As I reached the end of a meeting with a Mentorship client last week, they asked a very important question. “How do I get space from how I view my body so critically?” These aren’t their exact words, but more or less, my client was really asking me if I knew how to quiet the noise many of us scream toward ourselves about how our bodies look. Could energy work, running energy, meditation, all the skills we have worked on together in Mentorship help quiet the noise? 

 

This question deserves a two part answer, as how artists relate to our bodies is different from how other people relate to their bodies. This is one of many instances where creatives are just different and the answer I provided is different. Before we dive into why, I want to start at the beginning.

 

This piece of writing is a transcript from my podcast Joy is Now. The episode was recorded in December of 2020 and is a reflection on what it was like to be 14 years old, in serious art school, and spending hours a week drawing and sculpting from live nude models. The following is a great introduction to what I will share next week about why the same rules do not apply to creatives when it comes to the body. If you would like to listen to the episode instead of read it, you can do so here. 

 

Why Tuesday is a dick.

Psychology and the hard stuff. No pun intended.

 

You might imagine that there is a better way to share psychological insight than beginning a discussion about why Tuesday is a dick. A more refined and intellectual method that would have scholars nodding in agreement. And yes, there is, but you won’t hear it here. At least not today. On JOY IS NOW you’ll hear the version that I like to call Dick Day. Hang in there with me. It’s not what you think. I’ll start by saying 100% of this is true. And 100% hilarious. 

 

When I was 14 years old, I began attending a local professional art school 2 nights a week from 6-9 after my regular high school day ended. The school was run by a local art legend and was housed in a restored boat building down by the water on Huntington Bay. It was my first introduction to art school and it took about 3 minutes for me to fall in love. The smell of oil paints, charcoal, fingerprints on the walls, paint covering the floor and tables. That was it. I knew it right then. The extraordinary thing about this place is that the director treated each of us like serious artists. That alone was big. To be a young teen and have an adult view your work as serious and professional. I am still a product of that space. That time. Joseph Mack, wherever you are, thank you. 

 

Part of attending this school and really becoming grounded in the weight and serious study of the arts, was nude figure drawing, painting, and sculpture. This kind of study is essential. It is the science that gets you to the abstract. You must understand one to experiment in the other. The anatomy. Skeleton, musculature. How shadows fall. Understanding what is really actually there, versus what you see and how it looks on the outside. This is how you train your artistic eye. Most of the models were women and most of my nude study classes were drawing. I loved these classes. The sound of the charcoal against the newsprint. The blackened color of my fingers and pants after class, the metallic taste of adrenaline gathered in my mouth during critique. I loved it all. I had successfully worked my way through 2 semesters of figure drawing and was then moved on to figure sculpture. Now I should say that while in attendance, I also had the biggest crush ever on one of my instructors. His name was Ian. He was 22 and had just graduated from Oberlin. He had that kind of dark black hair that is so dark it almost looks like charcoal. Sometimes pewter in the sunlight. He had long waves that framed his face, wore the world's coolest t shirts and always wore those old school LL Bean Blucher mocs. The brown ones with the yellow marled shoe laces. Anyone remember those? And of course, he was in a band. He was the coolest guy I had ever seen or spoken to and Ian instantly ruined me on high school boys. No one else had a chance. Sorry not sorry. 

 

I was super excited to learn that none other than Ian himself would be my instructor for figure sculpture. We would spend the entire semester working from a single pose. This was unusual, but in sculpture it made sense. It’s hard to work clay quickly, especially when the objective is to create a true to life representation of the human body. I learned the first night of class that we would be working on a nude male single pose. Now as an adult this doesn't seem weird or strange, but as a now 15 year old girl, spending a semester sculpting a grown naked man while my biggest crush looked over my shoulder for three hours twice a week was a lot. Oh my god it was a lot! But I was determined to play it cool. 

 

Ooof! So here’s how that went. We had 5 weeks, 2 classes a week, so that’s roughly 30 hours minus cigarette breaks and all the idiotic cool high school kid stuff there was to do to work on this piece. I was so proud of myself. I was doing a better job than I had anticipated. I had really gotten a sense of the anatomy, and had created a really nice sense of weight in the pose. I was keeping up with Ian’s musical and literature references during class. I was able to pretend I was not obsessed with the shape of his hands, the clay under his fingernails and the calluses from his guitar. I was playing it so cool. Ian was super supportive and week after week would gently guide my artistic eye as I worked. More here, less here. Keep going. Four weeks went by and I was in good shape to finish the final week. I had also managed to get through the whole experience without making an ass out of myself in front of Ian. High fives to me. 

