Saturday, December 31, 2011


This Christmas has been very rainy indeed...
A year ago, we were struggling to get through deep snow...
It has been a very arduous year. Looking back, I have no doubt done a lot of useful inner work and also managed to set new things in motion. At least I hope so! I feel that things that have been stuck are now getting unstuck, and I feel quite energized by a feeling of motivation to work and seek personal success. It's too early to shout about it but things look less bleak now. There's a sense of direction and purpose, which was lost for quite a while. I am quite determined to do what feels right in spite of potential criticism.

As we set out in our car to look for a Christmas tree,
we spotted two across the street,
leaning against the Animal Welfare Charity shop.
We got a smaller and a bigger tree for £ 7... it's funny how I usually get a tree for almost nothing at all.
A incense burner, probably from an Anglican church or chapel
The bigger tree is not really in my taste, but oh well, we saved a lot of money!

We bought this second hand chandelier for £ 12 and I have been hanging stuff I already had on it
throughout the year.
 I bought a few hearts and the beady garland.
It's a bit of a whimsy!

The best thing about this Christmas, apart from finally seeing my mother and having a good time, must be the fact that my mom gave me a fabulous new lens (SP 70-300 mm) which will allow me great close ups! I took this image of a candle late at night on Christmas Eve (which is when we celebrate) and it is pretty damn good quality. Of course, if someone gave me an even better camera I would be very happy, but I can manage with my Nikon D90 for a while longer... 


Thursday, December 29, 2011


We bought some paints when a hardware store was selling out, as well as got some pots here and there over a long period of time, and this was the basis for the work we have been able to do in the house. We also bought some white floor paint and some items from Ikea when we got a small sum of money. This is what we have done.

The kitchen was really a kitchen from hell. Someone had recycled some old cabinets from the 1980s but of course nothing really fitted very well. They also covered the walls in panelling, which I call the "sauna effect"! We desperately needed to do something about the state of affairs but it was difficult without any money. I gradually painted one wall after another with cheap white matt emulsion.
The dreaded sauna effect!
We removed the shelf, painted it white,
and hung it above one of the doors to hold my collection of
colourful tins..
The Scandinavian settee moved to the dining area
(former pantry or utility room)
and the table was also removed.
The cabinet doors are a very typical British design from way back in time...
Fake wood grain melanin and wooden handles across.
The tiles speak for themselves...
I have managed to cover the floral pattern on one side of the
kitchen with a spray paint for tiles that I got on sale.
I will never use spray paint indoors again!
It was a nightmarish job.

One sleepless night I was thinking about the cabinet doors, which would be very difficult and somewhat pointless to replace until we have some money. I made a decision and since I couldn't sleep I just got up at four am and primed them with Crown Multi Surface Primer. In the morning I asked Martin what he thought and he didn't even notice! But the next two days we painted them with a mixture of a water based green paint that I got on sale and some pigments. Though the pigments don't mix very easily, when applied they blend and create a surface that doesn't look dull. This is one of my little tricks to get an interesting shade and surface! I love dark green and quite enjoy creating my own shade anyway.

My old cupboard from the 1920s that doesn't go upstairs finally ended up in the kitchen
where the bench and the table used to be.
This gives great storage for crockery and things like the bread machine that was taking up space on the worktop.
I still need to deal with the varnished surface.
and Martin has to do some fixing of the door.
A lot of junk and food has come down from on top of the cabinets.
To the left above the oven there is a big hole where there used to be a microwave oven.
I will replace the white curtain when I find
something suitable. Tins and flour are now in that space.
A lot of food have gradually found its way into Ikea storage jars, and later on Martin will build shelves for them.
We got cheap black iron handles for the drawers from Ikea.
The worktops aren't great, they are fake oak, but at least they are neat.
The spice rack is also from Ikea, built from four pieces.
We've been looking for a bread bin for a long time, but when I saw a series of tins
for only £ 15 in a supermarket I figured it was just as well to go for it.
The tiles in the background aren't painted yet, but they are not as obtrusive
as the ones on the other side.
I had some spare halogen light fittings that Martin put up on the walls.

I had a three-piece halogen light fitting that Martin attached to the cabinet
for better working light.
These tiles were spray painted white.
A lamp stand from Ikea was bought to fit this shade,
as a cosiness factor in the corner.
I painted the side of the unit dark green to create as much
sense of coherence in a chaotic looking kitchen as possible.
It's a great shame that we have a brass blender that we got on sale a long time ago
but cannot afford having someone install it at the moment.
What is also irritating is the positioning of the gas heater,
but when the kitchen is done properly it will have to get a better place inside a cupboard.
We also hope to have a Belfast sink eventually,
as well as move the sink to the corner and have a Finnish style drying cabinet above it.
We have not had time to do anything much to the yard,
eventually the trellis will come down and the walls will be painted white.
I bought this lovely kitchen curtain a long time ago in Finland and now it found the perfect window.
It makes a big difference to the cosiness of the space.
I have also attached a spotlight above the sink.
The wicker rug beater to the left is from Finland.
We bought these halogen lights for the ceiling on sale some time ago, we like the vintage look.
Decent lighting. i.e many small spots and halogens, helps to make the space cosy.

