Gail Gray's Blog

January 4, 2016

written 11\11\2015 My latest series is based on my personal history. For a long time I've thought of textile mills as being beautiful architectural structures. Once many of them closed, I've viewed them in a more poignant view, nostalgic, I guess of a simpler, albeit, hardworking time. I was born in a textile town, Lowell, MA and went to work at a textile mill, Joan Fabrics when I was 14. My mother was the payroll accountant and she brought me in as an apprentice during the summers when I was in high school. Almost everyone in my family worked in textile mills including my ex-husband and son. When I was in my 30's, textiles closed down in New England but was still in operation in the south. My ex-husband was a textile engineer and when he found a textile job in the south, we moved to Greenville, a town about the same size as Lowell, looking a lot like Lowell with a river running right through the middle of town. There has been a renewed infusion of the textile mill legacy into my life. First of all with the opening of The Greenville Center for Creative Arts in the Brandon Mill located in the. Village of West Greenville with its gallery, studios and teaching area. In addition the main mill will be turned into loft condos. After having been involved in the village since 2007, this was great news to see this majestic building come alive again. Then, when doing a little research on the mills of my hometown, I discovered that the mills of Joan Fabrics had been converted into studios and loft apartments housing over 300 artists. When I learned this, I'd already painted 5 or so textile mill pieces in both oil and encaustic. But these new pieces developed into personal journeys going back into memory 50 years and completing cycles that have repeated in my family, living places , passions and history. When I first walked into a textile mill as a 14 year old intern, I never dreamt that I would one day paint in a textile mill general store turned art studios at Studio Unknown or see the revitalization of a place like Brandon village (now called the Village of West Greenville) into an art mecca.
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Published on January 04, 2016 07:26 • 22 views
Art is a demanding mistress. When things are going well, the ideas present themselves and the mediums cooperate to the degree they ever will, your everyday life goes to hell. Because you are so driven and you need to ride the wave while its there. Your house is unkempt, friends and family ignored, daily duties forgotten and forget about sleep. On the other end of the balance, when abandoned by the muse, the body collapses, illness sets in, anxiety stalks you and all you want to do is sleep, hoping for inspiration, messages in dreams, a reason to scrape that first stroke of paint on the taunting canvas. For three months was sick and the hectic pace of the holidays, stepped in and I was deluged by doubts and insecurities. Over the previous three months, I painted more than 30 pieces. The last three months, maybe five. But finally the damn broke last week, my subconcious, the muse, a touch of the numinous stepped in and not only guided my hand, but took over. I started a new series of paintings. So far the working title for the series is "Ambiguity Indecision, and Duende. I'll have to see if that sticks. So far these paintings are oil on wood panel or cradled wood. While my last series focused on textile towns had more to do with my personal history of living in two textile towns, this next series is more psychological and vague. They've painted themselves. The more I tried to control the subject matter, the more the paint worked against me, morphing figures, blocking out sections I thought would work, flowing into figures I had not envisioned. The first was meant to simply be two figure studies. But the first figure, who I call "the lady in red," decided to inhabit just a small portion of the board and soon I ended up with three figures and a dark, slightly depressing interior. The painting is titled The Tarot Reading" and I view it as trying to capture a moment of duende. Duende is a Spanish word used a great deal in poetry. There are many different interpretations for this word and to what it implies. In art it refers to the inspiration, the muses, lacunae, memory. In poetry , especially in the works of Federico Lorca, it elevates to a more evasive concept. Hard to explain, easier to describe, I view it as the space where the numinous hides or resides. Its that dark empty space at the bottom of your pocket, that sliver of nothing between blind slats, the moment before you turn a corner, or that sucked in breath before you start a new paragraph. Its the shadowland between two skyscrapers and that second before you step off a train. In my view, in this variation on the word, rue describes a time, space or place where nothing happens at the same time anything can happen. Its like Schrodinger's cat. Everything is possible at the same time. German artist. Anselm Kiefer, says "Painting is difficult. It's not entertainment." And that is the reality. People might consider it a hobby. Enjoyable. But its not. Its more like a compulsion. An idea has to be released, expressed. And even as a writer of many years, words won't cut it. That's why I call the series, Ambiguous. Because I even felt ambiguous about what I want them to evoke in the viewer. I've always wanted my paintings to be a little disturbing, to make people think and ask questions. If people come to my studio looking for something pretty to go on the wall, they've come to the wrong place. Sure my seascapes might be sort of pretty but even in my landscapes, there is something a little off. Some if them are what I consider dreamscapes deal with issues such as anxiety, abandonment, depression, suicidal ideation. Some people have called my work dark and that's true. I don't believe art is meant to decorate walls. Its meant to make you think. I've been reading "Jung on Art" written by. and Jung constantly speaks to the concept that art us to stir up reactions in the viewer. The artist is taken by a concept and for some reason us driven to paint it out and expose the viewer to the concept, even though it might be difficult and painful for the artist to express himself this way. He/she is compelled. Finally I have stumbled on an artist who explains what Jung has said, what musicians say but we hardly hear artists relate, words nit being their medium. Finally I have been held in awe by both the art and words of a living painter. We hear the names Picasso and Munch, Monet and Modigliani over and over but how many living artists in our time hold such rank, command such respect? Anselm Kiefer is one. A quote of his showed up on my Facebook page so I looked up his art and was blown away. His work is moving and terrifyingly beautiful. It makes you think and makes you sad. He has the pattern ability of Pollock but creates dreamscapes, not quite landscapes,, which might be considered nightmares by some. There is a sense of ruin, or decay, abandonment and something close to apocalyptic. But it doesn't take you over the edge due to an overwhelming sense of longing they instill in the viewer. Very few contemporary artists have held me in such awe: Dave Mckean, Nick Bantok, Gerard Desjardins, Steve Viner, Wendy Farrow, Tim Speaker, Dabney Mahanes.
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Published on January 04, 2016 07:08 • 14 views

