persephone in her many guises

beyond words (plus words)





wrote these words spontaneously after re-working the Lunar Annal title page background and creating some equally spontaneous collage pieces.  less than a day before shit got real in the most effed-up way yet.  bearing witness to our country literally going up in flames has given the implications of what I wrote a much deeper collective context.


dark black elliptical shattered

broken scary moons.

moons to haunt the dreams of the dying

as well as the merely alive

amidst unending disconsolation.


parrots are swirling in my studio


fire lilies are also blooming.  when I made one of my first flower essences from this plant back in '99 I was guided to name it Glowing Mystery. 


This week my alternative to an annual early summer stock up shop at Blick in the Fenway or Central Square arrived as an online order.  I'd been contemplating stocking up on some of my most-used creative staples for almost a month now.  Finally went ahead once I got an email notice that all the brick and mortar stores were closed until further notice. 

In the time I was filling my cart (I cogitate endlessly when I shop for just about everything - either in person or online)  other artsy types were panic buying all the things you'd want plenty of if there were children stuck in a house.  Hence I had to pinch hit with my first choice of glue sticks.  Everything else I sought was in stock although the larger amount of hinged linen tape only had 2 boxes left before I purchased one of those. 


Need vs. Want - the art supply edition.

 The only two I really 'needed' above (and even by loose definition need here is really right at the line of adamant preference) were the coloursoft mid-terracotta pencil and the inktense sienna gold  The latter pencil is chronically sold out over the winter holidays.  On this far less celebratory occasion the other artsy people who reflexed the way I did after they got the flagship email turned the only 15 left into Hurry! just three remaining! by the time I'd completed my deliberations.

the other pencils I didn't need just felt like an enjoyable spring drawing palette to me.  I didn't know much about the particular product lines of most of them.  And it was a relief to be curious and a little preoccupied about something that didn't in some way have to do with our viral commonality.


One of the living adjustments I started embracing week before last involves going to bed around 3:30 a.m. and getting up between 10 and 11.  This has been my ideal sleep and waking schedule since my mid-teens and as I readjust and feel my body relaxing into the compatible shift I'm deeply grateful it was a workable option.  The hour between 1 and 2 am often feels especially switched-on and kinetic.   This makes sense since I was born at 1:29 and have noticed we often seem to have a special energetic affinity for our birth time of day or night. In the past week I've been finding myself immersed in things I've been meaning to do for a long while but something about the plan was problematic and so I put those ideas off to one side.  In the case above I spent the wee hours of this particular day deconstructing a personal power shield I had glued to a 4 foot diameter circular wood table top a neighbor put out for the trash back in '92.  I saw him rolling it to the curb and was there to roll it over to my house before he was back up the steps of his porch.

I want to remake it as a garden mandala that's more paint than paper based.  For now I just pried-off the things that were willing to be pried-off.  Most items I re-claimed are paper-based.  Many are more ripped than I would have liked because in and around the collaged paper images there are many jagged fragments of a broken mirror.  I had to make a choice on the spot - to wait until the other side of sleep, don work gloves, and try to pry the mirror pieces loose before removing the paper beneath it. 

The visual idea I got for re-using the paper elements suggested the ripped bits will have far greater eloquence.  I felt truly excited by it and more like a pre-pandemic Acey than I've been since mid-February.   When I woke up it seemed as if I was already thinking about it.  Also enjoyed replaying the imagined tape of what I must have looked like down in my basement determinedly prying paper and shells and small clay concretions off an enormous wood 'shield' studded with sharp jagged pieces of mirrored glass.   When I was doing it I called out softly to all the other sleepless creatives: 

I see you! I'm here too!


Yesterday I brought my turtle shell rattle up here in order to shake out some grief and high wired anxiety residue.  It's so powerfully obvious that we're all evolving at a rapid enough pace to leave ephemeral shed skins all over our environments.  This week has brought me an ongoing sense of more active sea changes that are part of a collective evolutionary integration. Guess that's another way of saying I'm learning how to step out of my internalized subjective reality enough to get back to plugging into something larger - something I believe in with all my heart. 

This is a relief.  And saying as much is one of the bigger understatements of my personal world during the past month.   Every day is its own learning curve it would seem.  Speaking of which - I'm showing up for jude's Large Cloth presentations every day for as long as it goes.  Giving the experience full focus and ongoing consideration.  Making my own large cloth of choice the Young Girlhood quilt I've been stitching off and on since I brought it out with intention of finishing it.  I like working on it in the later afternoon.  So that's what I'm going to do right now ...


