I was born and raised in The Netherlands soon after world-war two by two different families as my mother died when I was five years old. I arrived in Cape Town, alone, at the age of 17 in the middle of the sixties, straight out of High School. I am still living here!
Most of my life I have taught children at both preprimary and preparatory level, which included a lot of arts and crafts. I developed creative moving toys with woodwork equipment and machinery with adults and disadvantaged youth over the years, much of it painted and with simple mechanical movements. I spent a year at Emerson College, (Sussex, U.K.) in 1974 learning woodwork and doing watercolor painting amongst other things.
I am, since 1996, teaching yoga in my own home-studio. In 2013 I started “carte-blanche” a design business using local African fabrics with the objective of creating work for local seamstresses and artisans. This came to an end with the Pandemic in early 2020. In 2016 I wrote and illustrated my own children’s story: “The little Lemon Tree that stood.”
After a lifetime of teaching others arts and crafts the Pandemic afforded me the opportunity to clear my “carte-blanche” studio and get back to my own artistic endeavours. I started with pencils (as I had designed bright blank cards and note-books in colourful pencil designs for “carte-blanche)”. It was a natural extension and new as I had done wood carving in the past.
This work has a synchronicity event as its origin. A synchronicity event is based on intuition and not on our more familiar linear or logical way of understanding events.
Jung made us aware of the importance of simultaneously occurring events which are mirroring back to us a meaning that unites two experiences or events. It is the inherent meaning which is the message and not a causal or logical link.
During January and February last year, I had somebody working for me during our summer holidays in order to earn some extra cash and to do some of my maintenance. As it was very hot most days and he worked extremely efficiently, I usually let him leave early.
However, one Saturday, he had a fair amount of work to do and decided to work longer and so he finished late. As he departed through my kitchen, he gave me a packet with three samosas, which he wanted me to keep in my fridge. I suggested he eat them in the taxi on his way home to the township. But he shook his head. Why not share them with your family? No, I needed to put them in the fridge. Should I give them to his boss on Monday? All he did was laugh and tell me to keep them in the fridge. They were clearly not for me as I am a vegetarian, and they were most likely meat samosas.
The following Monday morning I received an email from my neighbour that he had been caught in crossfire. On Sunday afternoon, he went to a neighbouring township looking for a barber. At some point, he was caught in crossfire and tried to run away to dodge the bullets only to be met with more stray bullets. He was killed on the spot, leaving a partner and one year one-year-old daughter behind.
We were all devastated, and as I finished the two jobs that he had not been able to complete, I kept going back to the samosa request. It had a certain strange charge, usually a hallmark of a synchronicity message.
I looked up the meaning of the word samosa. It originates in the Middle east circa the 11th century and literally translates as little triangle. I took out one of my sacred geometry books and opened it to the page where the origin of triangles is discussed.
In this case, the simultaneous event has two levels. The first is the interaction between him and me on a personal level. At the second level, there is an involvement of our higher or intuitional self, which is always all-knowing. It knows that we have the tools to unravel the sequence or meaning of the deeper story. It knows I have geometry books for instance.
On the adjacent page, which describes triangles in my book, there is a Japanese Haiku, which eventually turns out to be the central message of the synchronicity.
To understand Triangles from a geometric perspective, we need to briefly understand the qualitative meanings of the first 4 numbers, which form the basis of formal geometry.
Besides the numerical meaning of one (ie one apple), in its other, more esoteric sense, one perfectly represents the principle of absolute unity: the quality of oneness.
This can refer to God or the Divine. From a formal perspective, as expressed in geometry, it is the single point or the perfect circle.
Two is a principle of duality, and in its formal sense, the two points when joined define a line.
Three besides its numerical value, represents the Trinity. Its formal sense is that of the triangle, which is formed from 3 points and 3 lines, pure abstract elements which result in a measurable state called a surface.
In India the triangle was called the Mother. It is the birth-canal through which the transcendent powers of Unity and its initial division into polarity must pass in order to enter into the manifest realm of surface. Three is only a principle of creation, forming the passage between the transcendent and the manifest realm. Hence the concept of the mother.
Four represents the “first borne thing”, for it represents the world of Nature, because it is the product of the procreative process, that of multiplication: 2x2=4. As a form 4 is a square and represents materialization.
And finally, we can see these levels as also consisting of frequencies from a modern physics perspective, from gravity to electromagnetism, light, heat and even of what we think of as matter itself, our entire perceptible universe is composed of vibration.
Once I had read this my attention was drawn to the Japanese Zen calligraphy drawing on the adjacent page. It was probably meant to be read from left to right as an incarnation map in essence. It moved symbolically from Unity or the Divine realm through polarization or the mother (moon) into the material world or Nature as I just illustrated with the number progression.
