Nomadic Welsh Travels

Art, art for wellbeing, nomad life, Sketchbooks

‘Hiraeth’, biorhythmic health and drawing

Every time I take my van over the border from England back into Wales I feel my nervous system relax, my heart gladden and the sun come out in my soul (even if it’s actually raining – common in this green and verdant land). It was only last year that I began to discover I am one of many who experience the same joy, the same longing to be there and that there was a word for this very state of being – that word is hiraeth in Welsh, conveying a similar but nuanced meaning, to the word saudade in Portuguese.

Derived from “hir”, meaning long, and “aeth”, meaning sorrow or grief, the word hiraeth offers a literal translation that only scratches the surface of its layered significance. “Hiraeth is one of those words that defies translation because of its deep cultural connotations,” says Sioned Davies, professor emeritus and former chair of the School of Welsh at Cardiff University.

Often tied to profound emotional pain, hiraeth surfaces in some of the oldest Welsh texts and has lingered as a poetic burden through the centuries. In the early Welsh verses known as Hen Penillion, an anonymous poet laments the torment of this “cruel hiraeth” that breaks his heart and disturbs his sleep. Steeped in sorrow, the term is frequently understood as a mourning for lost homelands, languages, or traditions—yet it may also hold the promise of their rediscovery and renewal.

It could be because my ancestors were Welsh (I am a Williams through my family line) and I am only an hour from the border; working class, mining stock and resourceful, they moved to England for work in the latter part of the Industrial Revolution. What draws me is the countryside and the coast, the quiet, the warm welcome I always experience, singing in choirs and the communities of resourceful inhabitants. Music, birds, long views and far horizons pull me from my urbanity.

Last year I parked next to a woman who recommended me a book called “The Long Field: WALES, AND THE PRESENCE OF ABSENCE – A MEMOIR’ by Pamela Petro (2023). I enjoyed it very much – another instance of hiraeth nudging up against me. The author says:

‘The Long Field burrows deep into the Welsh countryside to tell how this small country became a big part of my life as an American writer. The book’s format twines my story around that of Wales by viewing both through the lens of hiraeth, a Welsh word that’s famously hard to translate (one literal meaning of hiraeth is ‘long field’). It is also the name for the bone-deep longing for something or someone – a home, culture, language, or even a younger self. The Long Fieldbraids memoir with the essential hiraeth stories of Wales, and in doing so creates a radical new vision of place and belonging’.

Here I am on top of the world physically and emotionally. 360 degree views offering sunrise and sunset, clean air and a home amongst the skylarks. I am so high in fact that the skylarks run around me on the grass before their gradual ascent and transformation into ‘scribbling larks’ beyond where I can see them.

sunset in the side window

I go to sleep when it gets dark and get up just before dawn, I eat when I am hungry and sit and stare at the long view. Biorhythms work nicely. With enough drinking water (no facilities) I spent 5 days treading lightly.

In between the darknesses I walk and draw, practice the ukulele, sit and knit a bit or hum to myself in a Pooh Bear fashion. I write things down which seem important at the time and concentrate on presence. I ponder hiraeth once once more. I draw again.

This last trip I restricted myself to drawing in a small A6 book – an exercise in trying to capture this ‘b i g n e s s’ on a small page. It was somewhat illustrative to begin with and then became more abstract I think. A bit like my mind as it loosened over the days.

A friend, Susie, choir leader and good egg walker and chatterer joined me for three nights to appreciate the vastness and beauty. We shared food and did a lot of bonhomie!

It was cold and very windy but bright and rarified.

We love our houses on wheels!

Here is my art kit for this trip. Small, less choices, easier to dive in, less to blow away off the side of a mountain! A few gouache paints, some coloured pencils and water brushes with a tiny A6 tear off palette by Holbein (Japan). 

My next paintings just moved into vast yellow skies – I needed no form as I became more formless myself, merging into the landscape. I can show those another time; hiraeth is hard to paint.

At my next park up I was on a campsite (to shower and charge up gadgets) where a couple arrived to pitch up next to me. I was a little grumpy having had the vastness of mid Wales hills to myself – but after a friendly moment of verbal interchange I discover that this woman was writing a PhD about hiraeth. !!!!! It seemed such an extraordinary coincidence – we could compare pHd struggles AND compare our experiences of a word which most people haven’t heard of but many of whom may experience – especially in relationship to Wales.