.4 larger scale collage driven narratives...


... and a word narrative about them.  The examples in this post, which I teased the other day, come from my Alchemical Rituals art journal.  You can read more about that project by clicking on the so-named category in the sidebar.  In the month of April our focal expressive technique was collage.  I was determined to collage EVERYTHING including the elemental symbols and the month/theme title bars. 

Above is the heart of the month's solar spread.  For its expressive frame we were asked to create our idealized secret garden and how we'd feel to spend time there.  Having just given myself permission to speak freely - I resisted the idea and precisely how it was expressed in the videos but then I did what I'd been doing since the very first video - I actively pushed aside my resistance by diving directly into the part of the lesson that evoked the strongest feeling of no I'm not doing that. And when I look back on it the thing that consistently made this year long endeavor compelling to me was my ongoing and ultimately unwavering commitment to making the class material compelling to myself rather than relying on the instructor to take me to the same level of personalized satisfaction without much effort on my part.  I realize that's not an inspirational model for successfully unleashing a lot of specific creative motivations but it's the way I got something inherently challenging and twice as meaningful fully manifested so that the challenge-meaning ratio was more than sufficiently satisfying to me.

Because I chose to Say No to NO itself - I wound up concluding the assignment, just as it was, held its own weight in the fun and self-introspection departments once I got out of my own way.  I liked where I was going as soon as that happened but things really got cooking for me once I happened upon a large scale statue fragment that fit perfectly into the blank space within a different fragment of espalier examples.  Hades was in the house just like that (I had been worried for almost two months about where I might find a place to "put" him within the journal's over-arching narrative) and shaking the tree even if Persephone - radiant in her full flowering as mythological Queen of the Flowers - is not yet aware. She is simply full of her own ripe agency and its blissful harmony with her array of petal'd subjects.  All the same there He is and there are the fateful pomegranate seeds - some falling as tears from his stony eye.  I consciously softened the seeds' message by adding a magical protective number of fat pink lotus seeds scattered throughout the spread. Various protective words and symbols are drawn upon their undersides.


Loved the way a clipped luxurious ornament so strongly resembled the outline shape of a pomegranate.   And just the faint foreshadowing of marigolds that will proliferate on the Lunar Spread.




For the lunar spread we were asked to depict what happens when we "neglect" to weed our sacred garden.  For me that would probably be the idealized condition I set out to foster out in our little field so I went with that along the bottom of the entire spread.  The next thing to develop allowed me to address the interest said field attracts.   Once people caught on that I/we were up to something deliberate rather than neglectful nearly everyone involved swung from reproving and DISapproving to naked curiosity and more unsolicited shouted-out questions than I was initially comfortable managing.

This was somewhere in the back of my mind but it leapt right into the foreground when I looked at the underside of scraps left over from the enormous ancient looking gate at an Italian vineyard.  In the original image the open gates frame the proud vinter's family marching out to invite the townspeople into the property for a yearly ceremonial grape stomping event.  The slivers of beaming onlookers wielding all manner of image recording devices served as an accurate model of how I felt as if I'd been under forms of scrutiny so beyond what I was actually experiencing (some of this, too, was an admittedly toxic reaction to my two month Instagram foray) that I couldn't help smiling at the way I was overplaying it.  I decided to stop deciding things and simply play, period. The Invasion of the Looky Loos became the official title of my lunar spread depicting unexpected perils of Failure to Weed. 


Following this clarification of my expressive intentions I "suddenly" warmed to including an element that had insisted on my attention from the jump I just kept thinking Why?? NO.  WHY!!  But then once I chose to symbolically deal with my angst to the point of feeling actively ready to make fun of it I didn't think no or why anymore.  Especially after I'd I looked up mystical/healing correspondences for both alligators and crocodiles since I wasn't sure which one this was.  Then it made complete and total sense, either way. 


I posted about this specific representation of Persephone at the gates of the Underworld, ready to return to her role as its queen, in a more general introductory post about this particular art journal.


.2 gluebook inspiration from my link archives


[partial collaged narrative from my Alchemical Rituals journal]

These links swerve all over into the several years old lane but they aren't dated as sources of inspiration worth a few minutes perusal if you're feeling loose-endish and/or curious about the possibilities beyond what I've shared so far.  The two posts numbered with a green letter may be of special value for those who aren't inclined to work in a booklet format.

    1.  I Am Rushmore/Karen Isaacson put this post together in 2013 but it never gets old for me.  Her verve and tenacious dedication to showing up for herself creatively inspires me as much now as it did 6 years ago.