November 17, 2015

I'm now completely moved into my new studio at Mason Street Studios deep in the heart of the Village of West Greenville.  I'm so excited!  It's located at 2 Mason Street, right off of Pendleton rd., the main drag in the village, and we're behind the Flatiron building where Patricia Kilburg, Janina Ellis, Joseph Bradley, Darin Gerhke, and the Greshenkos have their galleries.  Teresa Roche's Art and Light is right around the corner on Aiken Street, one street over and Midtown Artery, Dabney Mahanes, Julia Shackbie Hughes, Knack, Crave, The Village Studios, Village Traders, Naked Pasta and the Art Bomb are all within walking distance.
I held my first show, "Savoring the Beach," featuring oils, landscapes and encaustics on cradled wood, on September 4th for our monthly first Friday gallery crawl and we had a great turnout.  Upcycle artist, Joyce Reece, complimented the ocean theme with her gorgeous collection of lighthouses, as well as some of her Native American and fall landscapes.  What turned out to be a crawl ended up as the Summer September Storm party of 2015, as a raging thunderstorm with high winds that toppled trees and hail kept our visitors a captive audience.  So we ended up with impromptu songs, live art installations, coloring contests and acting from our visitors, not the residents.  They entertained us! I was lucky to see a lot of friendly faces and meet some new friends.  We ended up with four people who worked at Roger C. Peace Hospital, four people interested in art therapy, investors, realtors, nurses, business owners, and other diverse occupations, all weathering the storm and having a good time, many staying right until closing.   Since then its been a busy time painting and doing art history research. I've finished a number of landscapes for a future show, morphed and distorted like I do. Perhaps they are more like dreamscapes. I also painted 8 to 10 heads. I'm not sure why, I may have been inspired by the advertising for the " Making Faces" show held at the Greenville Center for creative arts. Part of my desire to paint faces was the pursuit to capture emotions. I kept striving to create expressions which viewers could relate to. I guess my 15 years working in the psychological field fuels my constant interest in psychology, Carl Jung, and human nature contributors to my fascination for emotional content in my artwork. So for November First Friday I held the show, "Heads - A Struggle Towards Authenticity." We had a great turnout considering it wad Open Studio and rainy and it was fun because Joyce and I have been joined by two new artists: Freda Beaty,Va jewelry designer and Alice Rattatree, a n illustrator of children s books.
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Published on November 17, 2015 11:02 • 5 views

