Embodyment of Soulwork

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Permalink Reply by Ale Scigliano on February 20, 2009 at 5:52pm

Hello Anne. In my opinion I think that you’ve touched a very interesting point. It’s odd, around the same time, in 1998, I was finishing my studies with that teacher that one time said ‘entering with your fingers in what you are doing is to entering with your soul into the artwork’, and we were working with a model, live; we painted the human body… With time, I could notice that this studio dismantled me, and that’s where my spiritual emergency starts and where I paint themes absolutely different than all that I was painting since then: the social painting. Those themes were holotropic themes, and I didn’t know it. Besides, my way of painting was different too: I was painting in an amplified state of conscience. Today I can’t conceive art if I don’t paint in an amplified state of conscience, connected with my inner self, my source and, obviously, absolutely inspired and based on the HB. /
Hola Anne. En mi opinión creo que es un punto muy interesante el que estas tocando.
Curiosamente, para la misma época 1998, yo terminaba de estudiar con ese maestro que decía: - entrar con los dedos sobre lo que estas haciendo, es entrar con el alma a la obra- y mira como son las cosas!, trabajábamos con modelo en vivo, dibujábamos el cuerpo humano... Con el tiempo, pude notar que este taller o estudio, me produjo una desestructura donde comienza mi emergencia espiritual y en donde pintaba temas absolutamente distintos a los que venia haciendo anteriormente: el dibujo social; eran (sin yo saberlo) todos temas holotrópicos, además mi forma de pintar era distinta, pintaba en un estado ampliado de conciencia. Hoy no concibo pintar si no es en un estado ampliado de consciencia , conectada con mi interior, con mi fuente , absolutamente presente y obviamente inspirada y basando los temas en la HB.

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Permalink Reply by Anne Høivik on February 20, 2009 at 7:29pm

Dear Ale,
Thank you for sharing your experience from 1998 !
It was interesting to read about the shift in your consciousness and the shift in your way of painting. I think art becomes a RITUAL when we work in this way. It is as if the creative ACT itself becomes the bridge to our inner Self. In this way the DOING becomes more important than the product - at least I think so.

I would like very much to see one of your paintings that express this experience.

Love,
Anne.

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Permalink Reply by Ale Scigliano on February 25, 2009 at 3:05am

Oh yes Anne! I absolutely agree with you ‘painting like this is a ritual’ and, for me, this ritual begins with the start of every workshop - sometimes even a week before the HB- where I feel that my soul is getting ready to live the experience.

Anne, I invite you to watch the video which is in ‘Home’, it calls ‘Soul Journey’. There you would find most of my artworks, in chronological order that for me is the best way to see all the process with the HB. Although most of my mandalas or artworks were made in an amplified state of conscience, I would like to talk about three of them because of the interesting theme that we are sharing: 1) Danza Sufi, 2) El Compasivo y 3) Death Transformation.

The first mandala was made during my spiritual emergency. Basely I made it at a daybreak; although days before I made an sketch of some of the Derviches Giróvagos, that night I felt vital and with a lot of energy (like Grace). I danced in my studio with ethnic music to get in state, state that I reached when I let my self go, and then I burnt incense, cotton and candles to generate smoke and paint with it. It appeared lots of interesting images which I cut, pasted and integrated to the Derviches Girovagos.

About the second artwork, I just remember that I stained all the paper with a paintbrush, my hands, a cloth; I couldn’t see anything, absolutely nothing; I pulled paint and oil with a cloth and a lot of energy and I still couldn’t see anything. I wondered my self ‘What am I doing? This is the worst of my paintings’, but another part of my self just couldn’t disconnect from the painting, so I took some distance and got the room darker. I contemplated the painting for a few minutes and the next impulse was to keep painting in darkness with a wide paintbrush and white oil. The curious thing was that with just two brushstrokes, it appeared the pair of eyes.

The third mandala was made after a workshop where, I think, I started to get contact with the pre natal and the channel of childbirth. Then, in my studio I painted like I wasn’t close the breathwork at all, I think that I just stained the paper and for a few days I didn’t go to the studio, I was refusing my self to see what was emerging, until after three or four days I defined some images on those stains. Sharing this mandala at the shrering, a friend showed me something that I didn’t see on the painting: the word ‘YO’ –‘me’-, then, I could close the experience.