2. A Penchant For Paper has an archived collage category with a scope that moves well beyond gluebooking.  It's all inspirational and perhaps of special value for anyone who'd like to work outside a booklet format.  Heather shares a variety of stand-alone collages she created within her one-each-week challenge.  You could use this as inspiration for creating much smaller individual daily collages or larger pieces that you work with over the course of a few days.

pro tip:  To work in a containable series of small collages try creating them within a far larger background you can mark in advance to insure each collage has an adequate amount of space for framing as well as its particular visual statement.  In working this way you'll get to see your various daily efforts in conjunction to each other as a kind of cumulative timeline in a single glance that changes each day you add a new collage. 

A fully covered paper bag could be presented in a funky wall poster format or the separate collages might be cut apart and re-gathered in any number of ways:  as smaller curated groupings; in a continuous line/scroll that's been rearranged to maximize narrative and/or aesthetic value; cut apart at an individual level and then recombined as a whole that completes a formerly uncontemplated visual amalgam.  Take a moment to jot down any ideas that jump into your mind as you read my suggestions so they'll be easily accessed at a later time.

3. Gretchen Miller is a certified art therapist and long-time gluebooking advocate. Back in the mid-aughts I first learned the pleasures of "brown bagging" my collage experiments thanks to her tireless encouragement to use/re-use what's on hand first and foremost.  I'm linking to a post that features gluebooks made from various people following her tutorials and other suggestions. 

4.  A good old-fashioned Flickr collage group pool.  Many styles are represented here.

5. Ihanna's bright and bouncy Scandinavian sensibilities remain timelessly inspirational for me.  Maybe you, too!  Once you follow my link "in" to a small portion of her considerable dedication to creating daily collages, you'll see other links to follow from there to get a better feel for the scope of what she's accomplished one card's worth of space at a time.

6.  A particularly vivid example of "pure" collage used to alter an existing book.

7.  Ihanna again - This specific project of hers served as inspiration for my own daily scrap-collage journals that I'll be highlighting in the next countdown inspiration post.

[You can also go to you-tube and search on gluebooks to view both flip-throughs and instructional videos.]

bring me the fripperies


Liz asked to see more of my handwork.  Am currently carrying this small piece (spring nest) roundabout our home looking for a place that feels like a good fit for short term display.  The layer upon layer of glittering and shiny beads and glistening embroidery threads are a conscious homage to my inner Crow spirit.


Have at times hung this as a backdrop for a seasonal/spring altar.  But right now I want it to be in my ongoing line of vision while I contemplate how much I want to de-construct this type of layered story-telling so it's more in line with my shifted sensibilities and things we might all create in a collective thrall of expressive call and response with our shifting species-level consciousness.


It's very true that pretty is as it does. 

Even more true:  sometimes it's just fun on rocket fuel.

both fun & worthwhile


As we all move closer to a new calendar year I've decided to start broadcasting some creative seeds.  Maybe something I share will find fertile ground in a way that compliments your own creative/ceremonial activities.  Please note that the featured project for this post was conceived and taught by Vanessa Oliver-Lloyd.   Her method for making and filling a pair of wheels to mark ongoing experiences throughout a calendar year served as a free introductory lesson for her year-long Rituals art journaling class.  You can learn more about my creative immersion in this project via an introductory post I wrote for my main blog or by clicking on the alchemical rituals category link in the sidebar here.  Have recently decided to make a similar pair of wheels for the year 2020.  I'm going to use the same size and brand of journal so it will be a literal as well as intentional companion volume to EarthStar Alchemical Rituals. 


The teaching video for my 2018 endeavor featured Vanessa creating two 12-spoked wheels with rapid inky brush strokes.  My wheel on the left, above, embodies her specific guidance generously layered with my own notions and instincts focused on actively building an energetic year-long plan for myself BOOM all within a single art-date at my work desk. Before that, however, I thought about the project both actively and in a more passive "this is also happening" sort of way for about a week.  

note: participants were further encouraged to pick a word for the upcoming year based on individual intuition/introspective wisdom.  I'd already been chosen by this word for 2018 a few weeks before I impulsively decided Rituals would be a positive and grounding experience for me.  STRONGHOLD.  I really liked the way the word held space as a caption below the wheel on the left. Next I created a  phrase to caption the wheel on the right so the overall page design looked more balanced.  My plan was to collage free-cut branches, leaves and flowers from paper scraps.  In my mind's eye I envisioned the barest whisper of wreath-like suggestions encircling each wheel.  Something simple, to allow the wheels themselves to do most of the talking.