So this is where my heart and soul lie, bounded by hiraeth.

.

A bientôt and hwre ‘wan!

Bye for now!!

You can read all my writings on Substack here

A painting

Uncategorized
‘Celestial Music II’ 83 x 59cm

This painting, completed this week, is available to purchase. Until January 6th it is available, first come first serve, and after that it will go into store toward exhibition.

£400.

Let me know if it’s for you on

clare.wassermann@gmail.com

Or leave a comment with your contact details here.

Detail

Making cosmos from chaos and the music of the spheres have shaped this painting.

If I don’t write again before the new year. Have a good rest and recuperation over the upcoming week or two and see you in the new year.

Thank you for all your support – it does mean a lot.

A bientôt!

Clare x

Field Notes from Portugal

Contemporary Women Artists, nomad life, Outdoor life, painting, Sketchbooks

A sketchbook recently filled – vibrant markets and fishing villages in Southern Portugal.. a tiny film.

My big love is being outside in the landscape and drawing and painting. I have just returned from a lovely ‘milestone’ birthday trip to Portugal where I got to do plenty of that and, unusually for me, worked in just one sketchbook and filled it up. Would you like to see? 
I enjoyed the sights and smells of market days particularly and depicting these bustling, loud and mouthwatering days was my inspiration this time.

This is also my first time filming my sketchbook – so, fingers crossed!!

I spent some of the holiday drawing and painting with my good friend Mary Price and we hoked up for some of our time with another woman, Julie Sajous, a new friend found loitering with sketchbook and pens. 

This common ground of drawing (followed by eating and drinking) is such a uniting factor you know! In times which seem to polarise people we need to find our tribes, connect and lift each other up!

Painting alone and painting with friends – such a great way to connect with place and people. Here are me, Mary Price and Julie Sajous.

That’s me on the left looking like I might fall over backwards into a cactus!

I would love to hear how you record your travels if you do.

Do you draw or photograph and do you think there’s a big difference? Or maybe you keep a written journal? Let me know in the comments ….

Sketchbook colour trials and a pastel da nata (very lifelike!!)

A bientôt

Probably had a beer

Saturday market, Olhão.

For now …

a bientôt

Clare 

🧡

Do read my Substack here

Post election thoughts – U.S. and U.K.

alternative living, alternative ways of doing and being

A Turning Point in the “WEIRD” World: A Call for True Systemic Change

We seem to be standing at a tipping (or have we tipped?) point for the “WEIRD” world—Western, educated, industrialized, rich, and still nominally democratic societies. These nations, with their emphasis on industrial growth and technological advancement, have driven profound change but at great ecological and social costs. It’s clear that we are, in many ways, a “trauma culture,” This trauma is woven into the very fabric of our society, manifesting in deeply ingrained power structures that, according to depth psychologist Bill Plotkin, reflect a kind of perpetual adolescence—an unwillingness to truly mature and evolve. Wholeness lies at the heart of genuine healing. Much like author and activist Joanna Macy, (I wrote about her here) who is often cited in Plotkin’s Wild Mind, he suggests that real, global change begins with each person nurturing their own sense of wholeness. This involves connecting deeply with the four core aspects of the Self and recognizing both the strengths and limitations of our inner subpersonalities. By acknowledging and developing these psychological resources within us, we can uncover the unique gift—our “soulcraft”—that each of us is meant to offer to the world.

Figures like Kamala Harris and Obama bring hope and progress in many ways, and their goals were inspiring, but despite the attempt Harris made to lead America recently, way too late in my opinion, nobody would currently be positioned to overhaul the entire system effectively and equitably. True, healthy systemic change remains elusive. (It is not lost on me that the US richest white men are going for a far more terrifying systemic change – via Project 25 or similar ideals).

The events of recent days have shed a clearer light on something a growing number of people are finally recognising: the system we live under isn’t malfunctioning; it’s functioning precisely as it was designed to. It’s part of the evolution of the planet so far. Its purpose has for many years now been to keep power centralized within a small elite – historically older white men. Today, wealth can come at a younger age and from a wider array of backgrounds, but fundamentally, the system remains steadfast in its structure, ensuring power stays concentrated at the top (elite or rich).