We moved a shelf to the door that leads to the dining area.
My collection of Chinese tea caddies is on it.
The dining area is quite cosy now, and we can use it... we just need to get the vinyl wallpaper off completely.
The Christmas cards are obviously seasonal...
I really like my set of Scandinavian chairs and a bench from about 1910.
I have primed them, but am still looking for the right paint. I think they will remain white.
The seats are clad with some William Morris fabric I found in Finland.
My artwork "Grazing A Maze" from 2006 adorns the space above the fridge,
along with a small blackboard from Indiska.
Luckily the floors are tiles, they are not our taste at all but at least it's neat...


This is the table that used to be in the kitchen.
We have a large and rather horrible plastic shower tray that was originally meant for a handicapped lady,
so it requires two shower curtains.
Nice ones tend to be very expensive so my solution was to buy cheap white ones for the inside.
On the outside, there is a normal curtain with a lovely pattern.
In fact, it was two for the price of one shower curtain!
I wouldn't usually buy polyester but 50 % (the rest is cotton) is warranted in the wet room.
I hate the pointless non-see-through window glass
and hanging an old favourite cotton curtain in front of it makes it all seem cosier.

Finding a way of fastening the curtain really required lateral thinking...
I had to get them up quickly for Christmas and didn't have time to fuss with eyelets.
I had these curtain hooks from the past, but only one set. The other set is much thicker metal.
It was hard to find thin metal ones anywhere, most are plastic these days,
but in the end I found similar ones from John Lewis so I will be able to make small eyelets that will fit the hooks.
I have taken the little curtain grips that are traditionally used in Finland
and bent the wire so that I could fasten it to the actual shower curtain hooks.
It doesn't look too bad.

I hung an Indian textile shoe rack by the sink
and we got a cheap shaving mirror from Ikea that doesn't get quite so steamed up.
One of my pet hates are these two separate taps. It's like living in the 1950s.
Oh well, one day...
The black/grey/gold tiles that are scattered around the walls are truly pointless,
and quite ugly,
but there's not much we can do about them right now.
The floors in the bathroom have been painted white with Ronseal Diamond Hard Floor Paint, but some more coats will be necessary. We also solved the problem with dirty laundry - I admit to creating quite a lot of it... - by getting a big but cheap metal garbage bin for £ 16. It was a damn sight cheaper than any decent quality laundry bins!

The space between the floorboards still needs filling.
Ideally you would take the boards out and reposition them,
but Martin will be using caulking and hemp rope instead.
The old step ladders function as clothes depository...

Saturday, December 10, 2011


Vivi-Mari Carpelan: "Emotions 1-6", six handmade collages 12x17 cm

So here's the scenario: you feel discouraged and disheartened, not knowing what to do next. It seems as if everything is against you and you are losing faith not only in other people but in yourself as well. You feel stuck and uncreative. Personally, I have been in this place many times. It's almost as if each time it gets worse, but this could be evolution in action. Challenges get tougher as you learn from life, but the rewards you reap are probably also greater. Thing is, life is naturally dynamic, and this means there are always ups and downs throughout the journey. I find it helpful to think of it as the inhalation and exhalation of life itself. When you're in a phase of inhalation, you will feel more introspective and maybe even depressed. The point is to not fight this, but go with the flow. If you resist it, you make it harder for yourself. 

Artists are people who may feel these mood swings and roller coasters much more poignantly than others. People in creative jobs easily get distressed when they're in a low phase because it feels as if they can't produce anything worthwhile. The feelings of vulnerability easily make them feel victimized and as a consequence, they blame others for a lot of things rather than assuming responsibility in a more "grown up" sort of way. The darker aspects of one's being might come out and one will be a less pleasant person to be around. The way that depth psychologists who specialize in creativity theories explain this is that you are more submerged in your subconscious mind and the reason you cannot produce quite so well is because mental material is in a state of brewing. Don't panic, this phase is necessary. If you look into yourself you will probably find that you're battling with problems and feeling conflicted about many things. There is often one major issue to deal with but it usually connects with other more minor issues. You need to let it all go on for as long as it needs to go on.

Let this be. Don't panic, don't force yourself to be something you're not. At the most, be positive in the sense that you know this will pass, and that consciously dwelling on things is not necessarily of any use. I find talking to Martin useful, as it sometimes speeds things up a bit and makes me feel clearer, as well as helps him understand what's going on and why I'm acting the way I'm acting. But trying not to whhine and winge too much is better for yourself and everyone around you. Keep in mind that clarity will come when the time is right.