This was ... fun to begin constructing but I could see if I kept going with a doggedly simple evenly spaced ring of decoration it wasn't going to feel or look nearly quirky/authentically self-expressive enough.  Didn't have to think about that at all but simply decided on the spot I'd go for broke in foreshadowing Persephone in Queen of the Flowers mode.  Having quite a plentitude of flower/gardening magazines and scads of seed catalogs available for cutting and pasting, I sensed I'd have no problem randomly collaging flower images throughout the year.  Given Ritual's over-arching theme of promoting high quality ceremony infused self-relationship I further decided to save these specific mini collage sessions for moments when what I needed most was a 15 minute time-out in which to revitalize and flow my way back to a stabilized center of personal gravity.  The few remaining blank spaces will be filled in such a way - when and as




when we return


The lunar spread for the month of August was thematically paired with an exploration of what our life's more difficult harvests of the year were/had been teaching us.  For me this was one of those BAM instantaneous creative prompts in which everything fell into place quickly and without hesitation on any level. 


The catchphrase I selected to Say It All really started to sing when I thought to make collage additions from an experimental watercolor class I took via Wendy Brightbill.





Coronation of the Mugwort Queen


The August solar and lunar spreads in my Alchemical Rituals art journal were two of my most favorites to create.   This post focuses on the solar pages.  The technique of the month was botanical printing and, first, creating a rust mordant. Never did that before.  Given how (to me) unpleasant and skin-crawly the prep process was I'm unlikely to do it again.  Never say never, for sure - especially where creativity is concerned -  but all the same I'm unlikely to pursue further investigation. 

Be all that as it may last week I impulsively sent a couple of the prints I made to Grace thinking she might like to draw on them.  She asked about their significance and what I told her was accurate but not nearly as significant as this post and its not-yet-written companion focused on the lunar spread.


The month's thematic focus was Harvest.  And that worked really well for my autobiographical experiences of the time.  After a few years of non-activity flower essence preparation had reasserted itself as a primary seasonal activity.  I was also able to prepare several medicinal tinctures for the first time after patiently building up relationships with the specific plants and trees involved.  But the biggest harvest of all was good health.  During the month of August I learned I was well enough to stop taking an unpleasant immunosuppressant drug that controls the runaway symptoms of Graves Disease.  Trouble is the drug, in the process of doing its job, wreaks a lot of corollary havoc on my ability to feel mentally/emotionally balanced and in a good flow with ongoing physical process.   Quite fortunately, unlike many other pharmaceutical detox procedures, this one feels wonderful.  And so the crowning personal achievement of the season related to a 'harvest' of returning to myself on all sorts of physically intimate levels.  Spent a lot of that month, and ever since, internally yelling in exuberation I'm back, baby!!!

HarvestlionThe background of these pages has a few layers of leaf prints from plants that are very prominent emissaries in our little field.  The thin green leaves are Evening Primrose.  The large metallic leaves are a mixture of Burdock and Comfrey.  I also included two gold foil lions to represent the unseen (but strongly felt) big cat energy that's been in the mix since we moved from Boston to mid-state exurbia. My (likely impossible) dream is to somehow locate a large yet affordable stone lion that can be positioned as if it was just emerging from the woods we leave untouched and untraveled by us so that All The Others may have a little corner of private sanctuary.   Good thing I'm a bird watcher and not a birder, though.  The tantalizing variety of warbler songs from the swampy no-fly zone is an ongoing temptation to get in there and Identify.  But of course identifying on a whole other level is much more our speed and so this is how we do.


In the beginning I had no plan of including foil lions or op-art wonky stars or anything else beyond the prints and something simple and more or less not-there for the background.  It somewhat horrified me when the archangel figure lurking at the edge of my work table loudly insisted on being included.  But then I saw the image could be re-classified.  I could give it a gender and an occupation.  She could become, just like that, the Mugwort Queen.  And the page spread could therefore become a scene from her coronation.

