Enter Goddess No. 1 or How to dream a new reality

Kathy Crabbe, Goddess No. 1, 2012, acrylic, charcoal & pastel on canvas, 48 x 48” I can feel a new series of paintings coming on and as usual, the idea came to me at a low point when I needed it the most. After a very dark conversation with a good friend I penned an equally dark blog post, then after 24 hours I realized that it didn't even sound like me so I nixed it and began to go deeper.

As I sat and stared at my current painting in progress I asked for a vision and then I meditated. Next, I found myself in a swirling, milky green crystal where I encountered a fire spirit and so I dallied a while and when I came to I had the idea for a new series to be called: The Lost Goddess Series and of course my last painting (see below) just had to Goddess No. 1

Connecting with the fire spirit reminded me of all the work I've done in the psychic realms and as a Creative Soul Guide and teacher of the eClass, Awaken Your Divine Feminine Soul and it made me wonder why I had not brought these 2 realms together in my new work. And when I asked that question, POOF everything fell into place and it made sense why this last painting had a female face within it.

I am hoping to commune further with this Goddess to see if she will tell me her name and what kind of magical qualities she has, so stay tuned!

My Facebook friends suggested these names for her: Egyptian Pagan Alien Samurai TimePiece Silent Dancer Horns of the Moon Torn Coatlicue Gently Rising Inner Currents Trip to the dentist

*This painting is available for purchase, please email Kathy Crabbe for more info*

Notes from The Seth Material

Subjectively speaking, you are everywhere surrounded by your own greater reality, but you do not look in the right places. You have been taught not to trust your feelings, your dreams, or your imagination precisely because these do not fit the accepted reality of facts.

They are the creator of facts, however. In no way do I mean to demean the intellect. It is here, however, that the tyranny of the fact world holds greatest sway. The intellect has been denied its wings. Its field of activity has been limited because you have given it only facts to go on.

Each event of your life is contained within each other event. In the same way, each lifetime is contained in each other lifetime. The feeling of reality is "truer" then in the dream state. You can become consciously aware of your own dreaming. You can also allow your "dream self" greater expression in the waking state. This can be done through techniques that are largely connected with creativity.

Creativity connects waking and dreaming reality, and is in itself a threshold in which the waking and dreaming selves merge to form constructs that belong equally to each reality. You cannot begin to understand how you form the physcial events of your lives unless you understand the connection between creativity, dreams, play, and those events that form your waking hours. In one respect dreams are a kind of structured unconsious play. Your mind dreams in joyful pleasure at using itself, freed from the concerns of practical living. Dreams are the minds' free play. The spontaneous activity, however, is at the same time training in the art of forming practical events.

From The Nature of The Psyche, A Seth Book by Jane Roberts

 

A life in art: drawing and painting from life & inner need

Kathryn V. Crabbe, My My My Precious Love, 2012, acrylic, charcoal and pastel on canvas, 48 x 48”."

To create is only to reveal what essentially is. It is the vivid recollection of the as-yet-unknown in the known. ~ Dane Rudhyar, An Astrological Mandala

Nothing is less real than realism. Details are confusing. It is only by selection, by elimination, by emphasis that we get at the real meaning of things. ~ Georgia O'Keefe, The Poetry of Things

Unlike Georgia O'Keefe, my own still life drawings are filled with detail. Life is in the details. Details can be infinitely small, often go unnoticed and are over-looked, which is something I care about in relation to objects and to people.

My current series of nature drawings were created with the hard line of pencils, pastels and occasionally with watercolors (when I'm around water). I often choose subjects so filled with minute detail that they become a thing of abstraction. Details are confusing, which is my intention. I appreciate and value the ambiguity, metaphor and poetry that accompanies abstraction. My large paintings are also abstract, but without a lot of detail which acts as a sort of counter balance to the hyper realism of my nature drawings.

Elimination and editing is key, as it is in life. By releasing detail from my paintings I can focus on the essentials which are often spiritual and symbolic. There are hard choices to be made and discipline to be followed (not a popular concept I realize) in the building of a structure and a firm foundation for a life in art.

Kathy Crabbe, Wild Cucumber, 2012, pencil on paper, 8.5 x 11”.

The drawings in this post and on my art website capture my wild surroundings in the Southern California inland desert valleys, but so too does "My My My Precious Love" pictured at the top, but in a different way. I am at a time and a place in my life (my mid forties) where abstraction calls to me louder than anything else.

The artist must be blind to the distinction between 'recognized' or 'unrecognized' conventions of form, deaf to the transitory teaching and demands of his particular age. He must watch only the trend of the inner need and harken to it's words alone.

Wassily Kandinsky, Concerning the Spiritual in Art, published 1911.

P.S. Select drawings are now available for purchase on my website on a private page. To view these drawings please email me for the password.