Then suddenly, one day, you have reached a decision - maybe even a major one. Time and time again, I find that reaching a decision about what direction I want to take is the turning point. I don't think there are any real short cuts to this. This is usually when you come out of your shell and start acting. You will no doubt be more extroverted than normal, which will enable you to communicate with other people about your ideas and your direction. In fact, just chatting to people about whatever happens in your life can lead to unexpected turns of events. Very often things happen indirectly, in a mysterious way that is not really of your own making. You're just being open and actively putting yourself out there. You feel more in charge of your own life, but don't make the mistake of thinking that you can control it. Control is not the point, and there is a very important distinction between the two. I think one of the keys is that you stop putting your destiny in the wrong hands and decide what kind of people you want to interact with. These people will then be the right ones who facilitate your journey. It's always a two way street so you really must avoid manipulating or forcing other people to make things happen for you. Luckily at this time and age people have woken up to the advantages of networking. I certainly feel that real, profound and honest interaction with others can be quite fruitful. It's about a balance between being self-sufficient and acknowledging the need for other people. The truth and fluidity of being is a paradox somewhere between the two ways of being.

When you overcome your own prejudices and expectations of life, you often end up choosing the path of less resistance. I think it's important to remember that there are often alternatives, and when we cease to stubbornly hold onto a particular path, it turns out there is an easier one which is much better for you. This is my experience, anyway. 

It's interesting how inner decisions will lead to greater flow and how things just start to happen. It probably feels great. During this phase, it's useful to be outgoing and generous. I'm not saying it's a ride without any bumps. But if you follow your intuition - and this is of paramount importance - you will probably finally achieve some important goals on your journey. By goal I don't mean an end, but rather a milestone. It won't last, because it's not in the nature of reality to be stable. Embrace the changes that will happen in one way or another, and enjoy the rush while it lasts!

P.S. These are my own thoughts but there are two classic books by Mihalyi Csiksztentmihalyi, "Flow: The Psychology of Optimal Experience" and "Creativity: Flow and the Psychology of Discovery and Invention" that you might like to read if you're interested in the subject matter.

Wednesday, December 7, 2011


"The Vocation", copyright Vivi-Mari Carpelan 2008

Today I am really knackered. It has been a busy time with very bad sleep. However, I feel that I have really advanced on some important practical levels. I have talked to several nice people who are involved in the disability arts in Wales. It seems that nowadays, outsider art is defined as being art by anyone who is marginalized by society. Unfortunately, I'm not sure I fit the bill since I have some training and work professionally as an artist. The idea of outside art is namely to bring out "talent in the rough" amongst those who don't have much education and sophistication. However, I do have a disability so surely I fit into some kind of niche somewhere.

The main thing is that the messages I wish to bring out through my art have become much clearer in my mind, and I feel that I am gradually able to get them across to other people too. For a long time I felt quite scattered and lost in regards to my art, and what I could say that might get a wider audience interested in more than just the aesthetic value of my artistic products.

For most of my life, I struggled to keep up with other people and didn't particularly want to be seen as disabled. Instinctively, and even due to practical experience, you know that disability isn't received very well by most people. In some ways I am sure that pretending that I was doing better than I really was has been helpful, because it made me feel more worthwhile. There are images you can create in your mind that will be empowering. Some people have made it their mission to bring awareness to our ability to visualize in order to feel better about ourselves and our situation, but I never liked following other people's advice in this regard. I guess I'm a bit stubborn and I always figured I'd find my own way. I do beat myself up when I don't do too well though. Since I've been married I've seen myself fall into a whiny mode of martyrdom and victim hood far too many times. While I believe it is probably quite normal when you're not feeling well and your energies are low, but it doesn't make you feel any less guilt ridden. 

A few weeks ago we saw an exhibition with art by South Asian people, namely from India and Pakistan. When we left the venue, Martin said oh well, it's always the same story. "Whine, whine, poor me I am such an outsider in this society...". It's an easy way of making art, isn't it, he said. Complain through your art, there is bound to be somebody who gets a guilt trip or feels sorry for you. I thought to myself, that there is indeed a great danger in slipping into the victim mode and using it to your advantage. The problem is, you are not doing yourself the favour you may think you are. Of course, I am in this country of my own free will, so it's probably easier for me to have a positive attitude towards integration. But the truth is, I have many varied issues of feeling marginalized as I don't really know where I truly belong, how to adapt to my past (Finnishness) and my future (Britishness), nor how I can best work and contribute in my own way at my own pace in a new environment, as a person with a disability.

