Growing up, and I still feel as if I’m growing up or at least progressing in this process of becoming, but yes growing up, I constantly rejected core parts of myself in order to fit in, in order to be accepted and loved. There was also an element of protection too. Growing up I knew or sensssd that being too wild and too unresostrcted and out there could bring trouble my way. Be looked up, be beaten up, be killed.
But I’m not prepared to repress, reject core parts of myself anymore. I don’t do it anymore because all it does it hurt me and stops me living my life on my own terms. Living y life to it’s fullest potential because I’m focused on the fear and rejection instead.
It has taken years and practice for me to take down the internal prejudices against myself. They might have been fortification constructed for protection and rejection but they did not serve me then and certainly don’t serve me now. Yeah I still protect myself from harm. I think I got complacent recently with the sea and also within the recent counselling skills session, but I’m practicing this from a place of love, self-love rather than self-hate and disgust. And the feelings are totally different.
“He knew exactly what she meant: to get to a place where you could love anything you chose — not to need permission for desire — well now, that was freedom.”
The weight of our darkness, stress, and anxiety can sometimes overpower us—but in our heavy moments, it’s crucial to remember that our worthiness remains intact, even when we falter.
When times have been tough in the past and I’ve been way down on myself, I’ve adopted a practice which has seen me through, which has allowed me to see myself again with grace and compassion and love. Some people might call them selfies but me I call it self-portraiture.
For the next five days, I’ll be sharing images I’ve taken of myself over the last few months while in hibernation as a means of support to get me back to myself. And it’s a process, a never ending process of becoming but I’m here documenting it, allowing it to be seen because that’s part of the process also. Being seen on my one terms.
I might have disrupted the page already with paint, or marks or collage. But this was done to eradicate the blank page. And this was done with that one purpose in mind and then left to see another day.
I come to the page not knowing what I’m going to do. Will I make a mark with paint, pencil, piece of paper, what? I just know I need to start.
I might want to cover the white spaces. I’m drawn to colour. So using colour excites me. So I drop a dollop of paint, red maybe and then I know I need to move it across the page. But how? Finger, card, roller? Each brings a different texture to the page, each brings a different coverage to the page.
So now I’ve started but still I have no idea what I’m doing or where this piece is going. But I start responding to the mark that has just gone before. What do I need to do next to work with this last mark or interruption? What would speak with it? What would speak against it?
If I have no idea, that I pick up a pencil and allow my hand to loosely move it over the page, making circular marks. This gives me a moment to think, to look at the page and see what is missing, what is needed.
But when I say thinking, I don’t mean conscious, logical thinking. Let’s call it musing or dreaming instead. As my mind is empty when I’m in the creative process. The outside world falls away. My cares and worries fall away. I’m just focusing on the page in front of me. And not in a concentrating way, or a hard stare kind of way. Just like my hand is holding that pencil, in a loose kind of way.
I come to the page not knowing what I’m doing. But I’m listening. Being attentive to what the page, the piece now coming together wants from me, wants next. One mark, then the next, communicating to each other and then the next.
At some points in the process, I’m up close, working on just one corner of the page. At other times, I take a step back and allow other parts of the page to come into my line of vision. At some points, I fall in love with just a section of the whole. I give it some care and attention. I bring it up and out further. I make it sing, because in the process, I sing through it too.
At this point, the rest of the page needs, deserves this care and attention so I start listening elsewhere. Keep coming back to the places I love and savouring their presence.
I come to the page not knowing what I’m doing but being open to the dance of possibilities. I make myself vulnerable to the process as I feel this it the only way I can move forward with the process.
I come with no expectations, no desires to make pretty art.
Living Wild Studios 