 

The last week of class I’m putting the finishing touches on my sculpture. Smoothing out the skin, redefining some of the muscles. The little things you do before a piece is fired. I could see Ian talking to the student behind me and knew it would soon be my turn to be illuminated by his guidance. He approached my work, stood for a moment, spun the sculpture around on the little lazy susan atop the well worn wooden pedestal. “This looks really good, Lisa. Nice work. I like this area, this area, the direction you took here. But ya know, something’s missing,” he said. I got super nervous. What did I forget? It felt done. Like it was ready. I looked at Ian with a total blank stare. I had nothing. “Do you know what day it is, Lisa?” “Tuesday,” I said. It’s Tuesday.” Ian put his arm around me and in a whisper said, “No Lisa, it’s Dick Day. Today is Dick Day. Your subject has no penis. And today’s the day you're going to give him one. I’ve watched you work on every other area with incredible detail and beauty and somehow you have managed to avoid the model’s penis altogether. What you have here is not a sculpture. What you have here is a Ken doll.” What could I say really? I just stood there. Ian was truly lovely about it. He didn't make notice of my silence or the fact that I probably looked like I had thrown up in my mouth a little. He simply said, “Dick Day, Lisa. I’ll be back.”

 

And god damn it if I didn't sculpt this figure the greatest penis ever. I gave it my all and with the same attention to detail and anatomy I had given the rest of my sculpture. If it was Dick Day, then I was going to lean into it. It would be a Dick Day to remember. The final day of class commenced with one on one critiques. I continued to put the final touches on my sculpture, overthink everything and wonder how I was going to play it cool while trying to figure out what classes Ian was teaching next semester. It was my turn and Ian had a lot of positive things to say. He gave the appropriate feedback and showed me the areas that were a little off. How I could have added some tone here to show the weight and pose a little better. He ended the critique with probably one of the best pieces of advice I’ve ever received. Before he walked on to the next student he leaned in really close to my sculpture’s penis and said, “That’s one hell of a penis, Lis. Now imagine how much better and more true the rest of your work would have been if you had started with what you were trying to avoid. Stay loose. Dick Day should be day one.” At the time his words only sort of sunk in. I mean honestly I was so wrapped up in the way he smelled like nag champa during the critique. It's amazing I can remember anything. But that’s why Ian ruined me on high school boys. He was cute and oh so freaking deep. 

 

I sat with this piece of advice for years before fully understanding its psychological brilliance. Calling on it daily during art school and later sharing the story with my graduate cohort in clinical psychology. Here’s where the psych genius of  Dick Day comes in. There is a common phenomena that occurs during a session with a patient where often the most important information comes out at the end of the session. When there really isn’t enough time to dive into it. It’s like dropping an emotional bomb and not having to stick around to sift through the rubble. It’s not a wrong thing to do, or a bad thing. It just happens. We all do it. It’s part of the process. Hell I’ve done it with my therapist more times than I can count. The session minutes tick by I think I’m talking about something and then the last five minutes, oh by the way this happened. And it’s like what I happen to mention on my way out is kind of what everything is about. 

 

Ian’s wondering with me about how my work would have been affected had I started with what I was trying to avoid is a great lesson. Yes, a lot of the time we need to go in circles to get to the point. Like waiting to land at JFK. Taxiing, taxiing, taxiing, waved in for landing. Approach, then landing. Arrival. It’s a process. But it’s worth remembering, at least for me, that Dick Day wasn’t as scary as I thought. In fact I did pretty well. And maybe if I had faced head on what I was anxious about, what I was trying to avoid, I would have been looser for the rest of the process. I would have been fully there and my work would have reflected that presence. 

 

So I guess what I’m saying here is that it’s okay to prolong the process. Sometimes we need to take the long and winding road - one of Ian’s favorite songs by the way - to get to where we need to be. But at the same time, it’s important to consider the other route. Starting with the hard stuff. Staring down the pain. Dancing with the grief. Howling with the fear. There’s many ways to get there. But if you’ve walked the same path. Practiced the same method. Labored the process. If you need permission right now to start with what you are avoiding, go have yourself a Dick Day and start with the hard stuff. Ian from Oberlin approved. 

 

Return next week when I really get to the meat of my client’s question. 

 

xxx

LAS

 

 

Solar Transit

6-25-24

Gate 52

Gate of Stillness

 

On June 25, the sun gracefully transits Gate 52, the Gate of Stillness. During this celestial transit, you are invited to embark on a journey of contemplation and inner peace. Gate 52 encourages a deep exploration of your ability to cultivate stillness and focus, allowing you to channel your energies in a grounded and purposeful manner.

The energy of Gate 52 advocates for embracing moments of calm and introspection. It is a time to withdraw from external distractions and find solace in quietude. This gate emphasizes the importance of creating a stable foundation from which you can observe and assess your surroundings with clarity and precision. In this stillness, you gain the ability to see the bigger picture and make thoughtful decisions.