Don't get me wrong, I complain as well. Many people in Finland know that I have put myself out there, not least by complaining officially on the radio. I also have a blog in which I have recorded all the social injustice I have witnessed in my own life. But in the end there is a fine line between wallowing in self-pity, complaining about all that is bad, and just observing and stating a fact. I'm not entirely sure where the lines are, and I think often you have a little bit of everything in your cocktail. But I do know that I cannot state facts without a certain amount of emotional involvement. For instance, both Martin and I reacted to the colouring book for children about the terrorist attacks during 9/11 that an American publisher has recently published. We both thought, wow that would make a good artistic project. I was absolutely fuming at the very thought of offering such propaganda to innocent kids who will never understand what it's really about. The publisher obviously thinks they are educating the children about what really happened, but kids cannot comprehend it. It will only sow more seeds of hatred and "us against them". All that crap. 

Anyway, the point is that somehow you need to try and make art that doesn't put other people off. It's very easy to make others feel guilty or uncomfortable by being too confrontational and blaming everybody else for your rotten situation. I want to say things the way they really are - I think I'm well equipped for this as I'm Finnish... but I want people to actually want to engage in my work and not dismiss it because they are not obliged to have a second look. You cannot force others to feel sympathy. This is especially true today when a lot of people are having a difficult time and the future is uncertain in so many ways. What you want to create is an atmosphere of sharing, because, as someone just pointed out, most of us are going to be afflicted with ill health and misfortunes at some point in our lives. We need to pull together and also see that the marginalized people in society may very well have something valuable to contribute even when it doesn't seem like it. The point is, you just don't know. Yes many disabled people are not contributing much, but they might be able to do more if they weren't pushed to try and keep up with the norms. Others may be gems among the pebbles, with real wisdom and insight to share with others. Life is not only about economic growth, in fact that ideal should probably be abolished.

We do need to think about the audience as well though. We often forget, that there are "normal" people out there who just don't know what it's like to be marginalized. They have never met such people before. Their natural inclination is to feel embarrassed and uncomfortable and turn a blind eye. I have to admit to my own embarrassment that I sometimes feel similarly when faced with people who don't fit the norm. And I am supposed to be an open minded and unprejudiced person... well I don't think anyone is, to be honest. We must be gentle with these people. My interest in Buddhism many moons ago comes to mind, especially the ideal of compassion. We need to find the line where we get our message across but also have compassion for those who are ignorant about marginalization. Where exactly would they have learnt about such things? Many people believe what they read in their daily journal of preference, and it may be a very thwarted view of reality. Many newspapers only support what prejudices people already have. Yes, sometimes you have to yell really hard to be heard. Believe me, I know what I'm talking about. I have been a fighter of my rights as a human being for a very long time and often felt very discouraged. Still - maybe it's especially through the arts that people can be shown a complex and troubled reality in a way that doesn't put them off. How can you get people to listen to you and make them feel positive and educated about what they hear at the same time? Keep going, don't give up. I'm sure every little helps.

Thursday, December 1, 2011


So I finished the big collage that has been featured piece meal in previous blog posts. I was really hoping to create an arresting image of life with a chronic, but fairly invisible illness. Realizing that most people wouldn't be very interested in my personal experience, I hoped to create a general atmosphere that many other marginalized people can identify with, and possibly others with some empathy and brains.

What my message really boils down to is feeling neglected and bypassed by society, but there is also a strength in being able to have an outsider's point of view. As usual, I have hoped to express a paradox or double message of suffering and alienation but also strength of character and a possible insight into the deeper layers of life. People with disabilities are not just weak individuals. Very often illness can teach them lessons of life that other people can only dream of (if they care, that is). Of course, it's a sign of a civilized society that it takes care of its weaker individuals. But our society still has a long way to go. It needs to stop bickering over power and border issues - these tend to go round in circles as that which is being destructed has to be mended. It needs to start focusing on the real needs of its members and those who are healthier and wealthier obviously need to take more responsibility for the whole.

"X - Surviving in the World of the Fitter" (56x76cm) Vivi-Mari Carpelan copyright 2011
Second version of the picture above... an attempt to make the figure a bit less "in your face2,
especially as there are some issues with it that I don't know how to fix.
I also wanted to tie in the top bit with the lower bit a bit more.

"X" stands for many things. X marks a spot - this is where the problem lies (it's invisible to the viewer so must be marked with a sign). X is an unknown denominator (in mathematics x is commonly used as the name for an independent variable or unknown value) - often when it comes to physiological problems, the causes and effects are not known or well defined and even diagnoses can be elusive. X signifies a multiplication operation - physical symptoms have a tendency of multiplying over time as one thing leads to another. X has crossed something off or out. X-rays reveal physiological disturbance invisible to the eye. X can replace the signature of someone who is illiterate - this could symbolize the inability to fit in. In some countries (such as Finland where I come from) X is commonly used instead of a tick in a box - I tick all the boxes for someone who is crossed out of society, for instance.

There are also the X-files, which are not open to the general public due to their abnormal nature, and X-rated i.e. censored material which is also available only to the chosen few or those who especially choose to partake in this material. During the plagues, X's were drawn on the doors of those afflicted with it. "Shunning someone like the plague comes to mind...".

But most of all, X is an abstract sign that points to a concrete phenomenon.