More people than ever are beginning to understand this reality. The challenge we now face is not to “fix” this system but to recognise that it’s functioning exactly as intended. To address the root of our problems, we need a transformation that goes far beyond incremental reforms—a complete redesign of our social and political structures that shifts power from the few to the many, respects our planet, and nurtures collective growth rather than endless profit.

As we stand at this inflection point, the question before us is whether we’ll seize this moment to build a future aligned with equity, sustainability, and true democratic values. The choice is ours, and the time is now.

This is a conversation we need to to open.

‘I Give You Love’ Clare Wassermann 2021

If our goal is to support complex life on Earth—to cultivate both human and non-human flourishing within a vibrant, interconnected web of life—then we need a new system. The old paradigm is crumbling, and its collapse is often painful to witness. It’s clear to many of us that the structures we’ve relied on are now sound their death-rattle, clinging desperately to outdated patterns of power and control as they crumble with devastating impact. It’s not pretty.

What’s striking, though, is that this realization has taken root among those who long for a fair, just, and sustainable world, not among the faction of society that responds to change with division or even violence. Many of us believe that a thriving human population within a thriving biosphere is not only possible but essential. And we’re seeking ways to connect, to understand, and to build bridges that can support this vision of an equitable world.

Before recent elections, those of us who thought leaders like Kamala Harris might win were discussing how we could reach out to each other and foster genuine connection. We were exploring ways to create a space where systemic change could be embraced with resilience, compassion, and openness. We wanted it to be okay—not just for those who support a more equitable society, but for everyone who envisions a world where communities thrive alongside the environment.

But alongside this movement for connection, we’ve also seen a stark contrast. A recent tweet from misogynistic, white supremicist and anti semitic Nick Fuentes, the far right MAGA influencer, recently read, “Your body, my choice” and reveals the opposite mindset—a disturbing desire for control rather than collaboration, for domination rather than shared stewardship. This has in the last few days led to an increase in the number of attacks on women in the U.S.

At this inflection point, the choice before us is clear. Will we move forward by building systems that uplift all forms of life, or will we allow the remnants of the old, self-centered structures to dictate our future? If we want a future of shared responsibility and care, now is the time to choose it and to join together in creating it.

As we watch the foundations of our old system crack, including the erosion of democracy itself, it becomes clear that clinging to the past is holding us back. The sooner we release our desire to return to “the way things were,” the sooner we can focus our energy on building something genuinely new.

Even if leaders like Kamala Harris had won, we’d likely still see many of the same destructive practices—bombing, fracking, deforestation—that strip the Earth of its resources and threaten our shared future. These are deep-seated, systemic issues that no single leader can fully overturn without a broader commitment to transformative change. This applies equally here in the UK as the government disappoint its electorate.

We are in the process of wiping ourselves out through ecological and climate disaster.

What is left for us to do? What can we shape from where we are now?

All that is left is to build communities, find purpose and passion. Find what brings us allive and thrive and join together with others who do the same things. Join a local choir, make art with friends, form a reading or support group online, write bad poetry, join a gardening group or a waste ground revival group, help a neighbour, make tea for three friends, collect rubbish out in the world together and dispose of it appropriately (I mean that metaphorically as well as literally). Where do we find healthy joy in simple things? Where are we in the web of life and how can we keep it intact, repairing, re-spinning and shaping its form into one which places joy, aliveness and thriving at its heart? Connect with others in the web and work to include those who are marginalised.

Let’s step beyond the immature grasping and desiring of ‘stuff’ and ‘power to get stuff’ and attempt a paradigm shift together, beyond the understanding of those rich, white men. Let’s make a bid for a more feminine approach centering care, friendship and joy in whatever small way we can. Bind together locally and through the technology we have now to unite more widely.

Please consider subscribing to my substack writing here

Go out, be in the world, love it and tell about it.

‘Women Supporting Women’ – Clare Wassermann 2016

A bientôt,

Clare

Enchantment and (Re-)Wilding

Art, Contemporary Women Artists, enchantment, Outdoor life, rewilding
Having turned part of the garden over to wildflowers and seen significant increases in insect and bird population I am looking at the connections between these two concepts…

Exploring Enchantment: A Journey of Wonder and Connection

Enchantment is an elusive yet profoundly impactful experience that invites us to see the world through a lens of wonder and interconnectedness. 

