ANAVAMI CENTER is interested in true art, like true literature, that makes an impact as it expands the spectrum of everyday life. The arts are a means of participating in what the Sufis call ‘remembering’. To remember is to return to that completeness that we know and create. Co-creating on this level of knowing calls magic into life, while at the same time comes toe to toe with the logistics of life. Through the art-making process wholeness is experienced by participation for the creator as well as the audience. In both cases we are reminded of who we are. Artistry is created through ‘transrational consciousness’, applying reason with vigor, but also intuition and higher states of consciousness.
ANAVAMI CENTER offers weekly studio art circles, some with online components that allow for participants from near and far. Yearly retreats and seasonal workshops expand the Center beyond the walls of the studio to explore and expand our artistic expression in unique environments around the world. The Center also offers community events including shows, lectures, book signings and workshops that combine creative process with martial arts, healing modalities, and archetypal work through subjects of the mystery schools like Qabalah and Tarot.
Painting Circle Themes:
The circles concentrate Transformational Painting or Wobbling the Paradigm. Transformational Painting is a process-painting endeavor utilizing large format painting with Projective Dreaming Techniques for creative exploration of personal and collective Mythology. Wobbling the Paradigm emphasizes allowing our inherited consensus reality of a separate self, or us as primary creator to experience the collaboration of the relational-field as manifestation of our wholeness. Through somatic explorations, stretching the imaginal, experimenting with unconventional materials and writing we challenge our regular ways of perceiving and making meaning from experience. The organizing principle of this core work begins to re-master our identification with the split world of separation, owning there is only one world.
Although Majio is California born, she has spent much time studying and working outside the country. She is now living in Santa Cruz as director of Anavami Center, facilitating circles in the studio and on Zoom, as well as hosting seminars in dreamwork, creative process and the process of Wobbling the Paradigm. She offers regular retreats to New Mexico and Costa Rica, as well as quarterly workshops, weekly studio circles and zoom meetings in many time zones. Majio has received grants that have enabled her to extend her work and outreach to youth in the Juvenile Criminal Justice System, homeless teenagers and other marginalized groups using art as a means to support the re-creation of personal mythology. She is particularly interested in how art functions in individuals and in the collective. Her Transformational Painting work is based on the assumption that in our authentic self we are all artists and the meaning making process is integrative and essential for everyone if we are to create a sustainable and healthy planetary community. Wobbling the Paradigm addresses the need to change our consciousness, enabling us to solve problems that we have created. The visual arts are a way of opening our consensual reality to more creative and innovative ways of perceiving and interacting with the world.
Majio studied art in the California University system, has a master’s Degree in Creation Spirituality from Naropa University and trained with Jeremy Taylor at the Marin Institute for Projective Dreamwork. Because of her interest in the relationship of the conscious to the subconscious she became a certified Clinical Transpersonal Hypnotherapist. This brought up the issue of how to break out of the everyday trance as much as the motive to create them. She painted in Madrid and Paris, and lived in Mexico, Korea and Taiwan. Majio taught creative process to art students at Seika Art College in Kyoto which began her inquiry into the role of creative process in inner development as relatedness to community. During this time she was introduced to more immersive practices at Daitokuji, a Zen Buddhist temple complex, that connected her to the traditional practice in the art as being through the arts.
My work helps me to undertake life in a deeper way, which is not necessarily to understand it, or process it but rather enter into it outside of language and cultural norms into intimate possibilities. It is a way of letting image, process and relationship take me beyond the pat boxes that usually come with their agreed upon meaning. My background is mixed media painter and monoprint printer, but I have been submerged in mark-making for the last few years using marking materials on printing paper collaged with prints, rubbings, random marks and various extensions and interpretations of marking. Adding to these approaches I have ventured into cold wax with oil paint, which has encouraged a layering of marks not possible in other media. Because painting is fundamentally mark-making my painting and printing has taken an interesting turn different from my previous work allowing for less conscious control, more experimentation and deeper access to the psyche.
I have come to utilize what I call out-on-a-limb, which is a way of creating a visually untenable, awkward or uncomfortable situation which pushes a response outside of learned strategies. Things, content and visual depiction, will then reveal themselves on multiple nuanced levels. My daily practice of haiku augments this way of working in several ways. More significant than the haiku form of 17 syllables in line three lines 5,7,5 is how, when successful haiku leads to a leap, or pause or insight. It is similar to a Zen koan, that provokes a perspective beyond habit. Koan practice can be defined as stimulating the possible meeting of two realities. I invite this provocation into my visual work. Out-on-a-limb invokes something surprising that often can’t be quite articulated, but seems to build on itself. It requires embracing the confusion of not knowing, which reveals perspectives not considered, activating the participation with the materials. This includes and goes beyond physical place and time with connotations that are not perceivable until they appear. More and more I am sensing my work is more a collaborative endeavor as part of a greater wholeness that I am.