Mugwort is an enormous presence in the field - all springing from the same tiny three stemmed transplant a friend contributed when I first arrived in this Place.  Now its original clump has formed a central presence that serves as home to countless ladybugs and also facilitates an exuberant grasshopper nursery.  A virtual wall of mugwort, all of which sprang forth in the third summer we were here, fully formed into a privacy hedge along the southern side of the garden which would otherwise be subject to ongoing scrutiny from the road.  Pronouncing this plant medicine spirit Queen was a big step in solidifying my sense of what the landscape wished to express as it continued to teach me.  This was a powerful enough experience to stop worrying about using the botanical prints "incorrectly" meaning: with more of a mixed media flourish than I'd planned in advance.  To that end, when I felt The Queen really needed a scepter, I nipped out to the field to pick a leaf.  Once I'd made a scepter print I decided to press the printing leaf, and then include it, for extra embellishment.  I mean, why not.  My impressions of this planet and what I experience here are always going to have a layer of shine and sparkle.


Another personalized rebellion against my own ideas of how things should or should not "be" in the creative sense relates to the fact that I have an ongoing block about the proper alchemical glyphs for the four classic elements.  I nearly always automatically make the air glyph for the element of fire because my brain feels pretty strongly that the same glyph that denotes the sun ought to apply to its primary element.  By the time I realized I'd been doing this straight along with this project it seemed a lot more authentic and true to myself to keep going with the mistake rather than going back and correcting it throughout the journal.  So that doesn't bother me.  It did, however, bother me tremendously that I had to cut parts of a print apart in order to make it sit comfortably in the book while closed.  Even after enough time to be used to it, I still felt myself cringe to see the gap when I first loaded the above picture into this post.  And, being me, that prompted me to not delete it like I kinda-sorta wanted to, but instead include the image where the gap is most noticeable specifically so I could talk about it. 

[p.s. although it's probably always going to be noticeable only to me - I worked at (highly enjoyable) length on shading certain elements of the leaf prints with j. herbin perle noir drawing ink and a yellow pencil just a shade or so less orange than the tumeric tracings I used to amplify the plant alkaloids' natural printing process.]

Next time I post I'll share the lunar spread companion to this coronation scene.  It's my favorite spread in the book.


The Persephone Codex


This is an art journal in progress that's usually so close to wherever I am that I'd probably grab it before I grabbed the go bag itself.   Simply as a structural object it represents a culminated inner vision of making a special book dedicated to cataloging and exploring personal symbols. I went into the active bookmaking process knowing that I wished to use an assortment of original surface design papers as well as unadorned paper/mailing bags with a texture I felt to be crying out for drawing & painting.  Most of these papers pre-existed anything but the basic notion as described above.  For 4 or maybe even 5 years they held space in a roughly gathered heap on my paper shelf.  I knew what I wanted but I didn't know why.  Consequently nothing really came together until I filled in that blank space.


This is a book filled with all manner of symbolic glyphs and images that mean something important to me.   I started gathering an inner download file of such things as a young girl and have also collected both objects and information related to this lifelong interest.  Thus I created three signatures that have 12-14 folios.  It was interesting to set up a design for the page order (and then physically put it together) with more than twice as many folios as I've used in all the other books I've made.  But the paper is much thinner.  Above is part of a mailing envelope.  I wanted the title page to be sturdy specifically because I tend to prefer something lighter and looser and have often regretted it from a construction level straight through to matters of ultimate durability as both substrate and the page that's going to be handled and turned more than any other.


I assigned one of the three classic female stages of life to each signature.   Most of the hand decorated papers are 70# printer's bond or 40# drafting vellum.  The vellum is spray painted/stencilled with a variety of water-based and walnut inks.  Once I had the signatures sewn into place I began working in collage and calligraphy as a way of familiarizing myself with the feel of the physical book.


Both Maiden and Mother substrates are less than stellar papers I made during a day-long and deeply cherished paste paper workshop here in town.  The dark green smudges on the page above are my finger-tip prints.  I consider the Mother phase of life to be about output and outpouring.  Some of us also have children and, through them, we have an Identity that's about as fraught and deep and wide and love-soaked as a thing can be.  I find it challenging to parse all that within the confines of sentences made of words.  As I add symbolic glyphs and visual representations I work in a deliberative yet relaxed and fairly playful way.  I decide what to add based on whatever crosses my path there in the studio.  Any time I open the book for this kind of quality alone time I sense myself giving form to invisible smoke signals I've been sending myself all along. 


This pastepaper above is not a disappointment to me.  It wasn't made at the workshop, either.  It was made a few weeks earlier at a studio open house.  There, working in the amazing creative space of a woman I knew through the library book club, I created two sheets of paper that came out so well I knew I was hooked enough to create a broader range of self-made art paper.  My favorite of the pair is featured above.  What's interesting to me is that I 'mistakenly' put this on the third rather than the second page in the signature as I'd done with the other two.   I guess because this phase of life is still in progress I felt the need to add an extra gate to open before this leap into brilliant sunset rose over ripe peach orange. 


