Rebekah Lovejoy • “Organic Patterns” Series Artist’s Statement My process is simultaneously intuitive and calculated, an attempt to make conscious the process of organic creation. My work gives me a direct experience[…]
A lot can happen in a compact package … my internal practice of improvisation and free association in the framework of the external model of no studio, tiny space, and lack of venues. The result is the minimal possibility for a vast artwork that needs no requirement of a studio or gallery for its creation and appreciation.
Attend to your dreams! Consort with them! The archetypal energy carried by wild animals in dreams, shamanic journeys, and other forms of vision work carry specific knowledge designed to bring us back into relationship with the primalcy lost to our worldly outer life. This call of the wild speaks our longing to return to the simple truth of the soul and our wild heart selves.
Currently a lecturer in English Literature and Composition at CSULA while serving as Educational Consultant and Editor for the Hawaii Institute of Molecular Education, Deborah continues her work as a fine artist through mixed media. Deborah has worked as Lead Scenic for HBO Films and in various capacities for independent film production companies, as well as accomplishing faux painting for home interiors and antique furniture.
Preach in a choir,
but how do you live?
Balanced on Heaven’s wire
between victory and giving in;
exalting your soul, living kindness, shedding sin;
freed from Elaine, singing “Never Again.”
What’s to come has already been,
say those convinced of static signs.
What’s to come must be forged within,
know those contesting dark designs.
Wounds of an arrow or axe heal swiftly.
Wounds of violent speech heal ever slowly.
Clearing all our hungry indebtedness
requires of us, first, a making good.
Like cartographers of the stars and globe, the apocalyptic writers mapped dynamics of human nature and society, captured their amorphous but essential, distinguishable shape, and — in a code of metaphors — recorded their observations. Some of these recordings are called Scripture. The extrapolation of this unscientific art gave us our apocalyptic literature.
We were talking about the difference between Dark Persephone and Persephone as Queen. And Dark Persephone is the Kore. And the reason she’s the Kore is because instead of opening to her mother with compassion, and opening to Hades with compassion, for these three interstitial months, she uses them as a withholding where she’s actually claiming herself and defending herself and withholding herself in a space between the two poles of the Dark Lord and her mother. But the reason she needs to hold that space between the Dark Lord and her mother is because she has not integrated the two of them through compassion.
What the Reverend Martin Luther King, Jr., knew so well is that our job is not to react in kind, eye for an eye, but to respond with a fierce and loving kindness that looks the oppressor in the eye — to respond with a willingness to regard ourselves with the self-esteem not only that we want from others but that we must extend to others, regardless of color, creed, or character.
You remember Dr. King talking about character?
I may gulp them down, these received seeds
(or were they found in this cold dead ground
by me finding what it means to be free?).
Cold dead underground foreign to sun,
that life waking in me every day
impelling me to find my home,
as intentions impel expressions
and reputations impel concern,
the aspirations of our mothers
and fathers to live through us all they’ve learned.
When Friedrich Nietzsche maligned Richard Wagner, after years as his laudatory “prophet,” he did so not because the great composer diminished in artistry but because he moved from operas based in Teutonic mythology (epitomized by Der Ring des Nibelungen to a final trio based in Christian religiosity — Tristan und Isolde, Die Meistersinger, Parsifal.
A film directed by Todd Haynes, I’m Not There (2007) is on the surface an exploration into the psyche of Bob Dylan, but underneath this it is an exploration of the psyche of the 1960s — and underneath that an exploration of the human psyche itself with its archetypes and complexes alive, personified, and driving the meat of the body in varied directions. In playing with the layers and personifications of one human psyche, Haynes is able to depict the Postmodern inconsistencies of today’s society.