Here in the West, we tend to read from left to right so the sequence is reversed. Spencer’s higher self was telling me rather sheepishly, that I would not see him again, that he would not be able to complete the started jobs. Our higher self always knows what is in store for us about three days before and he had less than one day left on this Earth when he left my house. “He” was telling me that he was transitioning to the triangle state, the link between the material world and the absolute “unity sphere” of existence. We have an in-between state where we divest ourselves of and process our earthly life, often called Kama Loka.
With this new insight I created this work on the basis of this higher message, a life message, which is always from a detached perspective. Our higher self is beyond our personal experience, but can be described as a more Soul level in touch with life itself.
I created the geometric forms and each arising out of the other one, in contrast to the Zen work, which is sequential, but the meaning is the same.
The square is blue as our earth is perceived as the blue planet and it is filled with crystalized blue angles or matter. The yellow circle denotes spirit radiance and light, the triangle has the rose as its symbol as it calls us back into our own- and the earth’s evolutionary path. This needs the impulse of love in order to accomplish it.
The work is conceived as a design flanked by the eternal DNA which follows us through our incarnations, always evolving and changing with us. The outline of the Human form, (based on one of my sculptures) shows its ability to come into life with the green vital nature behind it. At the same time, it is an empty form which can move back to other life forms and levels of existence. The red band links all the above and the triangle shapes at the bottom are like building blocks of our existence, also in reverse order.
The picture exudes a kind of mystical aura, because it evolved out of a very unassuming synchronicity which took me on a deeper dive of the message. I finally received it by following my inner hunch.
I am sharing this, because I do feel that working from inside out, from our collective unconscious or own inner “rabbit hole” we can find meaningful treasures. The real challenge is how do we translate such experiences into an aesthetic or striking artistic whole without losing its essential message.
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Watch the interview on YouTube.
The Little Lemon Tree That Stood, is on sale and I'm excited to share this special year-end offer with you.
✨ About the Book: The Little Lemon Tree That Stood! is a nature story intended for 8-10-year-olds and young-at-heart adults. Lemon Tree, who lives contentedly in a suburban garden, reflects and seeks enlightenment on a variety of issues with the help of an elfin visitor who drops in from time to time and vanishes just as fast.
🎉 Special Offer: For a limited time, get your e-book copy via Smashwords
https://www.smashwords.com/books/view/687934
Happy Reading!
In December 2013 after a year of creating blank-cards, notebooks, reversible ShweShwe hats, aprons and geometric shapes that glow in the dark, items I was hoping to sell at an end of the year market, this market was canceled.
I was at that time a fulltime yoga teacher and the Christmas Holiday seemed an ideal time to sell my new products, at the same time creating work for people in the process.
I had been a preprimary and art and craft teacher for 24 years before I opened my own yoga studio at home in 2001. Since that time, I had written a preprimary textbook for an education publisher incorporating my lifelong experience. However, I felt that I should attempt, at least once, to write my own children’s story as I had been telling stories to children for decades!
I was suddenly faced with 2 free weeks without any obligations and decided to sit down and see if, somehow, I could create my own story, literally out of thin air. My own suburban surroundings and my contemplation of it gradually evolved in “The Little Lemon-Tree that Stood.”
The tree was given to me by a friend and started out in a pot. The moment it was transferred into the earth it blossomed and was lavish in its lemon output. As I wrote and the story started to manifest, I illustrated It in simple terms, never mind not being an illustrator. (My experience was not in drawing). The story demonstrates the interconnectedness of all of Nature.
The story allows lemon-tree to share its own perspective and experience of the “people in the house”, the seasons, (sometimes in their wildest ways) and the connection to other forms of life and the past. It is a remarkably reflective little tree whose sense of “inter-beingness” leads him to its own muse.
It took another 2 years or so to prepare and fine tune the “book” for printing. It was done in the same way as my designer notebooks and blank cards.
The books I printed have been sold over the years and are also available as both e-books and printed books on a variety of platforms.
Amazingly enough after completing the initial version of the story early in 2014 I was invited and sponsored to have a stand at the last Design Indaba expo at the CCDI that early February. That became my first “market” experience, after Lemon-Tree had made its initial stand and I had lost money on that cancelled market.
The idea of creating my own story was grounded and found its roots in the following years, with the navigation of some surmountable unknowns to get it printing ready.
This is to encourage anybody with a special idea to look out for the opportunity to crystalize it, when an unexpected “opening” arises. You may be supported in unexpected ways as I was, now 10 years ago.
You can find a copy of The Little Lemon Tree that Stood on Amazon, Smashwords and other ebook stores.