October 23, 2015

While I enjoy painting a variety of subjects, I have to say that I'm probably more fascinated with faces than most. I go through stages, just finishing up a period of painting landscapes and for some unknown reason decided to switch to faces after painting about twelve landscapes. The challenge is ramped up to portray emotion moreso than with any other topic, including full figures. I'm constantly amazed at how one small stroke around an eye or two worry lines in the forehead can totally change the emotional effect upon the viewer. My most recent series, in oils, ranges from small 5x7 canvases to at this point 16x20. I am a huge believer in expressing a wide range of emotions. I never painted pieces that would just look pretty or nice in a room. I tend to use art ti make people think. I want viewers to wonder about meanings and am often pleased to create a piece that's rather disturbing. I'm a co creator with my subconscious and often can't foresee the end result of a project. Most of my efforts are a means to discover something unknown about myself so what appears to be a portrait is often a symbol or metaphor of a state of mind, an issue, something I need to address or something I'm coping with. I started this series before the art show, "Making Faces" at the Greenville Creative Arts Center. It's a highly diverse and great show by eleven local artists, some I know and some whose works are in my own or my daughter's collection. I'm a huge fan of Dabney Mahaned. Who is probably my favorite figurative artist of Greenville. It was great to see her portraits of artist,Glen Miller. With whom Dabney exchanging projects to paint each other. What a great way to get to know our fellow local artist than through another local artist's eyes?
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Published on October 23, 2015 09:42 • 6 views
While I enjoy painting a variety of subjects, I have to say that I'm probably more fascinated with faces than most. I go through stages, just finishing up a period of painting landscapes and for some unknown reason decided to switch to faces after painting about twelve landscapes. The challenge is ramped up to portray emotion moreso than with any other topic, including full figures. I'm constantly amazed at how one small stroke around an eye or two worry lines in the forehead can totally change the emotional effect upon the viewer. My most recent series, in oils, ranges from small 5x7 canvases to at this point 16x20. I am a huge believer in expressing a wide range of emotions. I never painted pieces that would just look pretty or nice in a room. I tend to use art ti make people think. I want viewers to wonder about meanings and am often pleased to create a piece that's rather disturbing. I'm a co creator with my subconscious and often can't foresee the end result of a project. Most of my efforts are a means to discover something unknown about myself so what appears to be a portrait is often a symbol or metaphor of a state of mind, an issue, something I need to address or something I'm coping with. I started this series before the art show, "Making Faces" at the Greenville Creative Arts Center. It's a highly diverse and great show by eleven local artists, some I know and some whose works are in my own or my daughter's collection. I'm a huge fan of Dabney Mahaned. Who is probably my favorite figurative artist of Greenville. It was great to see her portraits of artist,Glen Miller. With whom Dabney exchanging projects to paint each other. What a great way to get to know our fellow local artist than through another local artist's eyes?
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Published on October 23, 2015 09:42 • 11 views