As I'm sure anyone can see, the bottom half (from which the figure is more or less cut off for better and for worse) only comprises men and some animals. I decided to omit women in order to stress that we are still obeying patriarchal values and that they obviously don't work very well. However, I would say that people in general are responsible for the state of society and it would be false to portray only high powered authorities as responsible for the chaotic state of affairs.

In reality there are so many social issues to make art about, but it's not easy to find a visual language that is precise without being trite and banal.

This piece has now been sent off to be evaluated by a panel of (as far as I can tell) high powered curators for the Oriel Davies open art exhibition nearby. They ask for an artist's statement of no more than 100 words. I don't know whether it's a good thing or not. Sometimes I think it's useful to have to compress my intentions, and I'm sure it's easier on the judges too... I find that I need to rewrite my statement each time I enter something, because my focus always changes even if it's ever so slightly.

I have now decided to see what I can gain from going with the flow, i.e. find a way of practising art as a disabled artist. It has been a hard decision to make, probably because there is no such thing in Finland unless you have severe learning difficulties... In which case we're not really talking art but therapy (in most cases anyway). However upon some research (which often happens in the form of asking around, and I cannot stress enough how well this works over here) I have found that there is a niche for anyone who is marginalized by society whether it be due to mental problems, physical health problems or financial problems.I joined a gallery called Outside In which is precisely for the promotion of work by such artists, and it looks like there are exhibitions you can enter for free. This is very good news and one of the advantages of living in a big country like the UK. Charities abound. It's a bit strange and different but it's just as well to get used to it. I have also found out about something they call "surgery", a meeting for disabled artists to discuss their projects and needs for funding (as all of it is so much harder for those who lack in health). I am now a member of Disability Arts Cymru. What I am really hoping is to find the route of least resistance, and being able to relax a little rather than trying so desperately to keep up with the healthy lot.

Vivi-Mari Carpelan, a Finnish artist resident in Mid-Wales, has created symbolic images since 1991. Afflicted with a chronic illness since childhood, it comes naturally to her to explore emotional issues of belonging versus not belonging in a society mostly designed for people with wealth and health. Her work expresses paradox, as a fundamental and crucial characteristic of reality. While ill health and alienation are linked with shame and helplessness, these can also give rise to strength of character, deeper insights into matters of life and death, and the advantage of a more objective viewpoint in regards to society at large.

"Ephemeral Ways" (60x60cm), my second entry, created with real ephemera found in a derelict house in Kansas, and my own photo of an old graveyard with European immigrants. 
Copyright Vivi-Mari Carpelan 2007

Wednesday, November 23, 2011


This series of photos are self-explanatory... I am close to finishing the big and difficult collage that I've been working on for a while now. It has been physically very demanding. I hope we will have some money soon so that I can submit it to the big group exhibition at the Oriel Gallery in Newtown... it's £ 20 for one piece. We lost £ 60 a few weeks ago when none of us got accepted to an National Art Exhibition in Chichester (my piece had to be sent there by courier for a second viewing).

Monday, November 21, 2011


Tracey Emin: "I Do Not Expect", 2002 (patchwork)

It's clear that some artists are at the forefront regarding new and exciting ideas and other people feel inspired. It's however quite difficult to avoid becoming a copy cat if you admire someone's ideas a lot. Some time ago Martin and I went to the MOMA tabernacle gallery in Machyntlleth and had a look at what was on show. They were quilts and or patchwork, done with rich and colours and patterns. Some of them had text. One looked a lot like a Tracey Emin blanket but without the spontaneity, witty and whimsical effect. The text was written like a text in a book, explainig why the artist wanted to create and express herself. To me, it was quite impersonal and matter of fact, and left me cold. 

I think we both felt that the quilts were aesthetically pleasing, but was it art? To me there were two problems; one that it was more craft than art, and the other that the idea of applying text to the quilt was derivative. If you do take up someone else's idea, you have to be bloody good in order to distort it so that it comes across as original.  When people who were more crafty than arty started to stamp words onto their collages, I gave up the idea of using text in any extensive way in mine. Whatever text I have used has not been done as little phrases about the nice things in life. If you use text, please use something that has depth and meaning, as this will come across as your individual choice rather than acting as a parrot.

In one of my collages the lines of text are like snippets out of my diary, and in another, it's actually the phrases from the Desiderata, and I am mocking it in my picture (I apologize to any fans of the Desiderata). To me the Desiderata is the prototype of moral concepts without any individuality about them - it's someone's rather stereotype sermon to those who cannot think for themselves. Anyway, the point is not to remove text from your art, because it's a part of modern art, but to think deeply about what you mean to say or express indirectly by using it.