Enchantment in Art and Life

In my art manifesto, I touch upon the concept of enchantment as a means to generate new and helpful myths for the future, working towards the re-enchantment of human beings and human actions⁠ suggesting that art can be a powerful tool to reconnect us with a sense of wonder and meaning.

recent mono-print from a small project observing crows, ravens and corvids and investigating the mythology of them – this is Branwen the white raven from Wales – 2024

Literary Perspectives on Enchantment

Katherine May, in her book “Enchantment: Reawakening Wonder in an Exhausted Age” describes it as a small yet magnified wonder, a sense of fascination caught in the web of fable and memory. She emphasizes that enchantment relies on small doses of meaning and fascination, found only when we actively look for them. It is the ability to sense magic in the everyday, to channel it through our minds and bodies, and to be sustained by it⁠. She says:

“I don’t have words to describe what it meant to play with my moon shadow. Instead, I feel it in my body, a kind of physical wonder at what is there waiting for me when I stop to notice.” p.221

This perspective highlights the subtle and often overlooked aspects of enchantment that enrich our daily lives. My personal word for 2024 to hold in mind is “NOTICE” – it’s a helpful one – it invites slowing down, deep looking, investigating effects and affects on the self and sometimes recording in images or words.

Raven monoprint – the legend goes that the crow pulled the light from the heavens to give to our world – 2024

Enchantment as a Way of Being

Sharon Blackie, writing on Substack, offers a definition of enchantment that is grounded in a vivid sense of belonging and participation in life. She describes the enchanted life as one that embraces wonder, engages the creative imagination, and is deeply embodied and ecological. It is about respecting the wisdom of the natural world, thriving on poetry, song, and dance, and living slowly and ethically. Enchantment, for Blackie, is about falling in love with the world anew and making a conscious choice to nourish our bruised psyches⁠. Her approach underscores the holistic and integrative nature of enchantment as a way to live fully and meaningfully.

A small crow painting completed recently – integrating crows into the environment as our ecosystem – 2024

Personal Reflections

In my own practice, I find that the deliberate pursuit of attention, ritual, or reflection does not draw in anything external but rather rearranges what I already know to find new insights. This symbolic thought process offers a repository of understanding that can be triggered by everyday experiences, creating a physical sense of wonder when I stop to notice⁠. This personal reflection aligns with the broader themes of enchantment as a means of self-discovery and connection as well as cultivating a sense of awe as I described here in a piece about drawing outside and cultivating a sense of awe.

Recent watercolour made outside recording a bird singing in a tree in Loulé, Portugal – 2024

Are you ready to embrace the multifaceted experience of enchantment that invites us to engage with the world in deeper and more meaningful ways? Whether through art, literature, or personal reflection, it offers a path to reconnect with the wonder and magic inherent in our lives and that creates meaning for us – something we all need and something we can cultivate in noticing the weeds in the cracks in the pavement and our own plants in window-boxes, balconies and gardens or in walking in our neighbourhood or out in the wider countryside if we have access to that.

Watercolour observational sketch whilst listening to the birds in our local park – 2024

Wilding and Re-wilding (a film)

I am currently researching the concept of Wilding and Re-wilding and as part of this I am looking forward to seeing the film ‘Wilding’ next week which is on at smaller cinemas currently. (Local friends I am going to the Orbit in Wellington, Telford on Friday July at 2.30 – join me!!). Wilding tells the story of a young couple that bets on nature for the future of their failing, four-hundred-year-old estate. The young couple battles entrenched tradition, and dares to place the fate of their farm in the hands of nature. Ripping down the fences, they set the land back to the wild and entrust its recovery to a motley mix of animals both tame and wild. It is the beginning of a grand experiment that will become one of the most significant rewilding experiments in Europe.

In UK and Irish cinemas from June 14. Book tickets on www.WildingMovie.com.

To me this film will probably fit well with the notion of Enchantment – I will think about what the connection sparks.

Here’s a trailer:

I would love to know your views on wielding, re-wilding and the cultivation of Enchantment as re-enchantment!

That’s it from me – I’m off to draw in the garden! – a bientôt !!

love

Clare

Book Ref: May, Katherine (2024), Enchantment: Reawakening Wonder in an Exhausted Age, London: Faber & Faber

Feeling Compressed and Details of an exhibition I am included in.