August 24, 2015

For 17,300 years, dating back to the cave drawings in Lascaux, the horse has been featured in art. Even up until today, the horse is a common theme having survived so many trends and isms as a subject. Is it the athletic beauty of its physicality , its role as a companion in sport, now that its no longer a neccessary helpmate, or is there something illusive but intrinsic, an essence artists continue to try and capture? I ask all this since throughout my artistic life, the horse has appeared in both my art and dreams. A few years ago, when I first started painting horses, it coincided with a series of dreams and I came to realize that to me the horse symbolized spirit. So it doesn't surprise me that I'm painting a series of horses. This is at a time in my life when I don't feel like I have complete control since I have to have CT scans every three months to see if my cancer has returned. Its hard to plan things such as trips or signing a lease for an art studio since if I have to start chemo I will quickly be too weak to drive or paint. I think this is why I'm returkning to horses as a subject. To me they represent spirit and freedom and are also, in my view, messengers from the subconscious. In Jungian writings, the horse is a complex archetypal figure and an important ally once acknowledged and assimilated. Jung connected it with the primal and intuitive side, especially when hidden in the subconscious. the horse can represent a means to reach into the subconscious world to confront the shadow and access the energy and awareness we can find in any exchange with the unconcsious forces we have relegated to the unconscious realm. Once in the realm of shadow work within our dreams, creative imagination or art, we are often confronted with paradox. When we work with the horse archetype, we are harnessing our energy to deal with the inner conflicts we encounter and the desire to paint horses can be sign we are ready for such a journey. Because, every three months, I have to wonder if my cancer has returned, I find myself trying evaluating my life. As I did, I turned to art which serves to ease the worry but also as a means to communicate internaly. The first horse scene of this series I chose to paint wet on wet on wood. I just started layering on colors without a subject in mind. The orange horse appeared and shortly after the blue figure who I considered a man in a hat. It didn't take long before I recognized the vague figure as Picasso from a documentary I had watched a few days earlier. I decided to leave him vague, as if a ghost was speaking to me from the past, perhaps a symbol my unconscious choose telling me to continue using art as a means to reach the subconscious as he had. the architectural lines of the ancient town were evident in the grain of the wood so i brought them out to remind myself that internal work involves heeding not only archetypal aspects but also history, ancestors and those who have lived before us
James Hillman and Sonu Shamadashani , their noteworthy book on Jung's "Red Book" describe how Jung's message through his own art, was an attention to the dead and how such recognition taught him much about his own internal life. When dreams and images, such as those an artist may repeat in their art, are mirrored to historical theme, Joan Chodorow, notes in her book, "Jung on Active Imagination," we view the larger picture and see what it can mean to our ownn future. The second horse I painted in oils in a wet on wet technique and it is more highly colored and expressionistic than my usual style. It looked to me like a harlequin once he was finished and the harlequin has appeared in my art with a horse before. The harlequin to me is representative of the mercurial figure of Hermes, the trickster or communicator all depending on one,s level of awareness and moral state. The sunrise was inspired by the photograph of another artist, Susannah Melee. and the finished painting seems to be influenced by Picasso's work, although I had not seen many of his paintings of horses.
In another oil painting, this one larger and square, I realized that this final draft looked I finished. I had painted a reddish brown horse, rearing up in a vague sort of mystical setting. I painted this piece without, plan, forethought or any idea about message. I just kept standing back and viewing what appeared. The areas surrounding the border came from mistakes where I removed excess paint when finishing the horse and layered it over the sky and what eventually even became the ground. This is not my usual method at all. I also let the painting sit for days drying. Usually I work wet on wet since I'm in a hurry to complete a project. But on this one I decided to see what would strike me. I did fish for ideas, looking up paintings of horses by famous artists and paintings by artists who were familiar with Jung. Most of the rearing horses I found were either threatened or being threatened. After seeing some of the alchemical paintings by Anne Mccoy, the daughter of Andrew Wyeth, I found one she did with a very beautiful horse. However it was not a testing horse. Then a few days later I saw a painting of a woman offering a tray of food to some people. Something about her pose struck me and I realized I needed a woman reaching out to the horse. At first I thought I would paint the same pose but it ended up with the woman comforting the horse instead. She also came out looking fairly ephemeral do the underlayer if paint and I looked ger that way, looking almost ghost-like. It seems to be second step in my interactions with a horse. In the first painting I did at least five years ago, a female figure is offering a mask to a blacvk horse, which in my Jungian way of thinking is my ego trying to place a persona s mask on myself. In two even earlier paintings, I depict alone up a mountain with a huge skeletal face in the foreground. And in a later painting a horse is barely visible outside a window while a woman inside burns letters. Three two paintings seem to me know to represent my detachment from spirit, while me recent one, still in progress is representing an aspect of myself trying to comfort spirit, which is fairly accurate since I await results to see if my cancer returns and am in the midst of moving out of my art studio. Jung considered the horse a symbol of the mother in addition the the subconscious. And her aspect could symbol the maternal care one needs when confronting the confusion and chaos one encounters with.the shadow. We may have to find our personal internal mother to deal with some of the issued we unravel during any sojurn into the subconscious realm.
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Published on August 24, 2015 07:58 • 4 views