Not everyone can be a creative genius. But if you want to be taken seriously as an artist, you have to be aware of the dangers of becoming yet another follower of a fad. I agree that it's not always easy, and I certainly have my share of work that I almost rather throw in the fire. Oh shit, Tracey Emin did that too, didn't she... :-0

Saturday, November 12, 2011


Contemplating the Nature of Triumph
Artwork: "Contemplating the Nature of Triumph", copyright Vivi-Mari Carpelan 2011 -
I sometimes like to express strength and positive emotion in my artwork but usually there is an underlying paradox of sorts. 

I hope however that the pieces that are more overtly positive are never trite.
There is an incredible lot of "noise" in the world today and especially on the internet. People are being even more inundated with information and it asks from everyone to start making more conscious choices as to what they let into their lives. But the downside is that people are very fatigued and unable to focus on anything but themselves. I mean come on, how can anyone take Facebook and Twitter seriously? Yet a lot of people keep posting trite updates about their day and don't necessarily interact very much with others. Various new addictions such as hoarding faceless "friends" over the internet probably lull people into a sense of false security of sorts.

Those who get tired of all this mindlessness will have to re-evaulate their attitudes on a regular basis. Everyone has access to means of vindicting themselves through social media, and while this is truly democratic the downside is that those who have something valuable to say are drowning in all the noise. I am personally starting to feel there is no point in trying to make myself heard anymore. I used to think I had valuable insights to share with other people. Well, I don't know if this is anylonger true and it makes me feel somewhat lost. I have to find meaning in my life in some other way. Perhaps realizing how unimportant you are is a spiritual lesson. At least you can make it into one, I suppose...

Me and my partner went through some collections of spiritual artwork the other day. I wanted to see what is out there, and although the person who had made this collection didn't give any credentials, it was still interesting to see. What struck us was how the same ideas are being rotated over and over... It gets incredibly boring to see all these images of  a potentially enlightened person with all the chakras all lit up like a Christmas tree, intersecting triangles that express energy, and mandalas with the tree of life, the sun and the moon, the seasons... angels and fairies and sickly sweet children holding butterflies in their hands. Images of heaven that look like cold and barren cityscapes in pink. Yes, all of it is sickly sweet or just downright childish. But the main question is, can this nonetheless be representative of anything real and meaningful? Why do some people allegedly find this imagery inspiring? My feeling is that it's only representative of people's very limited and uncreative idea of true happiness and joy. It has nothing to do with the real world either here on this planet or anywhere else in any other dimension. I used to think, hm well maybe reality does look like that somewhere in the universe, in some dimension that is not as heavily dualist as this one. But when I saw this vast collection of images, all I saw were rosy daydreams, and I cannot for the life of me believe that such visions of reality are based in a real experience. 

There is a problem in judging other people's experiences if we consider that people bring their inner imagery along with them wherever they go, even into the hereafter. The New Age has tried to use the idea that each and everyone creates their own reality as an argument for the necessity of taking responsibility for what you think and feel. Yet there is clearly also a collective reality, which everyone agrees upon. My conclusion has been that both viewpoints are true. I go by the idea that paradox is always at the base of any statement about reality. I feel that if this is valid on Earth, it's probably also valid in other dimensions. People may take along their imagery when they move away from their daily reality but I'm sure they will also be subjected to some form of objective reality that exists as a collective agreement of sorts. At least if they own some openness that allows them to see it...

So are all these sickly sweet images also part of some collective agreement on what reality "should" be in order for people to be happier? Well, I would say it's a collective agreement about the illusion of happiness. The image of a happy child holding a butterfly is maybe cute, but it can only exist as a flickering moment in time. The problem with images is that they make people believe that something can exist for a long period of time. It's almost as if people were trying to exhort a better reality by creating all this sweet imagery. To me it smacks of magical thinking. In other words, the more we enduce loveliness in pictures, the more it will enter into our lives. Whereas this may not be entirely false, I don't feel that such simplistic views of reality truly serve anyone in the long run. It should be clear by now, after so many years of the presence of New Age thought, that you cannot push negativity aside by focusing only on the positive. This leads to problems with the suppression of "the other side" of reality, i.e. that which is negative (and this will of course be individual to everyone). 

But lastly, I want to bring in a word about bad art. Yes, all this so-called spiritual imagery is derivative and uncreative. It lacks in the personality and is therefore artistically speaking pretty much dead art. People who indulge in this kind of thinking are repeating spiritual symbols like parrots. It is the opposite of the true ascension of spirit. How can such art be stimulating to our spirit and soul? I would implore people to wake up from such extreme escapism... it's not doing anyone any good.

"Halt", copyright Vivi-Mari Carpelan 1999

Tuesday, November 8, 2011


I used to think that I was meant to give of myself through my art and writing - my art existed for the people... either times are changing or I am growing up... the end result is nonetheless that I am no longer doing society a service by creating art. In fact I increasingly feel that artists are being taken advantage of and that whenever some service is provdided for artists, they should be bloody greatful for receiving it rather than the other way around. No doubt there are so many artists begging for some attention that we have a kind of inflation that makes one artist replaceable with another. 