The cover page of the Mother signature is St. Theresa curling her toes in esctasy level of gorgeous - thickly crinkled light pistachio colored Momi paper embedded with tiny mica chips.  They sparkle as mothers do and must.   The cover paper for the Crone section is equally worthy of delirium for me.  It's packing paper of a crisp-snapping nature that's pretty much my idea of the perfect lake beach sand brown.  One side is very lightly waxed.  The other has just the right icing of texture to catch pencil work nicely.

You can see the spine has a gap between these two signatures. It isn't really noticeable in the book's structure because there are so many pages in each group.  But that exposed spine has caused the sads from time to time when I come upon it.  I've felt in these moments that something belonged there and I didn't know what it was.  Today something arrived and literally fell right into the space pictured above.  Sympathetic magic at its finest.  I don't know if this is a permanent inclusion or what but for now I'm going to take it as a sign that I know how to keep myself tall and strong within my own truth and its many symbols.

This is how a new (r)evolution of healing is born ...

the Alchemical Rituals project (intro)


This is one of my favorite art journals. I introduced the project  here.  Writing that post inspired me to begin bringing this blog into focus in a somewhat different way than I originally imagined I might.  Instead of focusing on daily accountability in relation to my ongoing creative practice, I thought about the projects that most matter to me in specific terms of taking them with me if I had to leave where I live under emergency circumstances.  Grace recently posted on the subject of her refined bug-out readiness plan there in NoCali's fire belt.  She's already had to evacuate with the goats once this season and has since devised a means of readying her fabric collection for swift travel with no moment to spare.

It got a lot of us thinking.  And irrespective of pragmatic what-iffing I love Alchemical Rituals intensely.  Perhaps the most significant learning/personal growth that emerged from a year spent allowing somebody else - literally half a world away - to guide me in a venture that was deeply personal relates to how much I came to understand and appreciate the ways my mind and heart instinctively braid things together via collage and a few other thematic/supply-based touchstones of this project. Each month we watched inspiring and crystal clear process videos related to a carefully chosen theme and pre-selected mediums/artistic techniques to explore. The journal holds 24 spreads; 2 per month.  The first of each pair is a solar spread and the second is a lunar spread.  As a general rule Vanessa broke down her topical themes in a light/shadow format. 


Above is a detail from the lunar spread for April.   It was a month in which we delved into the subject of Fertility using collage. For the solar spread V. asked us to create a secret garden devoted to carefully cultivated sacred space.  For the lunar spread we were asked to depict what happens when we neglect such a space and allow the weeds to take over. I'd introduced my intrinsic sense of connection to the archetypal goddess of perpetual duality, Persephone, within the month's solar spread where she appears as a maturing form of her Queen of the Flowers guise.  On the next page I depicted her making her yearly return to what lies Below, through earthly gates that quickly fade to black. 

The overall scene I created for the lunar spread nudged me to consider my life's kind of ... almost touristy aspect of relationship to this part of myself.  I mean that in terms of how much it can take out of me to be familiar and calm with dark stuff many people I know work extremely hard and consciously to avoid. And so I thought about what a brutal (and culturally undervalued) form of returning it can be and how sometimes I actively step back from acknowledging the difficulty level in order to dispassionately observe myself "handling" things like a no-contest pro if not a saint or a hero.  That's ... pretty much Persephone's gig in the Underworld kingdom:  managing the unmanageable yet inevitable switch between being and not-being in the human life span. 

 I was surprised and inspired to realize this new awareness could with time and mindfulness allow me to just be in the process (instead of focusing primarily on performance checklists) of guiding and being guided through dark times and deep water.


Here's a detail from January's solar spread.  The theme for the month is New and the technique is stitching - with the centerpiece effort being a dream catcher. I decided to construct the two spreads as thematically joined by the open web between them.  V. encouraged us to add some sequins to our web.   Some have bent over time due to inadvertently smashing them while flattening other pages beneath a few heavy books.


This is a detail from the final spread in the journal.  December's theme was Closure and the technique was color blocking paint colors to harmonize with pre-selected collage pieces to fit our chosen representations.  The month's Lunar spread was designed around those aspects of our immediate and ongoing future we needed to integrate but found personally challenging.  I elected to further clarify the issues I placed in this category as works in progress I was committed to shifting as mindfully and gently as possible in order to move forward into a new cycle of deepened/more conscious self-relationship.