Relief may pour in.

What’s behind the blue curtain?  I am in London, and during my free time yesterday I treated myself to the greatest of all pleasures – art at the Tate. How does art relate to healing?

tatekids

Talk about art class, the museum was filled with children, even children gathered in circles debating abstract concepts like ‘change’, and doing art right there on the floor! And it was free admission — seriously free!

I had a few art classes as a kid, the rest of my art classes have been self taught and a product of being in museums throughout the world! Never, did I have such a luxury as to draw and see Matisse, or Bacon, or Dali, or Picasso hanging up on the wall next to me!  That is so cool London, really.

The environment, therefore, became more than just walls with art, it was filled with inspiration, artists everywhere drawing, and feeling, and becoming.

Standing in front a master work of art moved me to tears.  A few times no less. I cannot help the feelings of intensity. Nor do I want to!

Screen Shot 2015-03-18 at 17.54.23Forever encapsulated within the artists frame is the symbolism, feeling, genius, and vulnerability of one’s inner world. The artist, remember, is showing you something within him. Words remain incomplete descriptions.

When the artist finally adds the last touch – relief may pour in.  The artist abandons that intensity and gives it to the world as a gift from her awareness. Experience brought her this work of art – the uncontrollable urge to release it into form is a way to deal with her experience.  Creation then asks for detachment, which is how any of us ever see art outside of the artist studio. It must be shown to you, to others, as many as possible to reach completion.

The artist who cannot release the finished work to the world is a human who cannot yet let go, and let life. A human who cannot let go has missed the chance to join the whole of life. The magnitude of vulnerability, of bearing one’s guts, is the way to participate in the unity of all that is.  It’s an experience waiting to be fulfilled.

The artist conveys spirit, through the intensity of being in spirit, while inhabiting the physical world.  Essentially, walking in two worlds.

beva sewell
Handwritten on my notebook, and transcribed — lovely. Here’s the spot of inspiration ❤

I approach one room, and then one painting, called to it.  Without glasses the world remains a mystery if I am a bit far, I like that, it’s the same with language.  If I speak your language, its not as fun for me, cause the effort to feel and sense has been handicapped by supposed understanding.  If I see in the distance perfectly, there is no reason to continue on.  When something is blurred, it becomes a mess of moving colors and feelings and this way I feel my way through, and rely on more than mental judgement.

I hear Marios (my partner) in my mind, “Energy reflects energy & forms matter.”  Like he has taught me, I participate in reflecting the energy contained within it.  I cannot believe my luck to see this work in real life – I have seen so many great art works up close – but never this particular piece!  I feel grateful, and I take in the genius.

The moment arrives.  I break open and pure clean tears emerge.  I am changed forever.

Now it’s time to give it to you:

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Nude, Green, Leaves and Bust by Picasso

Directly from the TATE: ” Picasso first encountered Marie-Thérèse Walter in January 1927. He kept their relationship secret for many years, even from some of his closest friends, but particularly from his wife Olga. In 1931-2 he embarked on a series of sculptures and paintings of Marie-Thérèse, made at his studio in the Chateau de Boisgeloup, which he had purchased in 1930. Picasso’s habit of dating his work very precisely makes it possible to trace the development of this sequence as Picasso discovered an increasingly complex manipulation of her body. Made on 8 March 1932, Nude, Green Leaves and Bust is the most intense among the group of large nudes, counterpointing the real head with a sculpted head, and the folds of Marie-Thérèse’s body with the luxuriant forms of a philodendron plant. The setting includes a secretive curtain against which the sculptural bust casts a double shadow, as if the white of the foreground nude was literally illuminating the space. “

The blue curtain has been up for so long in my life.  I have hid away my greatest pleasure and knowing with such effort.  Painstakingly trying to act normal and be normal.  Though, I am not. Seeing the curtain makes me feel understood – even Picasso, the great and famous, the marvelled Picasso had his curtains.  My true-self is not something I can talk about in the blogs, my true self is something I will give you through the blogs – the feeling you are left with, the gift of our two beings interacting. The space in-between the words, the silent moments in the healing session, the touch where you have pain, the work of art…That’s it.  You have to feel me, open to me, if you wish to receive something from me.

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The woman’s nude figure is free and in pleasure – Picasso’s secret muse and secret lover basking in the glory of her own skin. How I love to be free and naked and allowed to reach out to the wonderful-filled-space all around me.  Where you see emptiness, and void, I feel and see with my naked flesh against the air, God awakening within me, light entering through each pore. Light coming in and out of everywhere, making me soft, impermanent and undefended.

The bust behind, and it’s double shadow, the two faces and the two sides.  And yet, like me there is this constant, white marble density in the center of the two shadows – you are who you are.  Wherever you go, there you are.

Behind the curtain, life may flourish, because we allow it to there.  We allow the self room, even a little, to be lush and free in the spaces that we excuse ourselves to be free.

My dream is to be that free on the other side of the curtain.  Would you like to join me?

Copyright Beva Sewell 2015

 

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