On the internet, there are a zillion websites that take money off of artists with the promise that they can offer you unprecedented visibility and presence online. They tell you your chances of selling artwork or prints is going to increase. But how often do they give you any evidence that they ever sell anything at all? You need to carefully consider where you're investing your precious money. Of course, allegedly you are very rich already if you are an artist to speak of, so you shouldn't really have to worry about such small amounts of money. This is what a lot of people think, anyway, especially the authorities who won't give you grants unless you can show that you have already received many grants before and sold art for at least 5000 pounds a year (this is the case with the prestigious Pollock foundation, for instance). 

I think I will finally let Flickr go, as I am not gaining much from showing my stuff there and I suspect that it's just another site where people go and pick copyrighted material for their own personal use. People have little concept of copyright, I find.

Those who admit that the climate for selling art is not great and is possibly only getting worse, ask why you price your art so high that no one can afford it. To be honest, I actually value my artwork, not just the efforts I put into it technically speaking, but also the ideas. When I sell a piece, I also give away an original idea that can never be used again in the same form, There is also no evidence that a few hundred pounds more or less actually matters to the serious art buyer. Besides, if anyone is buying directly from me, they can always discuss their own situation with me and so there is always the possibility of arriving at an agreement that satisfies both parties. If they buy through a gallery, they have to know that the commissions are exorbitant and that I am pricing my artwork in accordance.

There's a gallery in a neighbouring town whose owner is desperate to be put on the map. Her main objective is to represent her late husband's work, but according to her latest leaflet she represents most important artists in the county. We had some artwork for sale in one of her exhibitions a year ago, to be honest it was all a bit ex tempore from our part. Our work didn't sell and we have not been asked to participate in any more exhibitions. The owner had no problems asking Martin to help her out in terms of advertisement and PR, as well as just watching the gallery for her, but will not give anything in return. It was soon clear to me that it was yet another one way street. We are active local artists but for reasons unknown to us she is not interested in representing us. I see a similar attitude with many people who are being paid to represent culture. For some reason, their time is valuable, but apparently ours is not. They play their little power games... it's all so very petty. We should be coming begging for their help. Of course, when I sense a lack of generosity and fairness, I just back away.

Still I have to concede that those who deal in art have plenty to choose from and you're lucky to get picked. This creates an atmosphere of even greater dependence on some random authority figure than what I am used to, and it makes me extremely uncomfortable. Martin claims that he's not sure artists have ever been kept in high esteem in the UK. He's speaking of some sort of national attitude which is obviously not a great thing for me to deal with this late in life when whatever energy I might have had to get my art out there is greatly diminished.

During the open studio, I was interested to talk to people, but to be honest I also felt that some people were somewhat lacking in respect for our house and for the art we were showing. I think that it no longer occurs to people that by showing your art, let alone your house, you're showing your soul. Too many people are exhibitionsts, which can give the public the wrong impression about artists. I was left with the feeling that I was talking about my art and showing people around without getting much in return. Our private views over the past year left us pretty much with the same feeling. It's very sad to feel that one no longer feels like doing these kind of things for free. Really, the morale is you should not give anything that is not appreciated. It's hard to know this in advance though... instead it's easy to just give up and assume that everyone is selfish and ungrateful. Yet even just giving people the benefit of doubt can be taxing, and when you have to look out for your health you start feeling less and less inclined to do this.

I have no doubt that there is too much "noise" on the internet and in the world at large. There are too many artists competing for attention, too many blogs and books being published. To be honest it's all very disheartening and uninspiring. I used to feel very excited at the prospect of publishing a book. When the possiblity of publishing yourself without the aid of a real publisher became more accessible, I thought hooray! But it didn't take long for me to realize that everyone else felt the same and that I stood only a very small chance of being heard at all. 

I used to think I had lots to say, and that it was important for others to hear about the conclusions I had arrived at. Bah! You could call it hubris. I call it a vocation. But that sense of purpose in life is gone, and it's very hard for me to overcome the sense that it's all so very useless. People keep posting updates on the social media but how many actually reciprocate? If they do, it's mostly because of a silent agreement to pat other people's backs so they will pat yours. Why people can be bothered I really don't understand.

I am learning to wind down, to push aside some of the greater worries in life so that I can get some peace. I am really going against the grain by doing so, as I have always been an intense person and the world is rotating faster and faster. In the end I have to do what many people are probably doing, and that is look out for myself and my family and leave the rest of the world alone. I have to cease believing that anyone needs anything from me, because it stresses me when no one shows any interest, and if anyone does show some interest it winds me up and easily makes me exceed my own limits. I don't have the luxury of unconditional giving at this point in life - sadly, too much giving just leaves me depleted. My condition very quickly reminds me of its presence. Perhaps there is another way, but I have yet to discover it. First, however, I have to admit defeat.