How to envision a new reality: Tips from the ancient dreamers

Kathy Crabbe, Take me to your playground, 2012, acrylic and charcoal on canvas, 48 x 48”. While reading the Seth Material (printed below) please be aware that this is channeled information received by Jane Roberts from Seth, “an energy personality essence no longer focused in physical form”. Many people find this kind of writing transports them creatively into other worlds and dimensions.

The text below about the ancient dreamers clicked with me instantly so I'd like to share with you how it relates to my work. When I began my current series of paintings, Journey into Intimacy I too radically slowed my pace of living; editing and simplifying, putting my painting and drawing at the forefront. My inner compass has always been guided by my dreams and I feel a natural affinity with the ancient cave painters, and with vedic scribes and medieval monks; creators of the illuminated manuscripts. I also believe that we can heal and create our reality using our thoughts, dreams and visions as a starting point. But now, with my current work I am expanding that personal vision, just as the ancient dreamers and cave painters did, into the external world. My dreams are my paintings and, like the ancient dreamers, invite you to step into a new world and envision a new reality.

My first painting on canvas from the Journey into Intimacy series is titled "Take me to your playground" (see above) which quite literally is an invitation, but an invitation to what sort of playground is unclear, leaving room for imagination - that part is up to you. Please feel free to share your thoughts, comments and visions below.

Notes from the Seth Material by Jane Roberts

There is a great underlying unity in all of man's so-called early cultures - cave drawings and religions - because they were all fed by that common source, as man tried to transpose inner knowledge into physical actuality.

The body learned to maintain its stability, its strength and agility, to achieve a state of balance in complementary response to the weather and elements, to dream computations that the conscious mind alone could not hold. The body learned to heal itself in sleep in its dreams - and at certain levels in that state even now each portion of consciousness contributes to the health and stability of all other portions. Far from the claw-and-dagger universe, you have one whose very foundation is based upon the loving cooperation of all of its parts.

These ancient dreams were shared to some extent by each consciousness that was embarked upon the earthly venture, so that creatures and environment together formed great environmental realities. Valleys and mountains, and their inhabitants, together dreamed themselves into being and coexistence.

The species - from your viewpoint - lived at a much slower pace in those terms. The blood, for example did not need to course so quickly through the veins, the heart did not need to beat so fast.

Gravity itself did not carry its all pervasive sway, so that the air was more buoyant. Man was aware of its support in a luxurious, intimate fashion. He was aware of himself in a different way, so that, for example, his identification with the self did not stop where his skin stopped: He could follow it outward into the space about his form, and feel it merge with the atmosphere with a primal sense-experience that you have forgotten.

In a fashion those ancient dreams, through their immense creativity, dreamed all of life's creatures in all of their pasts, presents, and futures - that is, their dreams opened up the doors of space and time to entities that otherwise would not have been released into actualization, even as, for example, the units of consciousness were once released from the mind of All That Is.

Dreams, "Evolution," and Value Fulfillment Vol. 1, A Seth Book by Jane Roberts

The creative brain: where does inspiration come from?

Once artists are free to admit that they are crazily passionate about some thing outside of art, that still nourishes their art, you'd be surprised what you hear. I've learned that one artist gets most of her ideas not in the studio but in her garden, another was replenished with ideas by taking the same walk through town every day, another responds to stoop sales and street finds, another was into obscure horror movies, another horse-racing, another visited candy stores and bakeries, and so on. Also, while normal people may have to travel the world to get inspired, it doesn't take a lot to get a creative brain going. This passionate thing, therefore, is usually quite specific, controlled by a careful protocol, often quite secret, hidden, in the manner of Kepler's statement, "I live in a secret frenzy" - possibly the best two-word description ever of the creative brain at work (J.W. Connor, Kepler's Witch, 2004, p. 329), under the surface of an otherwise nondescript life.

This thing, in my view, is a reflection in conscious life and in art of the jumble of images in Andreasen's associative cortex that precedes a eureka moment: it sets the stage, creates a predisposition, for the eureka moment.

Essay by Robert Mahoney, "Eureka: The Creative Brain" from Accelerating on the Curves The Artist's Roadmap to Success by Katharine T. Carter & Associates.

For me, the thing that set off and inspired my Journey into Intimacy series was my desire to find a container, a tabula rasa, a safe place to let out my emotions. It was emotional pain that drove me insistently and unrepentantly to start this series. I literally RAN to find all my painting and drawing materials so that I could start creating BIG. This new series had a lot of emotion to express and capture and it felt BIG. So I grabbed a bolt of silk, attached it to the wall, set out all my acrylics, brushes, pastels and charcoal and began. That was in October of 2009 and I haven't stopped since.

Kathy Crabbe, Beginning to see the light, 2012, acrylic on canvas, 48 x 48”.

Although the pain that initiated this series has gone away I find myself questioning what thing apart from my art itself, deeply and unconsciously informs my current paintings (still from the Journey into Intimacy series) now painted on canvas since 2012.