In this article I want to look at the treatment of the rose in 4 different art-works.
My second work (from when I started doing art during the Pandemic) is “Red Rose”.(July 2020).
The impetus for this small pencil work was the fact that despite the Winter weather of rain,
winds and cold this rose just did not die. I felt called to immortalize it. I drew it in a slightly design like style emphasizing its flamboyance and vitality, as it nestled in a bed of supporting leaves. It is a figurative, simple and nuanced representation of vitality.
The second work (my 4th overall work) symbolizes an other-worldly energy as described in the Apocalypse of Saint John where it relates to the Throne of God. The Throne is described as made of a type of Jasper stone which is almost white and a sardine stone; a blood-red stone. From the Throne which forms the central part of the heavenly sphere in this description, red and white beams of light issue in harmonious accord. These are the revelations of the very Godhead. In this realm of prototypes, we see the polarity of red and white as found in fairytales, legends and symbols of historical life (Rosicrucian’s).
The spiritual element shines in the clear white light and the soul element glows in the colour red (as in our blood).
Having already created a red rose, I decided to depict the white light that emanated from the Throne of God in the symbolically form of the white roses only. (God was seen as the starry center of light in the Throne and not in a human form).
I attempted to create pure white light by leaving the roses slightly “unfinished” and keeping the light as pure as possible. This pure light also reflects in the symbolical form that the white rose is seen as a symbol of divine love. It comes from the idea that our soul and spirit originate from a divine source. This is enhanced by the purer green and blue back-ground and the butterfly symbol. It is serene and tranquil in essence.
Three years later the contrast between this work and “Integration (Scorpio) roses”,
could not be greater. The title refers to the astrological Scorpio sign which is known to go deep into our psychic reality and is related to our plutonian unconscious in psychology.
Four roses arise from a black and dark background, our possible unconscious realm and there is a feeling of something arising and emerging which is leading to some kind of transformation. We are dealing with an inner reality and deep perhaps more” edgy” feelings and emotions which need to be acknowledged and integrated. Four is the number of integration. The vivid green or sense of life seems to indicate we are arriving at some new stasis inwardly.
I used paint and the design is simple and direct. Although this work too has a symbolical meaning it is more powerful and raw (slightly uncomfortable) in its impact. But still, we are dealing with the roses, usually a symbol of love.
Finally, soon afterward, I created the “Magic Garden”. Its idea arose from a dream somebody shared with me; where a rosebush had 7 different species of roses on a single bush. This is not possible in our reality, but points to some archetypal manifold role of the rose. The roses in the work are drawn in pencil and placed in a dark mysterious garden or even possible cosmic background. This brings out the difference between the roses and their situation. This juxtaposition enhances the “otherworldly” radiance and quality of the flowers which give the cosmic connotations and enhance their purity or otherworldly quality. They are almost from another planet or reality or so it seems.
These are all statements and explorations of this much overwrought word love as exemplified by the rose. We have a saying:
“I never promised you a rose-garden:” meaning: be realistic! But that first red rose I drew had a real fragrance, which is quite rare these days.
Here observations are made in retrospect and as art is often an expression which is inspired by an invisible order and as such a message from our deeper soul or awareness, it is helpful to try and step back and make some new discoveries and observations over time!
Art enthusiasts have a new destination to explore as I have launched my new website.
This platform offers an in-depth look into the world of my art and features a comprehensive collection of my work. It offers a view into my creative process, inspirations, and artistic evolution.
Highlights of the site include:
Exclusive Portfolio: An extensive gallery of all my work, from my early works during the pandemic to my most recent works, available for viewing and sale.
My Artistic Journey: A behind-the-scenes insight into my creative process and the inspiration and deeper meaning of some of the works.
Please visit me on
https://marjoleinart.co.za/
Back in 2012, I was keeping up with a demanding yoga schedule, teaching non-stop for 49 weeks a year when one of my private clients decided to take a break.
Instead of filling that void, I decided to use the time for myself. I took advantage of the limited free time to create blank greeting cards, which eventually became the logo for an expanded business called Carte-Blanche (blank cards meaning “having free reign”). This initiative helped generate work in a region with an alarmingly high unemployment rates, and was funded by my income from teaching yoga.
For such a small surface, pencils seemed to be the best choice. This evolved into designing notebooks made of recycled paper. When one of the markets I usually attended fell through, I took the opportunity to sit down and write and illustrate my own children’s story: “The Little Lemon Tree that Stood.”
All of this was done in pencil, laying the groundwork for artwork during the pandemic. Having some paper and pencils, and being unable to go out and buy materials, is why pencils became such a significant part of my creative process.
While I also paint, pencils have truly grown on me. The slow and meticulous process is rather meditative!