August 14, 2015

I am currently working on a new series of artwork including acrylics, encaustics, oils and watercolors on wood, canvas and paper. After reading more by Carl Jung and on Jung, I decided to return to this series which I started over ten years ago. Ever since junior high I've had a fascination for mythology which has been strengthened by my 20 plus year study of Jung, Joseph Campbell and more. I'm including Icons because they serve the role of mythology in co
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Published on August 14, 2015 04:24 • 8 views

April 25, 2015


Less than one week and counting to our grand opening at Studio Unknown and  we're crazy busy with all the preparations.  It's so great to see dreams put into reality of an arts venue where anything can happen.  We already have 25 names on the waiting list for our guest art wall.
Ashton Higgins, photographer, will be our first guest artist and i met him when he climber over three second floor balconies in my daughter's apartment complex to let her know I9 was there and waiting.  It was quite a hilarious story, with me yelling up at her to "open up", throwing rocks and keys until he same to the rescue laughing at this old woman making a scene.  Come to find out he and his wife are both artists.  she went to Limestone College and will have a guest wall later this year, and the friend with him on the balcony is also an artist. Who would have thought it three doors away from where I lived for nearly a year. I volunteered to make them a piece of art for thanking him for risking his life, and when they invited me in, they explained they were artists and collected art.
Odd they way the universe has of introducing people!
Don't have photos of his usual take on things yet, but will post it as soon as he sends it along.  He is busy as
can be with framing and getting his show ready.
We're always brainstorming and we've come up with some more ideas events.  there will definitely be poetry readings at the First Friday in may and we plan to have a chess table and poker table set up in the pavilion for those who enjoy a mental challenge. When visitors are not looking at art, listening to poetry or just hanging out at one of our two fire pits, we hope they'll be coming up with ideas for events.  
We did find out from a friend of resident artist, Kevin Anderson, Leroy of Judson mill, that out building was not only the general store to Brandon Mills Plush mill but was also a kickin' pool hall.  Always packed.  So the concept of games fits right in.  In the future, there are plans for night time golf and night time bocchi ball and who knows what else.
It's interesting how these buildings, built circa turn of the century (Brandon Mills was built in 1899) evolved.  the Village Studios I lived in at one time in the Village at West End was at various times a furniture store, a mortuary and a carpet store. (the metal measuring marks are still on the floor in the lower level). There are even rumors it was a brothel, but I haven't found proof on that one yet.
Over time, we're going to learn a lot more about the history of our section of the Textile Center of Greenville.  Up until the late 1970's and 80'sd it was a bustling community with many shops and services offered along Easley Bridge Rd. Hwy 123. Chuck's barber shop was right next door to where Studio Unknown is located and I've yet to find out what was once located two doors down.  A working upholstery shop is still in existence.
The story about the two Clock restaurants side by side is interesting enough, but that's for a later time, - maybe around the fire pit.
About seven hours later...
 Just got this cool info on our Studio unknown art studio/gallery building when I put out a call on the Brandon Mill Facebook Page.
thanks Kojn, Ken and Gary!
Joan Elizabeth White I will check with my dad, I know about a barber shop somewhere, in that area not sure, but if it is the one I am thinking about dad, may have pictures of the inside of the barber shop not sure my memory shot these days,,,,,,,,,,,,,I know that there was a barber shop on Pendleton once a long time ago, where my oldest got his hair cut, and my youngest got his first hair cut and a week later the guy retired and soon they went out of business.......................1 hr · Like Joan Elizabeth White Wishing you Good luck with your Biz1 hr · Like Ken Adams $ drug store. On down where Chuck's B1 hr · Like Ken Adams OOPS In the coroner building where Hall's Up. shop is there was a drug store. Next door to Chuck's Barber shop there was another barber shop ran by Joe Fulbright. He lived in the large house on West Ave. I remember when he went to $1.25 for a haircut and I thought that was hiway robbery. On down the street there was a pool room but it was hard for a kid get in there. Joe has a brother that does or did cut hair in Dunean. Sorry but no pictures.1 hr · Like Gary Huff Tommy Fulbright has the shop in Dunean, I think the building you're asking about was at the Judson crossing.51 mins · Like Ken Adams Joe Fulbright operated the barber shop at Judson Crossing36 mins · Like
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Published on April 25, 2015 00:47 • 47 views

