Showing posts with label sacred art. Show all posts
Showing posts with label sacred art. Show all posts

Thursday, May 29, 2014

Being Thankful for the Little Things



They say we should be thankful for the little things in life.  How many times have you heard that expression?

I had to opportunity to hear a woman speak recently who was recovering from a stroke.  She was leading a meditation, and was talking about how we should be grateful and more mindful of all the little things in our lives.  She then proceeded to share with us some of the little things 'she' was grateful for.


 
Her list was long and meandering - but the beautiful flow and sincerity of her words deeply touched everyone in the room.  It wasn't so much a meditation, as a journey.  Her unique journey ~

" - like when you are looking for a parking place and you happen to see the very last one in the lot...and you barely have room to squeeze your car into the corner - but hey, you got to park!  Or how about there not being any ice on the roads anymore so you don't have to worry about hitting another car or falling down when you try to get out?  Those are some of the things I'm grateful for...and I'm also pretty grateful to get my plants in the ground after they have been sitting on my deck for a long time ~"

Through my silent laughter at her candor - eyes closed and tears of happiness streaming down my smiling face - I felt my heart completely open up and send all the love and hugs I had within me to this wonderful, brave soul.
Yes, I thought - it really is the small things we overlook that we should be thankful for.
It really is ~


~ diane



It's all in Your Dreams #1 by Diane Fergurson
Prints available on Etsy



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Friday, April 18, 2014

Earthly Mother

Earthly Mother Primal, Pure, Perfect
Wholeness of life - love giving of itself
She is the light of the earth
Ever flowing - all in all
Follow her light from the visible
to the invisible within your innermost self
Then the vastness of your vision
transcends the physical eye
It is then the body becomes suffused
with a light love and beauty
We then know this love light and beauty
To be the Divine Spring within us
The living waters flowing outwards upon all earth life
Your Earthly Mother's law is Reverence for life
Become this law then your body given you
by your Earthly Mother will never know
disease nor death.

                                                                                                WILLIAM RICKETTS



** Hidden deep in an Australian rainforest, the clay sculptures of William Ricketts express the Aborigines’ deep connection with Mother Nature.
Born in 1898, William Ricketts was an Australian sculptor and potter who developed a spiritual bond with the Aboriginal people of Central Australia. The time he spent with them, between 1949 and 1960 inspired his works in Potter’s Sanctuary (now known as William Ricketts Sanctuary).


Earthly Mother photo courtesy of Adam Fergurson 



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Friday, May 25, 2012

Artizen Magazine Interview - Diane Fergurson


I recently had the wonderful opportunity to interview with Artizen Magazine about my artwork, the Mandala Series, Connecting Heaven and Earth, qigong, creativity - and a whole variety of other interesting topics!  Artizen Magazine is an absolutely 'gorgeous' award winning, online publication.  If you are not familiar with it, take a few minutes to look around - enjoy!

interview link




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Tuesday, September 13, 2011

The Road to Enlightenment

I've been fortunate enough to visit the Montreal Museum of Fine Arts (Beaux-Arts de Montreal) quite a few times over the years and the one sculpture that invariably captures my complete attention every time is  "The Road To Enlightenment" by British Sculptor Marc Quinn.  It's not just the startling appearance of the yoga-like figure that always draws me in, but also how the sculpture radiates a complete sense of peace and calm.  The Road to Enlightenment is a really good study in juxtaposition.

The Road to Enlightenment was one in a series of bronze sculptures that was originally created as part of the series, "Sphinx", that premiered at the Mary Boone Gallery in New York in 1997.  If the figure in the piece looks familiar, it's supermodel Kate Moss.  Quinn often depicted the images of real, recognizable people his sculptures.  He was interested in using their images to help him convey various ideas and emotions that he wanted to explore.

Coincidentally, a few months ago, I ran across another an image of Kate Moss enshrined in a hologram at the Alexander McQueen Exhibit at the Metropolitan Museum of Art in New York. Seeing her image used by two different artists, in two different exhibits, within a few months time was pretty interesting. And reflecting back on Moss as a central figure in fashion almost 15 years later, I think the general public tends to forget the muse she played for so many important artists and designers.

As with all artwork, the Quinn sculpture leaves itself open to a number of different interpretations depending on the viewer.  I wanted more information about the piece and after some research found an interview that Quinn had given Jason Shulman in 2009.  He discussed some of his ideas and how they worked their way into this particular series. Copied below is an small excerpt from Quinn's interview which pertains specifically to "The Road to Enlightenment". 
"JS:  Your sculptures often depict real people, such as Kate Moss, Alison Lapper, Thomas Beatie, your wife, your son and so on.  Do you want to depict the subjects as they really are, or do they symbolize an abstract idea?

MQ:  Is is not only Kate Moss who is a real person and an image, everyone has both qualities as well.  Although they may not be articulated in a public way, in a sense my job is to find people who can represent ideas and emotions which can make sense in my art, and be themselves and somehow refract something about the world as I see it....  So they are about both, and people are both the real and conceptual representation, it depends on the person, how far away from the real person the image is.  For instance, in the case of Kate Moss, the image I would say has a completely autonomous and complex life.

JS:  So Siren is a continuation of this idea of mapping people and their images?

MQ:  Yes, the continuation and the extreme......... 

JS:  You made a series of sculptures of Kate Moss in the past few years which seem to culminate in Siren.

MQ:  Yes I suppose because you had this image which could be anything at all, which moulded by our collective device, and yet moulds us too.  It's very interesting to explore it properly.....
.... In The Golden Road to Enlightenment  you have the other ascetic extreme where the body is withering but the face is unchanging, that idea that people live in the fourth dimension of time, where images are out of time.  In the Buddha life story there is a part where the Buddha to be joins a group of Ascetics and renounces food to the point almost of death but then rejects this as a road to enlightenment and chooses the middle way.
My sculpture is based on a fabulous Gandharan period sculpture of the same subject in the Lahore Museum, however in a modern, fucked up sort of way, that ascetic impulse has been corrupted into the idea of being thin and extreme anorexia, which is an addiction to control really and of course our bodies and lives are really out of our control.  In that way we can't stop time, we have to roll with it".

If you would like more information about artist Marc Quinn and his work you can visit his website.
And if you are ever visiting Montreal please visit their wonderful art museums.  They are well worth a few hours of your time.

~ diane fergurson


Interview "link"

You might also enjoy:
Beaux-Arts de Montreal and the Folkert de Jong Sculpture


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