The Making of Collages (5)

The Making of Collages (4)

The Making of Collages (3)

The Making of Collages (2)

This begins a series of collages--for the next two weeks--made in the winter and spring of 2010. Each collage became, for me, a point of meditation, an insight into the post-modern age.

Each collage is a visual cut-up. The narrative running through our minds of how the world is constructed, how it works, is ended by tearing it into pieces. The random re-organization of these pieces gives us a new narrative, a new insight into how things work.

A longer introduction to The Making of Collages can be found in the posting of last June 28th.

Trees on UBC Campus (3)

Trees on UBC Campus (2)

Wolves at Alexis Nihon Plaza

The numinous world is all around us, waiting to break through the unconscious into our awareness. It is like these plastic wolves, found in the window of a dollar store in Alexis Nihon Plaza in Montreal. There the wolves wait, actually quite attractive figurines or statuettes, but still nothing all that special, and yet they are a reminder of the numinous order to things. The numinous--archetypes, metaphor, symbolism, mythology--are always present, always waiting to enter consciousness, always just under the surface of consciousness.

Jungians have always been fascinated by popular culture, which can be an expression of the human psyche and what it contains, represented to us in the everyday--in the quotidian--where it is an expression of our social and cultural concerns, our psychological and spiritual concerns, our collective concerns, unadorned by the aspect of high art that is deliberate and sometimes exclusive.

These wolves remind us, even if it remains unconscious, of the part of the psyche that cannot be tamed, that is always only once removed from primeval and atavistic aspects of consciousness.

I remember, years ago, reading Albert Schweitzer's On the Edge of the Primeval Forest (1922), it was on the reading list for the high schools of the Protestant School Board of Greater Montreal, and then a few years later I read A Heart of Darkness, published twenty years earlier, by Joseph Conrad, both books set in Africa. The first, a benevolent expression of Christianity (the work done at Schweitzer's Lambarene mission) in Africa; the other, how western consciousness is affected by shadow content. Both books are fascinating explorations of European consciousness relocated to a foreign environment. Conrad's vision is more relevant for us as it shows western consciousness when removed from the supports offered by western society, by western mythology. Today, and for the last hundred years years, these supports have been removed for many people in western society. We consider this the decline of western civilization, and the old civilization is indeed in decline and has been for many years, but we also live in a dynamic and vital post-modern world which adapts to change and is capable of re-visioning itself. What most people don't realize is that a new mythology has been created, new psychological supports have been created, that the numinous can never be far removed from consciousness. That we aren't fully aware of these new supports--a new mythology for living--isn't evidence that they don't exist; it is evidence that they are active, vibrant, and relevant. For many people this is a difficult time in which to live, it demands something most people aren't prepared to do, and that is to become people who are conscious and aware.

Note: When I wrote this I could still be a detached observer of things; no longer. The supports of western civilization are being destroyed by people in the west, it is called being woke, but they are not really "woke" or awake, or even aware but they are full of self-hatred. In their rush to destroy the society and culture that educated them and gave them the affluent life that they enjoy, they forget the many achievements of western society. If this is the new mythology of western society, then I didn't see it coming. These woke people want to destroy western society, tear it down, even to the basic unit of society that is the family.  (19 February 2023)

"Waves" and "Waves (2)"

At Jericho Beach, Vancouver, on July 9th, 2010.

Trees on UBC Campus (1)

Apple Tree on Belmore

My interest in trees as an archetype goes back at least to my first book, The Trees of Unknowing (Vehicule Press, 1978), and probably before. The obvious allusion in the title of my book is to The Cloud of Unknowing that I first read in the early-1970s. While in Mexico in 1984 I found a copy of The Cloud of Unknowing and read it again with great interest. Just a few months ago I returned to this book, and read it with even greater interest than the other two times. It is a part of the via negativa , with (curiously) some suggestions of Krishnamurti's philosophy.

Trees. Roots; earth. Branches; sky. Union. The mundane unites with the divine, and mundane, coming from mundo, world, earth, is the appropriate word. And then the discussion of the divine. What seems lacking in contemporary poetry is a discussion of the divine, of God, and our relationship with the Divine. It seems to be totally absent from the discussion of poetry by poets. No wonder the soul of the poet is never discussed, but without a poet's soul how can we have poetry?

These photographs (and many others that I have taken) of this apple tree in our backyard remind me of the many hours of pleasure I have had sitting looking out at this tree. In the evenings I can see neighbours' lights through the trees. Seeing these things is a pleasurable activity, it is a feeling of being in the country in the city, a feeling of calm and, oddly enough, of transcending time.