Art, art for wellbeing, Sketchbooks

I don’t know about you but I am finding this world uncomfortable to live in, to say the least. Yesterday this was acute for me – a feeling of compression and deep sadness from thinking about the hold that big corporations have on the political sphere, freedom of speech and debate and enquiry.

The knowledge of the pain that so many people are going through, the role that hyper-capitalism and extractive growth plays in all of that and the deep lack of concern for the lives of innocent people by those motivated by power and greed is almost too much to bear.

Some people won’t even enter into any debate. It’s understandable. Numbing oneself is sometimes necessary to preserve a sense of being able to live in a more privileged world but I do feel we must face the situation, at least sometimes, and sit in the fire of the discomfort to see where we fit in to all of this by indirect complicity and think about what we can do about our (unintentional) contribution.

This interview with Rev. Angel Kyodo Williams helped me to think about my approach. She is a Buddhist priest and activist and the co-author of Radical Dharma: Talking Race, Love, and Liberation, published by North Atlantic Books and has been bridging the worlds of personal transformation and justice since the publication of her critically-acclaimed book, Being Black: Zen and the Art of Living With Fearlessness and Grace.

Then also yesterday I listened to Shaun McNiff talking about how art heals, the thrust of his 30 years of work in transformational potential that art can bring in this interview for Intellect, a publishing house for arts and health, particularly the Journal of Applied Arts and Health which has lots of, available to the commons, articles of interest, the editor in chief of which, Ross Prior, was my first Director of Studies in my PhD. 

My own work highlights the transformational power of art making through various projects but yesterday was just one of those low, low days of compression which are fortunately fairly rare for me. The wet and cold weather has contributed I’m sure because being out in the garden or walking always shifts things on better days. So anyway I just decided to draw how I felt; sort of pressed in from all these spheres of oppression from Big Tech, growth mindset, cancel culture, suppression of freedom of speech and non-democratic inducing powerlessness.

I wish I had photographed the process but I was engrossed in it for a while, finding a flow as, unintentionally, the drawing took a shift to the positive. I remembered my aphorism that nature shows us best how to operate when making difficult decisions or feeling disempowered and realised it was a full moon as lunar symbols appeared on the page weirdly seemingly without my own direction. I ended up with a positive image of myself, or some sort of being representing me, in play with the spheres which had morphed into representations of positivity and power. How nature and we humans (not that we are separate) must unite to work in harmony to keep this planet in some kind of balance.

Anyway!!! It felt like a positive transmutation and showed the power of making art for personal transformation in a simple, direct and profound way. It lifted the mood and today I have been out planting seeds, weeding and tidying in the garden. The situation of the world has not gone away but I have spent some time facing it and can work out other strategies going forward rather than feeling so disempowered. I can meet discomfort and have ways to work with it, meditation being one of them – listen to Angel Kyodo Williams when you have a moment.

Here is the result of a couple of hours at the sketchbook:

I put it here, though it was for private work, to inspire you to think about drawing how you feel and then to see where it takes you. This made its own transformation – the picture sometimes ‘tells us’ what it needs – and it doesn’t need to transform towards the positive to be effective – the most important thing is that you have EXPRESSED something. 

…and don’t think you are not good enough to draw – it’s for you to do and not to share unless you want to…

The issue of talent is the most effective defense against expression… Sit with what you already have and dream with it in a new way.
from Trust the Process – Shaun NcNiff

Lack of expression becomes repression/suppression and is the root of many an illness, physical and mental. I see that in my work as a homeopath in deep listening to people.

Whenever illness is associated with loss of soul, the arts emerge spontaneously as remedies, soul medicine.
from Art as Medicine – Shaun McNiff

Today I am more upbeat and feeling the interdependence of nature more and this is today’s offering:

I would love a conversation or to hear your thoughts about how you use art making to help yourself or if you would consider trying it.

Creativity is a force of nature, the mainstream of imagination accessible to all.
from Imagination in Action – Shaun McNiff

exhibition news

If you are in the Stourbridge area (central England) you are welcome to attend this lovely exhibition at The General Office. It takes place between 14th and 28th April 2024, Tuesday – Sundays 11am-4pm

Here is a flyer – please do bring friends – 10 artists made 52 pieces of work over the course of the year on a playing card and they are all presented here – 520 artworks!!!