The first painting I'd like to explore is "Beginning to see the light" (see above). My emotions around this painting were intense. My best friend, a revolutionary, writer and fighter for the under-dog was visiting me at the time and she was working non-stop, hell-bent on saving the world and especially the United States. I was reading a book she loaned me by Chris Hedges called "Death of the Liberal Class", we visited Mexico (Tijuana), took walks in nature around my property and visited the vineyards nearby where my friend was appalled by the fakery and plastic-ness of the women she encountered. All the tensions and oppositions between the natural beauty of inland Southern California and the horrific damage wrought upon the women here who are madly creating a plastic persona to 'keep up with the Joneses' exploded into this, my first painting on a black gessoed background and before I knew it I'd painted my vision of this horrible beauty; a vision both intoxicating-ly magical and horrifying-ly frightening. The painting felt channeled; it appeared so suddenly and so brilliantly, capturing a split second fluttering in time where amidst the ruin of a culture I felt...something good. So that's why I paint and continue to paint and draw every day.

Press Enterprise Artist Spotlight: CRABBE FOCUSES ON MIND, BODY, SPIRIT

Press Enterprise Artist Spotlight: CRABBE FOCUSES ON MIND, BODY, SPIRITCRABBE FOCUSES ON MIND, BODY, SPIRIT

BY DANIEL FOSTER AND JILL JONES THE COMMUNITY FOUNDATION Published: 08 May 2012 03:43 PM

Artist Kathy Crabbe has chosen to address issues of the mind, body and spirit in her artwork. She uses an intuitive, spontaneous and process oriented approach to her work in a variety of mediums.

Crabbe studied art in Canada where she shaped many of her artistic themes as she studied the female form and women’s studies. She moved to Laguna Beach California and exhibited at the Sawdust Art Festival for seven years. Her work has continued to evolve and embody more humor and playfulness during those years. Living in Southern California also injected a brighter color palette into her work.

In 2000 she moved to Temecula where she now lives and works while she displays her artwork throughout the Southern California region. Throughout During her time in California she has also expanded her studies in printmaking and other media, taking courses and workshops from well known local artists such as Dixon Fish, Helen Shafer Garcia, Amber George and Leslie A. Brown.

In 2008 she started working on a series entitled “Journey into Intimacy” which consists of mixed-media paintings using charcoal, pastels and acrylics applied to smooth surfaces, using both conventional and unorthodox tools and methods. She has been known to use garden rakes, sponges, house painting brushes, fingers and other body parts as she layers and scrapes the surface.

In the “Journey Into Intimacy” series, patterns and symbols are repeated and serve to evoke deep emotions and reverence for the spirituality of nature. “I depict an inner landscape of the senses. Part dream, part yearning and part sacred symbol, the work stems from a holistic perception of the world. Emotions are spiritualized into divine patterns pre-existing in nature — the circle, a seed pod,” states Crabbe.

“Crabbe’s mixed-media paintings and prints are a journey into the forgotten parts of the self; those places, both emotional and physical, that are rejected, neglected, or under-valued in our corporatized and sanitized culture. These neglected places exude a dark kind of beauty and complexity as they form themselves in her work. This work is a foray into sweetness, light and danger all at once. It is deep intimacy — a deliberate mirror and an intent of reclamation. I look forward to following this series,” said Tangerine Bolen, executive director at Revolution Truth.

Crabbe’s BodyPrint Healing series of printmaking includes etchings and monoprints in which she again uses a variety of techniques and methods this time to explore transformative healing through the work.

“Instead of falling victim to pain and suffering, these feelings can instead be transferred onto paper, objectified, transformed and healed,” Crabbe said.

“Kathy’s artwork caught my eye as soon as she arrived at the Mt. San Jacinto College Art Gallery to submit her work for the show I was curating. I was pleased that she brought with her both an etching and a print, representative of a range of her work. The monochrome color palette was both soothing and inviting, and I was beckoned to look more closely at the images to see what they had to say to me. The pieces, both part of the BodyPrint Healing Series, had a lot to say about the healing and release that can be experienced when making art. I was more than pleased to include “V Etch” and “V 1” in Your Face Here: The Modern Self-Portrait and I look forward to seeing Kathy’s art on display in the future,” said Leslie Paprocki, curator, Your Face Here: The Modern Self-Portrait.

Crabbe exhibits extensively throughout Southern California. She is a member of the Plein Air Artists of Riverside (PAAR) and the Printmakers Network at the Riverside Art Museum (PNET) as well as a member of the Dorland Mountain Arts Colony in Temecula.

Crabbe will have work in several upcoming shows including a one day solo show at the Sun City Library on Sunday, May 27, 2012, Art and Earth: My Art, My World at the Murrieta Public Library, Tuesday, May 1 through Saturday, June 30 with an opening reception on Saturday May 5 from 2 to 4 p.m., and she will have an additional solo exhibit at San Marcos Library from Sunday, May 6 to Tuesday, June 24, 2012.

For more information visit the artist’s website at http://KathrynVCrabbe.com Article Source