A dream: I am building a stretcher (wood frame to stretch canvas over for painting) for my February art show. After I nail it together, I see that I’ve used 2×4’s which are too heavy and ungainly for the size of the painting. The center brace is too short and part of it is made of ground contact, pressure treated wood, a toxic and inappropriate material for a stretcher.
Now this is where it gets interesting. A dream about my upcoming art show. This project is continuous with the practice I undertook to memorize dreams in order to gain a broader perspective on the work. This is a view informed by the heart as well as mind. A kind of feedback loop is created: The intention to bring the dream to the waking world coincides with an awareness of waking life (art show) within the dream state. This opens a dialogue between the flow of unconscious imagery and conscious intent. It gives valuable clues on how to proceed.
I’m not sure what the symbols of treated 2×4’s and toxic ground contact, pressure treated wood tells me. But I have an intuition that it relates to right proportion, appropriate measure-ways and means.
I’ve long intuited that lucid dreaming abides by the golden mean proportion. It is not just control of dreams, but a way to avoid getting lost in allurements, terrors and distractions; mesmerized by the phantasms that present themselves as real. It depends on the right proportion between waking and dream. These contraries are held in a dynamic tension and generate a third element-a state which transcends contradiction. The point of all this is to gain clear awareness of profound emptiness. This is the truth of the most fundamental Buddhist koan:
Form is emptiness, emptiness is form. – Heart Sutra
I began sculpting memory stations with plaster to use as a basis for drawings- studies for a series of large paintings.
The challenge is to paint these ethereal beings without sappy cliché.
Without contraries there is no Progression. -William Blake