Oh SI Anne! estoy completa y absolutamente de acuerdo con vos " pintar de esta forma es un RITUAL" y en mi caso creo que el ritual comienza en los preparativos de cada taller, a veces una semana antes de HB, en donde siento que mi alma se prepara para la experiencia.
Anne, te invito a ver el video que esta en Home de esta comunidad "Viaje del Alma". ahí están las mayorías de mis dibujos y pinturas, en orden cronológico que para mi es la mejor forma de ver el Arte Holotrópico o el proceso de HB. Si bien, la mayorías de mis obras o mandalas fueron realizadas en estado ampliado de consciencia , hay tres de ellas que quisiera destacar por el punto tan interesante que estamos discutiendo y compartiendo: 1) Danza Sufi, 2) El Compasivo y 3) Death Transformation.
El primer mandala fue en la etapa de mi emerger espiritual. Básicamente lo realicé en una madrugada, aunque días antes había esbozado y sombreado un poco a los Derviches Giróvagos esa noche me sentía vital y con gran caudal de energía (como Grace) Dance en mi taller, con música étnica, para entrar en estado que fue cuando solté el cuerpo y luego queme incienso, algodón y velas , todo para generar humo y dibujar con el... salieron imágenes muy interesantes que después recorte, pegue e integre a los Derviches Giróvagos.
El segundo: tan solo recuerdo que había manchado toda la hoja, con pincel, con las manos, con un trapo y no veía nada, absolutamente nada; con un trapo y mucha energía arrastre pintura ,óleo ; seguía sin ver nada y mi cabeza decía :- que estoy haciendo? esta es la peor de mis obras!- y otra parte mía no podía desconectarse de la pintura, así que tome distancia y oscurecí el taller, la contemple por unos minutos y el siguiente impulso fue seguir pintando a oscuras en el taller con una pinceleta de una pulgada y óleo blanco, lo curioso fue que (sin sentido aparente) con dos simples pinceladas aparecieron los ojos.
El tercer mandala: fue después de un taller, en donde creo, comienzo a tener contacto con lo perinatal y el canal de parto. Ya en mi taller pinte como si no hubiese cerrado la respiración, creo que simplemente manche el papel y durante los días siguientes no volví a entrar a mi taller, me negaba a ver lo que estaba emergiendo, hasta que tomando coraje, después de tres o cuatro días definí algunas imágenes de esas manchas. En un shering posterior, compartiendo este mandala una amiga y compañera me muestra algo que yo no había notado en la obra :- la palabra "YO" - y fue justo al verla que cerré la experiencia.

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Permalink Reply by Grace Victoria on February 20, 2009 at 7:18pm

Anne, Ale, and everyone,

Thanks for sharing your work Anne. I am intriqued by the idea of painting with your entire body and creating huge pieces of art. I think this speaks to what Ale wrote about being in an "amplified consciousness" and letting the work flow from the inner and reflect the outer social setting.

Do you hang your artwork where you can see it after a breathwork and reflect upon what it symbolises for you as Ale said "where you are now"? I find that when I leave my work on my walls, it solidifies for me authentic knowing of aspects of myself per Jung's advice.

I have some powerful soul collage cards and masks that I have made at Jacquie's workshops that are equally as powerful in validating my creative spark and helping to heal/integrate both trauma and unacknowledged aspects of myself. I continue to work with masks to process with issues arise. What other mediums do you use? Oh, I also use dance!

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Permalink Reply by Anne Høivik on February 20, 2009 at 8:01pm

Hi Grace,

Thanks for sharing!
Yes, I do hang up my artwork in order to stay connected to it for some time. I am also very interested in C.G.Jung and his "Process of Individuation". Sometimes I paint my dreams and then - slowly - the message comes to me, through the artwork (on the wall).

Like you I have been working with masks for several years. It is a great way of working. I also used to teach it together with meditation - or better - meditate while working with the masks.

Since I was trained as an Exp. Art Therapist and worked for many years in this way, I like to use many mediums. Right now I like to combine mandalas with text, poetry or story-telling. The inner pictures have helped me to find MY OWN WORDS. For me the vision quest has been my path to identity & community.
Anne

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Permalink Reply by Grace Victoria on March 2, 2009 at 4:42am

Anne,
Do you know of a material for mask making that dries quickly? I have been using plaster that takes 24 hours to dry. What material do you use?

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Permalink Reply by margo van der voort van der klei on January 2, 2010 at 11:15am

Has anybody answered your question? Maybe you've found a solution but I was wondering what kind of plaster you are using. 24 hours is a very long time. Plaster of Paris I use for making face masks. I worked with children and making face masks and Plaster of Paris dries very quickly, within 10 minutes it sets and sometimes even quicker depending on how many layers you use. You can get Plaster of Paris in powder form but also as bandages. Bandages used for making plaster casts after people break an arm or a leg. It's not cheap but so easy to work with. It comes in a roll that you can cut into pieces, large or small, then you put these pieces in water briefly before you put it on a face. Always use lots of sorbolene cream and vaseline (petroleum jelly) to protect the skin, especially around hairy areas like the eye brows and hairline.
Good luck, I hope you can find Plaster of Paris and create some amazing masks.
Margo

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Permalink Reply by margo van der voort van der klei on January 2, 2010 at 11:09am

Yes, what a good way of staying connected to the breathwork by using your whole body to express art. I love this painting/mandala. I can feel the energy you've put into it. I find myself often wanting to break out the mandala circle so I would love to have a wall full of paper to unleash my experiences. Thank you for sharing!
Margo

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