Duck/Rabbit Illusion in the Studio Part II

Duck/Rabbit Illusion in the Studio Part II (continued from Part I)

The cultural arts of Japan distinguish between a repetitive practice to gain technique for a later time and the practice of being. The Japanese word practice, shugyo, means a deep mind-body integrative activity cultivating a deeper level of consciousness, innate in us all. Proficiency in skill sets is not at the heart of creating. As in the Duck/Rabbit image dichotomy because we are not trained to see the whole, we see the either/or. You could say we have learned separation.

What is the intention of the painter? Entertainment? Fulfillment of personal story? For me painting is a way to return to the source. It is possibly, the first time in the evolution of the cosmos we as human

Which one do you see?

beings choose our direction. In the duality of everyday life, we need the practice of being, in order to perceive beyond the conditioned mind. I am particularly interested in how this relates to developing a visual syntax in painting. As the focus shifts to process rather than outcome or product, spontaneity and authenticity also emerge.

We all have been struck dumb by works of art. Recognizing it is the beginning of going beyond the determined categories of language or thinking. Rupert Spira has said, “that instead of attention traveling along lines of language to an object creating more separation, in art it returns to the source.” When we receive the beauty or truth in art, this is the return. In the realm of an artist, to be wholly present in who we are, is more important than more knowledge, experience, or technique. Because it is a matter of being, not doing, it accesses the universal through the individual.

If we assume as the first step in this process the premise that we are not really separate, but indeed a part of the Whole, we open to the Duck in the Rabbit or the old woman in the young woman. As we expose new understandings we may develop new functions of the eye brain connection. Knowing that the image Rabbit/Duck can be integral to each other softens the either/or schism, inviting inclusion.

Like the Zen koan, the Duck/Rabbit drawing oscillates back and forth begging our awareness to find another entry. We began by acknowledging the leap of understanding beyond our learned patterns. In the next step it is essential to know and connect to our most expansive motives. If we are counting rabbits then ducks are not seen. Thus, technique is never enough, it is the cultivation of being that we must achieve.

The third component in setting up this kind of practice of accessessing another level of consciousness is to practice in the moment. We tend to turn immediately to developing skill sets for later results. Accessibility is not improved if we hang on to these experiences or build systems to capture them. Like the koan practice some attitudes support the possibility of an ‘embrace’ which instigates another kind of knowing. It is critical not to aim for those moments or try to re-create them. Something will come through the painting that is delightful beyond what you can orchestrate. Stay in being rather than simply doing. There are no goals, no failure or success. There is only the intention of awareness.

These practices can be gathered and implemented in other aspects of our lives. The shift in approach provides a broader understanding of what is swirling around us.  In our modern world, for example, nationalism vs globalism, may not be a contradiction but instead requires an integrative way of looking at them both. A way of addressing motives and finding common truths. It is a radical idea, even though it is fundamental to many mystical traditions. If you consider implementing it, it is revolutionary, not only to our self but our community and to the evolutionary edge of our planet.

Below are some attitudes to painting, which can be applied to other activities that invite artistry beyond fundamental skill. They are inspired from my work using large format acrylic painting as practice, experience in temples in Korea and Japan, meditation practice and most recently working on-line with Craig Hamilton.

·                  Presence in the Moment:  This means being aware, not lost in your head in past or future. It is holding the entire painting even as you work on different parts without thinking about it. Without being thinking-centered it is a practice of concentration and engagement. All kinds of perceptions, information and insights arise through this kind of activity with materials.

·                  Not Knowing: As mentioned above this kind of curiosity allows your materials to guide you. It takes strong intention to sustain, often leading into exciting, even thrilling places. I don’t know or care to know what is going on in the process. It happens while I am painting, then letting it go into the unknowable is an important part of the process. There is no trying to get back there or marking success somehow.

·                  Allowing: Allowing as a kind of surrender, a trusting. There is not a subtle negotiation but accepting how things are in this moment.

·                  All is included: In this attitude, nothing is excluded. That means there is no judgment. Everything that is there is right, even if it is not right. There is an acceptance that allows everything to keep moving.

·                  Release identity as…..artist: Let go of any attachment that what you paint will add or diminish who you are. Respond in the moment, then let go. You may not even know to what you are responding.

                                                                                                      Majio