile and an unmistakable wink.

If you were to look at it, you might not see the wink. But for me, the light in it is still there.

Out of the Dark Room

Wednesday, March 20th, 2013

The first photo I ever printed in a darkroom was at summer camp in the 7th grade. The photo was of a girl  pouring a bucket of water over another girl’s head. Hilarious, right? (Remember 7th grade humor?)

My career as a comedienne ceased abruptly, but I would return to photography as my passion and art form. In college I studied in France and returned with eight boxes of slides. Remember slides? Eight rolls doesn’t seem like much for six months nowadays, but they were enough to hook me for life.

In my ‘20’s when I had children, I knew I wanted to take good pictures of them. Serendipity struck when my husband bought a used Nikkormat (another historical reference) from a friend. Just at the time when I needed to learn what an f-stop was, I won a raffle at a local arts center. The prize was a photography course.

I was in love. The teacher held class at her house, which was full of pillows and padded sculptures covered in fabric that had been silk screened with black and white photos. It had never occurred to me that photography was an art.

I took every course my community college offered. I learned how to lock myself in my closet at home so I could take exposed film out of the camera and load it into a developing tank. I studied the masters, determined to become one.

I had a darkroom in each house. When the kids were little, I set an enlarger up in the garage or the laundry room at night. When we moved to a house with a basement, I could leave everything in place. The family got used to my disappearing down the stairs to do magic with only an amber light on.

Maybe what finally drove me to rent a studio was my habit of leaving bottles of developing solution on the kitchen counter next to the olive oil. It became evident that I needed some separation between my growing profession and my personal life.

In this blog I’m going to share some of the things that developed in my darkrooms and in others I set up in schools, in my studio, and in my head, where I processed images from my active imagination. Images, I found, had power. And I had power to create them. Which meant I had power to see things…through a different lens.

That was the adventure. And it still is. I want to share with you what seeing differently has meant to me and to those I’ve worked with—and how photography led me into healing work and eventually on to the shamanic path. It’s really about creativity, and how that part of us is hooked up to the Exit sign in those dark rooms we inhabit sometimes. Creativity can get us out—into the light.

Stay tuned.

Photographing the Unseen

Tuesday, March 12th, 2013

Most people approach photography in a documentary way photographing an event, a person or an object in order to remember it, or to say, “This is how it is.” We tell a story of what we see. But another way to approach photography is through the question, “What have I not seen?”

Now we’re on a treasure hunt! And rather than thinking of “shooting” something with the camera (or phone,) we might think of opening the lens to something new. Just writing that opens my heart to the possibility of a magic moment where I might discover…anything.

Instead of “capturing” a moment, I’m willing to be more passive and let something new present itself to me. It’s the difference between a reporter covering an event and two friends of lovers having an intimate conversation. I’m open today to having a heart-to-heart with the Creation.

This kind of experience opens our inner eye. We find that what was formerly unseen was there all along, but we weren’t seeing it. Maybe we weren’t slowing down enough. Or maybe we weren’t broadening our vision. Or getting close enough. Or maybe we were being too literal and saying to ourselves, “There’s a leaf.” Instead of looking at that object as a way for us to see how light acts.

And what happens when our inner eye is opened? Well, my experience is usually gratitude. Appreciation. That wonderful expansive feeling that comes from being opened to the beauty of something or someone.

So here’s an assignment for you:

Go out for a medicine walk using your camera. The kind of camera makes no difference. Set your intention by asking the Universe to reveal to you something you haven’t seen before. It could be small–like the inside of a flower or a curve of the mountain, or the way your friend’s nose looks when she laughs. You aren’t after masterpieces; the purpose is to open your inner eye.

Share what you find–others would like to see! And tell us how your inner eye opened. That is, when you saw what you saw, what did you see about yourself, or the world, or a way you could be? You can post photos at Facebook.com/PamelaHale9.

What does my wild heart desire, #3

Friday, February 22nd, 2013

Those of you who live in AZ will understand why the snow storm we just had was a major miracle. If you live in Kansas City, you might not agree this week. But for desert dwellers in the middle of a long drought, water in any form is good news.

More importantly for my wild heart, the snow created a fairyland that made me feel about six. Sitting in my home office, I could feel my wild heart sitting up to take notice. “It’s turning white!” she said, anticipating an adventure.

Sure enough, after part one of the storm my husband came home and we put on our boots and went for a walk. Crunching along, halfway around our usual loop, it started to snow again. Slowly at first, then more and more intensely. We started to laugh. Slowly at first, then more and more intensely. Our dog began to prance. We were in the middle of a full-on snow storm.