Thank you to Julie Edwards who’s concept this was and her husband John who also takes part and did so much of the design work of the posters and backed Julie up wonderfully over the course of her illness.

walking and drawing in rural france

Art, nomad life, Sketchbooks

January 2024

By now you probably know how much I like to wander about, my head full of silly songs and musings and my backpack filled with pencils, watercolours and a sketchbook.

Luckily I am house and cat sitting this couple of weeks in the beautiful Languedoc, France, staying in a tiny medieval village and enjoying some warmer weather than back in the UK. Here it is dry and around 20 degrees but as you can tell by the video it’s been pretty windy.

Today I wandered and wondered and shot a little film to show you where I walked and the gorgeous studio (of cousin John Baldwin) I come back to for working on a little bit of gouache painting. I went about 6 miles in all and then ventured out again to stand and draw in the little square.

The video gets clearer after the first few seconds – come on my walk with me

I have peace and quiet and sole use of the house – just me and my mind. It’s always interesting what that gets up to when alone and keeping off social media mostly. I enjoy observing its monkey tricks !!

At the end of the day I went along to one of the village squares and stood to draw where I encountered an elderly man who enjoyed telling me about his paintings and a young woman called Nancy who has illustrated children’s books. So friendly – and they didn’t even laugh at my French!

France is very wabi-sabi, there’s always beauty in the nooks and crannies of back streets. Here’s my favourite example from a door today – god only knows what kind of technology this is!!

I painted this little scene from the bench by the bridge – the medieval buildings are suitably wonky enough to be painted in a gale! Afterwards the cat came to give me her autograph…

Next time I come I will bring my harmonium – it needs a little work doing to it’s coupler mechanism… a useful industry in a teeny village…

Back in the studio in the middle of the day I played with gouache – needed to use the pink to capture the chill of yesterday…

Anyway I may work into this a bit tomorrow when it’s light.

This was the original drawing I did on my knee in the hills – so far I prefer it to the painting but then that’s not complete and I’m sure I will warm up!

My greatest pleasure though is my lovely new sketchbook – a Pith – lovely smooth and strong paper and good for watercolour and other wet stuff at 200g paper. I have suddenly become a big fan of smoooooooth paper!

I will try to post some more here over the next couple of days – thank you for dropping by!!

Stream of Consciousness Sketchbook

Sketchbooks, Uncategorized

How I use my sketchbook to find the content of my thoughts

Sketchbook as a portal. This is how my mind gets going sometimes…I’m not sure how much control I have over it, but it’s a way of using a sketchbook to find stuff going on in this head ….

CLARE WASSERMANN

9 FEB 2024

These are the images for this particular stream of consciousness sketchbook. They are copies of a long series of paintings I made on the sea wall in blustery North Wales through which I embody the storm. This is a section in my PhD research which I have really enjoyed documenting. I find that I don’t really have too much control over what I am writing – I leave it to come through me in a way akin to the notion of ‘enchantment’ spoken about by activist and leader Nina Simons. She advocates taking a solitary walk and seeing what comes through you as a form of contemplative practice. Here I paste images made by myself and then open myself up to what writing is there…it’s an experience I enjoy, it’s immersive. It’s part of sadhana a practice in jñāna yoga.

Here are some pages:

This I call the questioning of abstract ideas through the vehicle of images. I am questioning here the nature of reality. Have you ever thought about that?


I like these two quotes by Margaret Davidson on contemporary drawing:

When you look more closely you see beyond the images and into the variations of those internal ideas. 

Davidson 2011: 174

and

Consciousness in drawing is one of those states of mind that, once you reach it, you can’t imagine the time before reaching it. Once you know it, you can’t return to not knowing it. When you become conscious and intentional, you cross over from some realm of ignorance to true awareness.

Davidson 2011:178

Ref: Davidson, Margaret (2011), Contemporary drawing: key concepts and techniques, New York: Random House.

She’s spot on as far as I’m concerned.

This week in the studio I am working particularly on this painting – by next week’s newsletter it will be done. It’s one of three that have occupied me during January and February – they are towards a solo exhibition in August in Much Wenlock, Shropshire UK. Which reminds me I must get cracking on that work…speed up a bit!

83 x 59cm – work in progress but nearly there!