Gates at the Bridal Path, Toronto

                                     This is not the presidential palace of a banana republic but someone's home 

                                                                             in the Bridal Path area of Toronto.

                                                 So, this is what is behind those heavy gates...

The Making of Collages

A collage juxtaposes images or parts of images that seem to have little association with each other; the collage presents these images in an unexpected and seemingly random way. Profound images, for instance images of human suffering and hurt, become images describing our age. Archetypal images juxtaposed beside each other give a new association, a new idea of the age. The random aspect of the collage is also interesting, this is interesting because any image placed beside any other image gives a third and new image, a new idea or insight coming from the collage. These collages are a kind of Tarot card reading, or divination, of our age, there is the sudden appearance of some insight in the collage.

Collages are similar to Brion Gysin's cut-up technique which works with words and sounds instead of images. I think you could take any issue of TIME magazine, which has excellent photo-journalism, take the images and cut or tear them up at random, and then glue them to a surface in any order that they occur, and you will have a collage that reveals something of the age in which we live. This is what I did with the collages I am putting up here. There is no "thought" in the making of any of these collages. Gradually gluing down the images becomes a system, a process, for instance beginning every collage at the bottom right hand corner, or trying to impose some kind of order or intelligence on the collage as it is being made. When this happens you have to stop and eliminate this thought interference in the making of the collage.

Then, you can also take the collage and ask what does it suggest? What ideas are there in the collage? Archetypal images contain their own energy, their own impetus in driving the unconscious mind. They are an entrance into the collective unconscious and as such they can be very powerful. My suggestion is always to begin with the archetype and then proceed from there; you can try but you can never really defeat the authority of archetypes that are innate in the human psyche.

The Outlook and other gates

There are archetypal images everywhere we look, including these gates leading to expensive homes in Vancouver. A gate is an opening, but the gate is strong, large, protective of what is inside. The psyche resonates to the archetype of the gate, it isn't just a gate to a home, it is a gate to something else, some psychic content that has value for us. But what is this value? What is it behind the gate? It can be ominous or it can be liberating, but it isn't neutral. It is something important to us. But at what level of importance? Well, it can be materialistic but that's doubtful. You can find material wealth on this side of the gate. You may begin with the materialistic, but you end up with the spiritual. We're being kept from what is behind the gate. It is something more like inner peace, or self-discovery, or some information that will liberate us from whatever it is that is holding us back, keeping us in stasis.

The "mission" is to penetrate, or venture, or gain access into whatever is behind the gate. That is the first part of this mission. The mission is a quest, and when we enter through the gate, however that may be accomplished (maybe just ring the door bell and the gate will swing open) then the adventure continues, then we continue this mission of finding what is behind the gate, and we're doing this because it is some kind of a journey. This is the archetypal value of the gate. Any gate will do as an image of the gate.

There is also a gatekeeper, but we haven't yet seen him. He's there, somewhere, adding to the complexity of the journey. If you capitalize "Gatekeeper," then the word assumes a different value, it has a more sinister meaning. Then it is personified; who is the Gatekeeper? Now we have at least five things: we have what is on this side of the gate; we have the gate; we have the Gatekeeper; and we have us looking at the Gate, questioing something about our situation in the world and what is behind the Gate. We also have a narrative about all of this. And now we have a myth; now we've given birth to a mythological perspective of our lives, and in some sense it all came from this one observation of a gate.

I hope this explains something of my interest in archetypal images. A gate is just a gate until it assumes some psychic value, and then it works (as poetry works) simultaneously on several levels of complexity. This is a simple thing to understand but until we make the leap into archetytpal thinking, we are missing the other levels on which thinking, images, archetypes, symbolism, poetry, and mythology can work.

On the 142nd anniversary of Thomas D'Arcy McGee's assasination

McGee was assasinated on April 7, 1868. This is the 142nd anniversary of the death of Thomas D'Arcy McGee, a Father of Canadian Confederation, always remembered as a poet and for his contribution to founding the Dominion of Canada.

At a drum store in Toronto

At the Getty Museum in Los Angeles

It's thirteen years since we visited the Getty Museum in Los Angeles (back at Christmas, 1997) but I still consider it one of the most impressive museums I have visited. Everything about the Getty seems perfect, at least to the visitor who is made to feel most welcome. What a wonderful experience, to visit a Roman villa, fully restored and containing a wonderful collection of Roman and other art.