Friday, November 4, 2011


The idea behind this piece is an alchemical eye test for the third eye!
Please buy it! Martin has been setting up an Etsy shop so
his (and some of my) artwork, prints and postcards will be easier to purchase.

Martin is drawing all sorts of things at the moment, whatever comes into his head. He´s finally getting on with it! Normally he works on the oil paintings that take several months to finish. I have personally always liked doing artwork quite fast, as I quickly get to see whether my ideas are any good, and also get the added benefit of getting more ideas quicker. Martin was saying that he finds it quite strange how his mind is getting more and more crowded with all sorts of ideas. I told him I used to have this happen to me whenever I did artwork every day but each piece only took me a couple of days to finish. When I was half way I already had new ideas for new work. This is one of the best ways of getting the creative juices going and getting ideas for your art work!

My own collage is not really advancing at the moment, it's taking me a long time to finish and this is something I am not used to. It's a bit disconcerting but also interesting because I am pondering the work in a very different way. I hope it will turn out alright. I would like to enter it to an important exhibition in one of the non-commercial galleries in our vicinity.

I have completed my first sale of original collages through the internet, hooray! I am glad to see that this is indeed possible, even without going through one of the agents. Though obviously it requires mutual trust as the buyer needs to feel secure that they will receive the goods and the seller needs to be sure they are not dealing with an internet scammer (many will try and buy art and then reverse the payment or conduct some other fallony so beware!). I wish this would happen more often, of course, as selling from home or from one of the galleries in the area is not terribly fruitful at the moment. I just spoke to the curator of the museum in Llandrindod Wells who said that there were around 1000 visitors during Powys Arts Month but no sales. They are continuing to sell my postcards though, which is nice. Needless to say we need every penny we can get...

One of my collages has just left for Chichester where it will go through a second assessment for a big national open art exhibition.

Our house has now been featured in a Finnish-Swedish blog about interior decoration, run by a journalist at a big newspaper in the East of Finland, it's cool! The first part (of two) can be seen here. It's all in Swedish but there are plenty of photos, all of which I took myself and sent to Anna-Lena... My camera is not really up to wide angle photography of interiors, and this is one of my big complaints, but I make do...

Poor Marius has been sentenced to another four weeks in the cage, as his leg still needs time to recover. He is now without the cast, and had a bit of a bad time for a while because he'd licked the skin really raw. He really loves his cuddles but he is probably quite bored with them. I expect he will come out of this ordeal alright in the end nonetheless....

Friday, October 21, 2011


Poor Marius is very bored and very confused about the confinement to cage rest... His cast should come off in a little more than a week... then we have to make sure he doesn't get out and get himself run over again because of stiffness in the legs... We cuddle him for a long time twice a day, he is not running off and so it is working out quite well, but while he is sometimes very calm he is also often very enervated and upset. It's hard to know whether we should tell him off when he starts attacking us... My principle is that he shouldn't be allowed to do that under any circumstances. I keep a leaflet at hand which I bash him with a bit, this is a known method of cat education as the cat shouldn't associate the hands with punishment. Poor Marius!!

Post Scriptum: After a bit of a low spot wondering why we keep making this sick joke on him, Marius has now picked up his spirits,and seems to do a lot better! Very soon his cast will come off... We are going to prepare some reflective fabric to be attached to his collar so he doesn't get run over again.

Monday, October 17, 2011


"Don't you even think about putting me down!!"
The open studios are now closed... I have to say the last weekend was a bit of an anti climax and our press release (which really we shouldn't have had to make ourselves) appeared in the local paper one day before we closed... Some people have thought the PR was poor. Some people also came to us complaining that other artists and galleries that were supposed to be open weren't. That's pretty bad for us! I can understand people are upset when they have to drive far into the hills on tiny country roads...

The good news is that our work is well on its way. Martin's second drawing for the illustration project soon to be revealed didn't quite work out. I told him upfront that I didn't think it was good enough... after some initial irritation he agreed and started again. I think for that kind of project you can't expect to get it right right away - free drawing, requires so much practice. How many times I have also abandoned work in the middle, it hurts but it's sometimes necessary. So here are some shots of the work situation in my studio....

I tend to end up on the floor... especially when the work is big like this
However, what you don't see is me lying flat on my stomach trying to draw a pylon, moaning loudly in the process. My back muscles just won't take any such drawing practice. The big figure is bad enough... not to mention the clouds. The physical challenges are quite depressing but I try and find ways around the problems. It's going to be - I hope - quite a hefty collage about problems with society, featuring among other things this striking military chopter which was free on the internet... Though I'm a girl I can't help thinking it's quite cool as an object, but it's probably laden with missiles... Why doesn't it surprise me a war related picture like this is free wall paper!

Martin has started drawing:

This piece is about order and chaos as exemplified by the golden mean and the tendency of our reality towards entropy (the skull)... This is not part of his actual book project but something he has in mind and is practising on in order to get into the habit of drawing every day. You can buy it, please see his blog.