That’s all for this week!

but …

I’d love to know if :

you write much in your sketchbooks if you have them?

you do free writing or a stream of consciousness

you have worked with Julia Cameron’s morning pages concept

have tried asemic writing?

A Winter Meander into Something Else

Art, Contemporary Women Artists

Searching out and finding it there all the time in the slow and silent time between Christmas and New Year: finding a new direction. Not all who wander are lost….

I treated myself to a lovely Mary Fedden book for Christmas and haven’t been able to put her down. Whilst at this still point of winter where I sometimes sit in an uncomfortable art fug, trying to peer into my future art direction, I decided to look at painting, as she did, some entirely domestic items. 

Having also purloined (gifted to self) some rather juicy Holbein gouache tubes and hauled myself from a mince-pie eating stupor, I played with a small painting in the manner of Fedden, only 18 x 13cm which suits this medium. It’s called ‘Julia’s Tea Light’ – still the usual bird theme, rather decorative and still using a bit of imaginative daydreaming as is my way.

I think it would translate well into a larger oil painting; when I enlarged it to print it out, the brush strokes showed nicely. I do love the way gouache paint can mimic watercolours (in the fat end of the squash) and opaque oil, all one one handy travelling palette…

… and travelling is coming up – so I am thinking I might take these materials to France in January where I am house sitting for a couple of weeks in the Languedoc (animal rights you know!) to explore the landscape and the domestic (there may be cat paintings of George and Zuzu and there are those beautiful Langedoc floor tiles!).

Then I was also thinking about how I often use my iPad to change my physical work on paper and whether I could develop some kind of studio diary in the future. I am completely inspired by the lovely studio journals of Mrs. Bertimus (I am fortunate enough to have purchased one of her beautiful paintings for my lounge) and although I can’t say that I can match her prowess in the tech side, I had a go this afternoon and think I might continue on in this way and perhaps show some here. Something like this:

Anyway I can see that it will unfortunately lead to any members of my household finding it even harder to catch my attention in the New Year, but when I am travelling I think I am going to like the combination of physical and digital. I am finding writing is an increasingly useful way to explore the scrapings from my mind which usually dance away into the atmosphere to somewhere I know not where ….

Will you join me in this diary form and follow along ? Thanks for reading – I appreciate knowing you are there. A great place to follow my posts is on Substack where I am enjoying a longer form of writing. Here is the link

https://clarewassermann.substack.com

You can comment here or over there! Substack is a lovely platform – no ads and no algorithms

That’s all for now – see you soon! – love Clare

Dreamworks and the symbolism of birds

Art, Contemporary Women Artists, painting, philosophy

If I look at most of my paintings over the last few years they almost all feature birds. Do you remember in lockdown in 2020 how we, if we were fortunate to be able to, spent such a lot of time noticing birds in our gardens and parks, the drop in traffic noise, the stillness rarified by fear amplifying their song?

During that time I was struck by the activity in the garden of the birds and I began to paint them, almost sanctifying their presence by placing them against imaginary stained glass windows. They started to become symbolic of freedom and adaptability to me. There seemed nothing freer than a bird, able to go wherever it desired, able to adapt to the buffeting of winds and forces of nature.

Two oil paintings made by myself during lockdown 30 x 30cm


What was the freedom I craved?

  • at first it was definitely a ‘freedom from…’ away from the city, the griminess of urban decay, away from domestic duty, peace from interruptions of children, family, spouse, responsibility, obligation,time constraints and room for spacious thinking time and epic landscapes.
  • then I seemed to move on and the symbol came to stand for ‘freedom to…’ a feeling of wanting to run for the hills, to the wild open spaces of Wales, to the mountain tops and valleys, to quiet contemplative woodlands with ancient trees where I could feel rooted and amongst the ancients.
  • eventually, as I worked through these challenges I realised that the freedom lay in my head all along, I didn’t need to do a geographical relocation, because I learned to manage a work life balance and prioritise those activities (and non-activities) that kept me sane. I can go into those another time but as I realised who I really was, the shift came and the symbol stood instead for ‘transcendent thinking.’ The understanding of who I am, what I am and what I am here for became my work and fulfilled many of the needs I thought I had. The hills, wide open spaces, mountains and valleys, places of contemplation and rootedness were all within.