 

However, this energy comes with its own challenges. Those experiencing the transit of Gate 52 may struggle with feelings of stagnation or impatience. The urge to act impulsively or to move forward without a clear direction can be strong. It is crucial to recognize that the power of Gate 52 lies in its ability to foster patience and deliberate action. By resisting the urge to rush, you can harness the full potential of this gate’s energy.

 

To enhance the frequency of Gate 52, cultivate practices that support mindfulness and stillness. Engage in meditation, nature walks, or any activity that helps you connect with your inner calm. This period is ideal for reflecting on your long-term goals and the steps needed to achieve them. By embracing stillness, you create a space for insightful planning and strategic thinking.

 

Gate 52 tasks you with the opportunity to develop patience and resilience. It is a reminder that true progress often requires periods of rest and reflection. This gate also provides a chance to reflect on how you can use your focused energy to support others. Consider how your ability to remain calm and grounded can positively influence those around you.

 

Here are some journaling prompts to deepen your understanding and engagement with this transit:

 

1. Reflect on your ability to embrace stillness: How comfortable are you with moments of quiet and inactivity? Consider how these moments can be used to enhance your focus and clarity.

 

2. Explore your patience and resilience: Are there areas in your life where you tend to act impulsively? Reflect on how you can cultivate more patience and deliberate action.

 

3. Contemplate your long-term goals: How can you use this period of stillness to plan and strategize for the future? Consider the steps you need to take to achieve your aspirations.

 

4. Consider your impact on others: How does your ability to remain calm and focused influence those around you? Reflect on how you can support others with your grounded presence.

 

By aligning with the energy of Gate 52, you can enhance your capacity for patience, clarity, and purposeful action. This transit offers a valuable opportunity to embrace stillness and use it as a foundation for thoughtful and effective progress.

 

NEW PROMPT!!

Do you know about Tapping? It can be an effective addition to energy work and nervous system regulation. Many of my Mentorship clients include Tapping as part of their daily ritual. You can learn more about Tapping and how to do it below.

 

EFT - Emotional Freedom Technique Tapping Prompt for this transit.

 

“Even though it makes me anxious to stop doing and sit with stillness, I now trust that patience brings great moments of receivership and integration that help guide me toward greater alignment and I deeply and completely love and accept myself.”

 

Welcome to The Creative. Twice a month I share quotes from the books, Art is the Highest Form of Hope and The Creative Act. I find perspectives on the creative process to be so meta when it comes to life. We are a creative process and everything we do is subject to the same rules. Creation is non-linear. It's messy. It moves forward and backward. And also gets stuck. Oftentimes we do not realize the purpose of a singular creative process until years later. Creativity likes to surprise us. 

 

Richard Serra is a master of subtraction. An editing genius, he has chased the intricate down, wrestled it to the ground and squeezed out of it a refined essence that in and of itself appears to be quite simple. This is the trickery of the artist, correct?  What appears simple is the tireless work of a kind of forgetting that takes great skill. It is as if with each step the artist challenges himself to take everything you know of this object and erase it. How would you see it in the simplest terms? Where is the essence? What is the largest shape? How can we see all of it at once? This quote to me is the essence of the gift of the creative. In Serra’s case to demonstrate the lightness of something heavy and immoveable. To show us what we have never considered. Can something heavy create space? Can we walk within it and feel light? The rules are challenged. Always. 

 

 

Cancer Season embodies the emotive and nurturing qualities of the cardinal water element, fostering deep connections and emotional understanding. With a compassionate and intuitive nature, Cancer values emotional depth and empathy, leading with their heart and emotions in all aspects of life. Cancer energy initiates through nurturing, family life, and ambition, bringing a spark of initiation and courage to endeavors. Ruled by the Moon and residing in the 4th House, Cancer emphasizes the importance of home, family, and emotional nourishment. Here, our sense of belonging and emotional climate is defined, shaping our roots and psychological development. The Moon guides the Cancer  inner landscape and emotional expression, fueling instincts and driving desires for security and nurturance. Cancer Season brings a nurturing and protective essence as you navigate the realms of creativity, family life, and emotional well-being. 

 

The nurturing energy of Cancer Season can lead to deeply fulfilling and emotionally rich outcomes with a caring and intuitive nature to foster a supportive and empathetic work environment. Take time to nurture relationships with colleagues and clients, prioritizing emotional connections and understanding. Utilize natural leadership qualities of Cancer Season to guide teams with compassion and empathy, fostering a sense of belonging and trust. Focus on building a strong foundation rooted in emotional intelligence and authenticity. Embrace creativity with a nurturing approach, allowing intuition to guide artistic endeavors and infuse your work with emotional depth. Cancer season offers an ideal time to cultivate a nurturing and supportive atmosphere in all aspects of your professional life, fostering growth, connection, and creative expression.