Some say that we are presently living on the edge between the old and a future that is always emerging.
This image can be resourceful as we consider that we might not of asked to be in this place but now that we find ourselves standing on this edge, more than ever we are being called upon to adapt and embrace this new awareness.
To do this, we each, in our own ways have to courageously let go of the world we think we know and begin to be much more alive to the edges of the unknown.
Edges by their very nature are wild and fertile places. They mark a space in-between, where a mixture of two or more different systems meet each other, at a boundary that is often formed of varying terrain. These are places of dynamic change and are illustrative of nature’s wild freedom and where this inherent freedom is at it most fluid and adaptable.
Within this perspective change begins with a joyful acceptance and a willingness to be adaptable; learning to trust in our instincts and holding out our hands to support others along the way.
Change primarily begins when we open up our hearts and compassionately explore the forgotten about places within ourselves. When we let in the wild edges of our imaginations and our creativity, welcoming the spontaneous and the intuitive, we learn to create a natural form of alchemy.
Over the last two years as I have begun to stretch into and explore my wild edges, and in doing so I have also found myself nurturing a fledging creative practice, using the medium of photography and a writing process known as mid rash.
I am not a formally trained artist but chose to respond to a deep need to make and create textures which speak to my experience and offer an illustration of a multi-sensory and interconnected world. I have taught myself to use the medium of photography as a contemplative practice. Just one way to capture a feeling and to draw upon images to illustrate more fully an idea or a word. Photography has been defined by Henri Cartier-Bresson as seeing the “decisive moment” – a single split-second moment that is temporarily frozen in time.
The decisive moments in my life are made of flesh and bone. They appear to spin and swirl from inside the image itself as a form of interior enlivenment and aliveness. In my current creative practice, image and story are mediums which illustrate my sense of a continually changing living composition. In that I will gather materials which capture my attention and then proceed with a process of layering and combining, releasing, and receiving, dismantling, and returning, which also marks the commencement of an ending and a beginning.
Through the arrangement of different materials, I am attempting to capture a moment, whilst at the same time attending to a deeper underlying awareness that the forms I make are not fixed, all is fleeting and temporary. I mainly use natural materials which I source from either my garden or walks along the country lanes where I live. I have a particular fondest for plants and flowers and love how within their essence they are symbolic of a bigger creative process of which we are all apart.
The inspiration for this perspective is drawn from an old American folk tale, ‘The Old Woman Who Weaves the World.’ In this story the old woman is responsible for a vast cauldron which bubbles and hisses upon a great fire and contains a stew of all the seeds and grains which make up the plants in the world. This old woman is required to stir this vast pot as she also weaves a great garment of intricately woven threads. Many say that this old woman not only stirs up the world, but when things fall apart, she also binds it back together again through her weaving. Her old, rough, and calloused hands, intuitively knowing that the threads hold the endings and the beginnings together.
Prior to the COVID situation, in a professional capacity, I worked as Facilitator and Coach, within the fields of Organisational and Leadership development. This work often required the application of an artful way of looking at complex situations and a creative use of both process and language to encourage others to stand at the threshold of their own imaginations. Within my professional practice I have cultivated an aptitude to conjure up metaphorical gateways that in a business environment are often forgotten or lost, having been sacrificed to the alter of productivity, measurement, and efficiency.
I called upon language and imagery, as a necessary and appropriate counterweight to the bias of a dominant Cartesian mind, and I purposefully applied my creative resources to convene and facilitate spaces which invite others to see and experience the symbolic systems, metaphors, archetypal and mythic narratives within which we all live and breathe.
Today, as I slowly begin to explore new avenues of facilitation, and consider more fully the purpose of these gatherings, I am beginning to craft a creative practice, that I call ‘Story Weaving’, through online workshops, and courses, and writing. In this frame I primarily use myths and folk tales as metaphors to engage women who are aware that they need to make some changes in their lives.
Maybe like me they have also reached a point in their story where they want to define success on their own terms, to create new ways to live from the ground up and from a secure base of creativity, authenticity, and love. I am very aware that this new calling is a deeper reflection of my storied or adaptive self-letting go and learning to move more freely and easily through complex landscapes. I have a sense of a trickster energy at play, represented by the fool, who like me is being called to learn how to embrace, and welcome their new beginnings.
In this capacity to make a living, my art of making, my role as a maker, is to host and facilitate safe and supportive relational conversational spaces in which individuals and groups can experience and explore their inner and outer patterns of artful imaginal living, through the medium of story.
The purpose is to contact embodied expressions of self-awareness, creativity, reciprocity, exchange, and wholeheartedness. In all my endeavours, I aim to be present for myself and others who are encountering new conversational frontiers, who want to re-member and live from their true nature and draw upon different ways of knowing. In the process we all learn how to compassionately be with the multiple changes, challenges and dilemmas which make up a whole life.
It is only by expanding our hearts, imagination, and each of our senses, as well as our minds, that will we learn to truly let go of the old view of ourselves as separate from the rest of the Earth, and become open to a deeper awareness of ourselves as interactive partners of the whole interconnected web of life.
On this note, I will leave you with a question; what one thing can you try in your life that will demonstrate your willingness to become open to and trust in, the wild edges within yourself?
A remarkably simple place to begin is to just notice the wild edges that you encounter and attend to what they have to offer or say to you. Just pay attention to what you notice as you draw that presence into your heart felt awareness.
Threads of Connection
Edges - Framing the Horizon
I specialise in weaving together, stories, images & nature connection practices to help people access their true nature, strengthen their creative fluency and increase their sense of wellness, and wellbeing in the world.