Jung and Symbolism

Along the way I started to become interested in the work of C.G. Jung, the father of psychoanalysis (after Freud with whom I would have a difficult relationship!). Jung was particularly interested in dreams and symbols developing a process he termed active imagination.

Jung’s ideas fed into psychotherapy, art therapy, dance and music therapy all part of the panoply of psychological release available today. All the time the idea, for him, was to allow us to get in touch with our true self and find the senses of purpose that we all need.

Jung himself was a mystic. He filled sketchbook after sketchbook with notes and drawings which he called the Black Books, which were eventually consolodated into the most beautiful work The Red Book, or Liber Novus which he stipulated should not be published until after his death. It is filled with astonishingly beautiful symbolic watercolours. Jung was a mystic but he kept it hidden from the scientific world for fear of being discredited in his field of psychoanalysis.

A page from Jung’s Black Books which represent his visionary imagination through writing and painting reflecting on his own life as well as the evolution of a theory of analytic psychology
The Cosmic Egg from “The Red Book” by Jung

Jung also became fascinated by alchemy as a symbolic representation of individuation, the process of synthesis of the Self which consists mainly of the union of the unconscious and the consciousness. He said:

“Only after I had familiarised myself with alchemy did I realise that the unconscious is a process, and that the psyche is transformed or developed by the relationship of the ego to the contents of the unconscious”. 

Jung, C.G. (1989),Memories, Dreams, Reflections Vintage

Jung and Active Imagination

Jung developed a method of assimilation of unconscious contents through their experimentation as fantasies in the wakeful state which he termed ‘active imagination’. This can be used in or out of the therapeutic environment as a journey of possible self discovery on the path to individuation or self-realisation. I have played with this approach myself through recording my dreams, which are often of birds, and making more resolved work from the dream-sketches:

Examples of my dream-sketches
, ‘Dreamworks’, quick sketch later worked into, graphite and acrylic on paper, 20.5 x 15cm, 2023
Dreamworks 4’, watercolour and Neocolour II sticks on paper, 21.5 x 28cm, 2023, writing in corner shows the ‘Gayatri Mantra’ which was in my mind on waking. This a mantra used in Hindu based meditation practices concerning invoking light.

Meta Thinking / Transcendent Thinking

This work has lead to further thought, for me, about the idea of being metahuman. To be metahuman means to move past the limitations constructed by the mind and enter a new state of awareness where we have deliberate and concrete access to peak experiences that can transform our lives from the inside out. I would count drawing, meditation and walking in nature as being peak experiences. Athletes and musicians often experience this state when performing particularly well. You might call it ‘being in the zone.’

Waking up, we learn, isn’t just about mindfulness or meditation. Waking up, to become metahuman, is to expand our consciousness in all that we think, say, and do. By going beyond, we liberate ourselves from old conditioning and all the mental constructs that underlie anxiety, tension, and ego-driven demands. Useful insight on this is Deepak Chopra’s ‘Metahuman: Unleashing Your Infinite Potential’ much of which draws from ideas from the Upanishads and Vedanta teachings of ancient India.

This I would say could be called transcendent thinking where transcendent doesn’t mean going above, but more working alongside from a different perspective.

The combination of meta thinking, ideas of alchemy and symbolism have resulted in some interesting and helpful personal development. Combining this with study of Sanskrit texts such as The UpanishadsThe Yoga Sutras and the Bhagavad Gita has made for an enlightening journey. Long may it continue!!!


… and the birds continue… more paintings

At a recent three person exhibition, ‘Sprezzatura’ with Julia Burns and Rachel Magdeburg, I was able to show some of the paintings resulting from these dreams and imaginations. They are all available to see here (they are at a very good price for a VERY limited time – let me know if you would like to purchase) but here are a few:

‘Axis Mundi’- Acrylic paint on paper – 71 x 120cm -£300
‘Om Kara’ – Acrylic paint on paper – 73 x 73 cm – £300
‘Thinly Veiled’ – Acrylic paint on paper – 72 x 74cm – £300

I have put the prices of these paintings here and there are more on the link page too – I unashamedly am selling these for funds for next year’s PhD fees and my travel related to drawing and painting in my beloved Campervan – a place for spacious thinking. Let me know if you would like to purchase. Postage is extra, at cost, and the work will be sent in a strong tube for you to choose a frame. Get a bargain whilst it lasts because through a gallery …. well, you know …..