By the time it all ended, our table on the hill was uninhabitable, but my wild heart loved the scene. And here are some of the reasons:

  1. My wild heart loves surprises.
  2. My wild heart loves wildness in nature.
  3. My wild heart loves beauty.
  4. My wild heart loves transformation.
  5. My wild heart loves joy.

I got all these in one walk. There’s something to treasure, to consider, to keep.

And you?  What does your wild heart love?

What does my wild heart desire, #2

Monday, February 4th, 2013

The second process I’ll use to explore what my wild heart desires is photography. I went on a walk in Catalina State Park, which is a treasure right next to my house. (I know, my wild heart is already grateful.) I took some photos—not thinking too much about why, except I was attracted to that scene—and now I’ll dialogue with them.

Seeing the great Catalinas, touched by the setting sun, I remember that my wild heart’s desire is always to live near beauty, with beauty surrounding me, and to be on the Beauty Path. That is, if for some reason I find myself in a place that doesn’t seem beautiful, I will find beauty there, or create it. Thank you for reminding me of how much I love beauty.

I am reminded that I am always looking for my path. That the exploration–the finding and following my path–is a lovely adventure in itself. My wild heart loves that exploration and isn’t nearly as attached to the destination or the end result as my mind and my ego. Another good reminder!

This scene reminds me that reflections–even in an ordinary rain puddle–can be lovely. The way nature is reflected is a treasure, if we just remember to look. My wild heart loves to find lovely reflections, both in nature and in my own inner landscape. She loves the process of taking time, of looking and remembering to remember. She wants me to always allow time for this.

Finally, I stop and see myself–my shadow–in the landscape. What does this show about my wild heart? The photo tells me that my mind and ego tend to think my shadow–the parts of me that aren’t visible to me in “normal life”–show up in natural ways in order to be recognized and accepted. That means the parts of me that aren’t so nice and pretty are going to show up in my outer life through my relationships, and they’ll also show up in my inner landscape. And that is a good thing. My wild heart doesn’t care if I have imperfections. She’s all about discovery, exploration, venturing into uncharted territory. She says we can all have wonderful discoveries when our shadow shows up. Sometimes these involve healing old wounds and other times they involve seeing and recognizing our gifts.

What do these four photographs say to you about your own wild heart? I invite your comments!

What does my wild heart desire? #1

Wednesday, January 30th, 2013

This is the first of a series of blogs where I’m going to share some techniques I’ve developed for looking deeply within, using the lens of our creative inner eye. I’ll pose a question that I want to explore and share with you, and then present that question using several different processes.

The first question is, what does my wild heart desire?  By my wild heart, I mean the part of my heart that has not been domesticated or tamed by others, by my own traumas and wounds or by the wounds and expectations of the culture. This heart has not been conquered; it is indigenous, in close relationship with the earth and nature and the heavens. It is wild.

The first process is to use the core concept developed by The Painting Experience (processarts.com) to make a painting by feel. That is, I pose the question before a blank paper and my palette, which only has the primary colors, for simplicity. I clear my mind of thoughts as much as possible.

What color wants to go onto the paper? First, it is blue. So I paint blue wherever it wants to go on the paper until that feels finished. Next, I want to make a green of different strengths, so I mix my blue with some yellow and paint until the energy for expressing green quiets. Now I want a bit of red, and then a lot of yellow. And then I feel finished. This painting only takes me minutes, though I have done many that become more complex.

Now I leave the Painting Experience behind, because they do not analyze or name part of the painting. I will involve my left brain and my right to see what message or information I can get from my painting.

What does the blue feel like? And how does the feeling relate to a part of me?

Blue feels like my beloved ocean, like waves, like the part of me that is fluid, flexible, deep, clear and free.

And the green?

Like rolling hills, a beautifully carpeted, lush surface on Mother Earth that supports all life here. The part of me that is both solid, grounded, earthy, and graceful.

The red is like drops of blood, like the life blood that is both from wounds and passion that punctuates and sustains life here on earth.

The yellow is sunlight, the energy of warmth that sustains life and moves through every part of it. My wild heart wants a warm, lively connection with me and with my journey.

Feeling into the painting, is there more I want to add?

I want to finish with some blue dots in the upper left hand corner that feel like stars, a portal into the unknown Universe of which I am a part.

And so I ask the painting as a whole: What does my wild heart desire?

My wild heart wants freedom, flow, beauty, pulsating life, a connection to the sun and stars and to water and ground—to All That Is. Including a warm, lively connection with me and my journey!

And so what if I made those qualities of experience the benchmarks for success? What if success in my life were to mean pleasing my one wild heart?  Hmmm.

And what would that mean for you? I look forward to your comments!