So my concept began with the idea of using the female torso sculpted in clay to express the nature of our relationship to the rest of the planet. Historically, humans have related to the creative force of the universe anthropomorphically. It’s a concept that makes sense to us on several levels. And in the 20th Century there was a theory put forth by the chemist James Lovelock and the microbiologist Lynn Margulis in the 1970’s. On its most basic level it is the idea that the Earth is a living organism, of which we are a part. It’s a theory that’s never garnered much appreciation, however it had a big and positive impact on my world view.
Loosely interpreted, the theory can support the image of Earth as our mother, a goddess, that provides us with an idyllic world in which to thrive. Now that we humans have the capability to destroy that world, it begs the question what are we going to do with that power?
And so for this first sculpture I chose to start in a very straightforward manner, marrying the image of the goddess’ body with a garden. And so early last month I started hand-building the earthenware. I use a grey clay, that fires white–the perfect base for later finish work with colored pigments. It’s been 2 years since I last worked in clay, and I am anxious, impatient and rusty. The result is I built the slabs a little too quickly at first, resulting in some slumping. My philosophy is that what I lack in skill, I have to make up in creative adaptation. What began like this,
ended up looking much more voluptuous like the Venus of Willendorf, which appealed to me anyway, so I moved on to the making of the garden.
The clay calls to me. That’s how it’s always been, since I was little, playing with the mud, making pies and things. That feel of the wet clay is powerful. That you can make something awesome from it is the seduction. I’ve been on a lifelong journey though I’ve not always recognized the path. Often it looked to me as though life was just happening and that there wasn’t any meaningful way. Like a bunch of unrelated incidents loosely clumped together called “my life”. At other times it seemed that events were taking me on a course I didn’t want to traverse. But I can see more clearly now. That is the blessing of age. I’ve followed a course that has a goal and all of the steps before have been necessary to bring together the skills and experience and philosophy and wisdom to accomplish my purpose in this life.
Though I had always had a close connection to the landscape and nature, I had little regard for environmental issues before my late 20’s. And even then it was more a sense of the power of nature and an appreciation for her beauty. It wasn’t until I discovered The Gaia Theory, the way of indigenous peoples, Jungian archetypes and Joseph Campbell’s theories that I began to see a connection to be made with my art and what I deemed important in this life. As the years went by, much of my work reflected these studies. I painted mythical landscapes and made mandala-like sculptures inspired by sacred geometry and celestial bodies. Sprinkled throughout were anguished self-portraits, lucrative design pieces for the wall that made it possible to care for this sacred land we call home and studio, and most recently boats and nests and books wrought with symbolic imagery.
But still she calls to me. The goddess speaks to me through the clay and it’s clear now what I can and will do. It all comes down to the most pressing issue of our time, namely the environment. We are destroying the natural world at an increasing rate to fuel our consumer mentality. To ignore the fate of the planet at this juncture in time spells disaster for life on Earth. To act now in a responsible way is all that truly matters. And quite simply, my purpose, the reason I was born into this life was to help awaken people to the crisis. If I can alter the mindset of a few people, I will succeed in doing my small part, and together with other artists and teachers and scientists we can save the planet. The Earth Goddess is the soul of our living planet, of which we are a part, and she’s calling to us.
So while I will continue to collaborate with Robin making boats and other mixed media sculpture, I’m squeezing time in here and there to play in the mud. I began a new clay figure recently and we’ll see where it goes. I’ll post more as she moves along.