April 20, 2015

I'm now fully moved into my new art studio alongside, my true friend of over ten years, Szag Randahl and like-minded new friends, owner of Studio Unknown, Bruce Miller and Kevin Anderson.
We have been working non-stop getting the place ready for our opening on First Friday, May 1st, 2015. Bruce has been working like a madman repairing the over 100 year old textile mill general store which houses our four studios, and Cerbu music studio and a killer common area. 
As Bruce describes it, when you open the front door, it's like Betelgeuse, you never know what you'll find.  Out back is paradise and the middle is Castle Annandale. And how true it is.  Bruce has a love of all things medieval as I do so the place indeed feels like a castle.  All the windows have been filled with a cement block walls so its dark until we turn on the overhead fluorescent lights.  I didn't like them at first and knew they would change my colors when I painted but I just take a break, step out into paradise and recheck my tweaking.
The minute I walked into this place I felt a sense of peace and an odd sense of purpose.  Odd I say, because during the past year when I battled with ovarian cancer, I didn't think about things like purpose.  I just took one step after the other on the days I could walk, lived chemo to chemo and binged watched all the TV shows I missed because pre-cancer I didn't watch any TV except the news.
Now that I'm in remission, I feel this incredible push to create - painting for now but maybe poetry later. I want to communicate what I can't say in words because cancer may have been the best thing to ever happen to me.  Prior to my diagnosis I was often depressed and at times suicidal.  I couldn't handle the fake aspects of our societies, the rampant greed, the constant abuse of the people who just want to get by. Even immersed as I am in Carl Jung's theories, I found little comfort when I looked around me.  What good is the subconscious when society just gobbles up everything that is humane? Pre-cancer, I stopped writing, stopped painting, even stopped reading, having lost faith.  The last thing I gave up was music, which was hard, but I didn't want to feel anymore. And music, especially IAMX which I listened to over and over, 100's of times on a constant loop. because the angst in Chris' voice was the angst of the world.
I didn't feel anything when I had cancer.  I never cried.  I never thought I would die.  The doctors told my daughter I almost did three times.  I grew to hate my house, my collection of things I'd collected over the years, each one having either a symbolic meaning or emotionally-charged memory.  i even hated all my books and wondered why I surrounded myself with material things when nothing mattered at all.  I became a shell, vacant and a burden on my family, a hopeless constant reminder laying on the couch of a body without a soul. Both my daughter and I were pretty sure that even after the promised remission I would never come back.
But I did. When Dr. Griffin said he'd have me in full remission in nine months, I thought he was nuts.  I tried to stop chemo twice, since quality of life for a meaningless shell of a person is zilch and I didn't want my daughter, Beth, my son,Jeff and my granddaughters, Kendall and Deven to remember me that way.  But Dr. Griffin was wrong, in November of 2014, I went into remission, six months after my first diagnosis.  Sure I was still tired and he told me he was stopping the chemo three months early. Even though the tumors were gone, he always did a little more just to be on the safe side. But he was afraid the chemo would kill me.  I'd already lost 42 lbs. and been hospitalized five times for blood clots in my lung, dangerous magnesium loss, a collapsed lung. By January 2015 I was listening to music again.  Yep, you got it IAMX.  I started painting and couldn't stop.  Eleven paintings in less than three months, the most prolific I've ever been since I started painting at age 52. I discovered a new found love of life, every minute of it, every nuance, the sounds of the Canadian geese as they flew overhead at my daughter's where I lived while sick, the taste of cheese or chocolate, the hugs of my granddaughters.
My subconscious erupted like a waterfall after a sudden streak of thunderstorms heavy with Gulf tropical water or a fissure opening in the earth releasing all the poison gases held back for years by compressed shale, limestone, granite. I felt the slow resurgence of knowing that one is universe and the universe is our core.  We can tap into anything and everything - sure it can come at a price like your debilitating horrific insomnia, but as with any shaman, you must go into the cave, suffer the peeling away of layers of conditioning until you see that pinhole of hope that leads to layers and layers and layers of meaning, memory and insight that we pack away just to make it through the daily routine of living.
