In-Bodying the Field Blog #1A: Introduction to In-Bodying Marking, Yielding: Gravity/ Levity with Bear of Gravité Poem

Anavami Center

Gravity/Levity-Yielding with Bear of Gravité Poem

Anavami Center, In-Bodying the Field explores not only marks, but entries into marking that for a practiced artist can redefine relationship to materials, images and the world. For the unpracticed it begins a fluid interaction with the world that in time will transform your present definition of art and your participation with it. For everyone it has an impact on how we see and perceive ourselves in the world. The work that arises from this kind of exchange is playful, adventurous yet ever risky. A challenge to most by not trying to be right or good. It flies in the face of the social norm and to most hits at the core of self-identification. At the same time, it opens new ways to witness creating.

Five years of implementing and exploring in this way I have found that I am much more aware of my relationship to everything in my world. I am not separate, nor could I be. Like many of you I have known this theoretically for a long time, but it has not been alive as it is now. I am not making art but participating in the creative exchange with which I am in relationship.

In this six-month series we start with the basics of marking making as yielding that orients us in space. Our mind/body is a fluid edifice of incessant motion that sources our capacity to mark in the greater field to which we belong. As we gain deeper insight, experience through exploration into markings it becomes clear that it is fundamental to all exchanges of information, communication and expression. Using our body, transmitter, receptor, and archive, as the template of the Universe…. the history of evolution of our planet is within us we will explore the template of the cosmos through what is most intimate to ourselves. The intention of this work is to discover our individual voice as we develop expression of the poetry as we live on the planet at this time.

Investigating gravity in our marking circle, both somatically and in terms of shapeshifting, a series of somatic experience with poems arose for me. The first being:

Blue Winged Bear, mixed medium, canvas, 3’ X 6’

Blue Winged Bear, mixed medium, canvas, 3’ X 6’

Bear of Gravité

the great Bear of Gravité

            sat on me this morning

                        like the Chinese ghost

who sits paralyzing you in your bed

I appealed to her blue feathered wings

            to flutter and lift into the air

                        but not the slightest movement

                                    nor levity

In time I found my way into her vast heart

            Huge—full of stars and planets

                        un-named things of color and darkness

 I did nothing there….

for a long time…. but feel into the space

and when I was no longer pinned to the bedsheets

I got up for a cup of tea…



Shadows, Markings, and Synesthesia

Anavami Center

Transformational Painting Circles

On Fridays 10 a.m. to 1 p.m. Join us in large format acrylic painting sessions getting in touch which our instinctual side. Moving beyond the Skeleton Woman Story to the medial partnership.

Marking Session at Studio & on Zoom:
In-Bodying the Field: 6 months of Mark-making from January

We are exploring mark-making as a medium to change how we have learned to perceive reality. Marking in this sense is an exchange, an interaction as marks must be received as well as made, whether on paper, a city road or in a conversation.

Books of Interest:

The Coddling of the American Mind, by Jonathan Haidt & Greg Lukianoff
This is a book for anyone who is confused by what’s happening on college campuses today, or has children, or is concerned about the growing inability of Americans to live and work and cooperate across party lines.

Fabric of Wholeness: Biological Intelligence and Relational Gravity, Carol Agneessens, through experiential dialogues, draws us into the body to view the pulsating and vital interplay. She concludes that gravity is fundamental to the development of biological intelligence — the glue that holds together and organizes our fabric of wholeness.

Websites of Interest:, collective imagining to increase radical kinship with the human and more-than-human worlds, present, past and future.
Paintings by Pamela Holmes

December Sidebar

Retreat 2022:

San Miguel de Allende Fall, accepting registration.

Shadows, Markings, and Synesthesia

Paper ‘mask’ used in monoprint

In Anavami Studio we see marking, not only as a foundation of the visual arts but as metaphor and at the same time an appearance of our relationship with the world. We are exploring mark-making as a medium to change how we have learned to perceive reality. Marking in this sense is an exchange, an interaction as marks must be received as well as made, whether on paper, a city road or in a conversation.

Our working definition of mark-making is leaving a residue or impression with movement or pressure. This can be any kind of physical trace, but also a mark can be left on one’s emotions, intellect or psyche. Marks are conduits of information as they are ways of interrelating not in the world but with the world. Our marks are informed by the very matrix in which we live. The greater field is alive, impressing on us as we in turn to press back leaving marks. There is a mutual yielding as well as a mutual learning, as we exchange information. This yielding is more than allowing. It requires an ability to give as well as receive. Just as in traffic sign, yield involves a slowing our trajectory in order to be aware of others movement and speed, which everything in the Universe has. It is a different dynamic to halt at a stop signs where you expect to take turns. The giving and receiving in mark-making as in traffic has consequences.

Monoprint using ‘mask’

I would also suggest that marks are not flat two-dimensional residue on a surface but more like your shadow stretching before you, deep blue on the asphalt. That shadow fills the space between you and the elongated mark staining the street. It is actually voluminous. When something enters the space between you and the pavement, a cat or fire engine, in the moment it is changed. Their light is disturbed. There is a vulnerability in the distance the shadow travels. There is a life force in that volume, a textural signature of its source. Like the mark it is porous, open to vicissitudes of the time and place. It could even be said to have an intelligence. There is more intelligence around us than we are like to recognize. In times of crisis an extended understanding of intelligence is valuable.

In Hidden Blessings, Psaris talks about life crisis, no matter the age as an opportunity to awaken. She goes on to say that the success of any life-crisis-transformation depends on our ability to allow the soul (ourselves) to evolve beyond the ego structure encasing it. Our ego is not only anthropocentric, judging intelligence and power as human based but also biocentric, projecting that only living things have consequence especially is they are human.

Print from folded ‘mask’

Just as habit does not recognize the volume of a shadow ego is blinded to the psychological function of its shadow, a metaphor and expanded perspectives. At this time in history, our world is in crisis with the need of sweeping new perspective. For most of us the best thing that we can do is tend our own garden, which in actuality calls for persistent courage to redefine our place in the world. Crisis asks for marks of a new order that stretch habits of identification. The ego’s shadow does not see what it is projecting on others without careful scrutiny. In shadow work we see how anything that riles us has much more to do with ourselves than the other. We can only see, literally and figuratively, the fullness of our shadow through imagination.

To tweak those perception that are so ingrained we need to cultivate the imaginal domain. It is much more a part of our life than we acknowledge. Dream worker, Jeremy Taylor described that space between conscious and unconscious as not-yet-speech-ripe. We know but it takes imagination to bring it to consciousness. The more that we call on the space between knowing and not knowing the more that it is available. In this province, as witnessed in any craft that reaches artistry, fundamental truths brought to vision. Marking is more than the flatness of streaks and strokes on a page. There is a qualitative difference between a shopping list or a poem.. And yet there are poems that are really shopping lists and shopping lists that are poem depending on how the imaginal is sparked.

Not imagination but the imaginal realm stretches our senses. In synesthesia, a neurological condition, information meant to stimulate one senses instead stimulates a different one altogether or several —music is seen in colors, architecture has a taste, or sound appears as shapes. We all have a little bit of this, for the channels are informing each other far beyond our expectations and habits. We expand our sensitivities in the imaginal, which adds another layer of information and relationship to how we exchange with our world. The volume of shadow, yielding as a way of encountering the world, the extended understanding of intelligence and crisis as opportunity are all ways of create by changing how we perceive reality.

(A mask is used in printing to block the ink from the plate to the paper. The shape of the mask was from the photograph of the shadows of two people standing together.)


These two diptychs incorporate pieces torn from the earlier prints as way of developing and finessing the image in collaboration with the field.