My son, his girlfriend, Janine and I watched you flail yourself onstage in Atlanta in 2013.  We watched a shaman overtaken by energies no one could explain or understand.  We acknowledged it with each other, were swept up in your passionate powerful overwhelming need to "express"  to interpret what your subconscious was so bent on releasing.  You were thin as a rail, and so driven, so forcefully driven you woke us up somehow to turbulence like what they say Van Gogh painted before scientists could discover its true volume and direction.  You tapped into something we can't explain - only experience and your self- sacrifice, opened up those who were eager and ready.
I've done a great deal of studying on shamans, their sacrifice, their self education, their need to disappear into the cave and read the nightmares. They are chosen and often would love to relinquish that life for one of normalcy and banality.
The psychiatrist, Carl Gustav Jung" had a good bit to say about the creative person - when he says "artist" or "poet" he includes musicians, dancers, actors, - anyone whose need to create is so powerful it runs their daily life. 
"The biographies of great artists make it abundantly clear that the creative urge is often so imperious that it battens on their humanity and yokes everything to the service of the work,"Jung writes, "even at the cost of health and ordinary human happiness. The unborn work in the psyche of the artist is a force of nature that achieves its end either with tyrannical might or with the subtle cunning of nature herself, quite regardless of the personal fate of the man who is its vehicle...." Carl Gustav Jung wrote. The secret of artistic creation and the effectiveness of art is to be found in a return to the state of 'participation mystique' – to that level of experience at which it is man who lives, and not the individual...Art is a kind of innate drive that seizes a human being and makes him its instrument. To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being. The specifically artistic disposition involves an overweight of collective psychic life as against the personal. Art is kind of an innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense—he is “collective man”—one who carries and shapes the unconscious, psychic life of mankind. To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being….The artist’s life cannot be otherwise than full of conflicts, for two forces are at war within him—on the one hand the common human longing for happiness, satisfaction and security in life, and on the other a ruthless passion for creation which may go so far as to override every personal desire. The lives of artists are as rule so highly unsatisfactory—not to say tragic—because of their inferiority on the human and personal side, and not because of a sinister disposition. There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire.It makes no difference whether the poet knows that his work is begotten, grows and matures with him, or whether he supposes that by taking thought he produces it out of the void. His opinion of the matter does not change the fact that his work outgrows him as a child its mother. The creative process has feminine quality, and the creative work arises from unconscious depths—we might say, from the realm of the mothers. Whenever the creative force predominates, human life is ruled and molded by the unconscious as against the active will, and the conscious ego is swept along on a subterranean current, being nothing more than a helpless observer of events. The work in process becomes the poet’s fate and determines his psychic development. It is not Goethe who creates Faust, but Faust which creates Goethe.








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Published on April 20, 2015 04:51 • 6 views

April 19, 2015






Studio Unknown
      unbolts it’s locks, oils it’s hinges   and throws open its doors


for its First First Friday
Come check out resident artists        Bruce Miller, Gail Gray,Szag Randahl and Kevin Anderson  in their studiosat 914 Easley Bridge Rd, Greenville, SC
Not far from The Village at the West End     a few blocks up Easley Bridge Rd. from Ryan Calloway’s Creative Ironworks  (going away from downtown)
On the right, look for the word Art on the white awning over the old textile general store at the intersection of Easley Bridge Road and Ledbetter Sreet, Greenville, SC 29611.




                                                                                Open 6-9 pmFriday, May 1, 2015                                                      After Hours Party   9 pm until ?                                                   also open by appt. 864-534-7858
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Published on April 19, 2015 20:16 • 27 views