Ontario & Quebec Visit 2012

September 29, 2012

These are photos from a recent trip to  Ontario, Canada’s cottage country (1000 Islands) and Montreal, Quebec.

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To blog or not to blog?

July 13, 2012

Kathryn V. Crabbe, Make a Run for it (POOF), 2012, mixed media on paper, 5 x 8”.

Kathryn V. Crabbe, Make a Run for it (POOF), 2012, mixed media on paper, 5 x 8”.

I am trying to decide whether to take a hiatus from blogging or to really devote myself to it on a more regular basis. Comments appreciated, plus let me know what you like, don’t like, want more of, etc. You can also email me.

The drawing above is from my newest series, the Aliens.

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Cosmic Raven

July 12, 2012

Kathryn V. Crabbe, Untitled, 2012, acrylic, charcoal and pastel on canvas, 48 x 48”.

Kathryn V. Crabbe, Cosmic Raven, 2012, acrylic, charcoal and pastel on canvas, 48 x 48”.

Last night I fell asleep under the stars in my backyard and I understood for a second how much we’ve lost by losing ourselves online. Why not try it sometime and see what you’re missing. The painting above (which is large by the way at 4 x 4 foot) was begun out of anger so it’s messy and wild and untamed, feelings we NEED to fight for and express if we are to re-claim our wildness, wild spaces and wild creatures.

Suggested comments and titles from facebook friends:

Eye of the hurricane
A big mouth about to devour a cosmic ice cream cone
Very pointed, very sharp
Cosmic raven

Notes from “Becoming Animal” by David Abram

Magic doesn’t sweep you away: it gathers you up into the body of the present moment so thoroughly that all your explanations fall away: the ordinary, in all its plain and simple outrageousness, begins to shine — to become luminously, impossibly so. Every facet of the world is awake, and you within it. (p. 224)

Kathryn V. Crabbe, Rocks, 2012, graphite on paper, 8.5 x 11”.

Kathryn V. Crabbe, Rocks, 2012, graphite on paper, 8.5 x 11”.

When oral culture degrades, the mediated mind loses its bearing, forgetting its ongoing debt to the body and the breathing earth…Similarly, the computerized mind, when left to its own devices, all too easily overlooks the solid things of the earth. Skilled in the rapid manipulation of symbols, it neglects the stones and the grasses that symbolize nothing other than themselves. Dazzled by its own virtual creations, the digital self forgets its dependence upon a world that it did not create, overlooking its carnal emplacement in the very world that created it. (p. 287)

Our animal senses are neither deceptive nor untrustworthy; they are our access to the cosmos. Bodily perception provides our most intimate entry into a primary order of reality that can be disparaged or dismissed only at our peril. (p. 307)

There are those, however, who are not frightened of grief; dropping deep into the sorrow, they find therein a necessary elixir to the numbness. When they encounter one another, when they press their foreheads against the bark of a centuries-old tree, or their palms into the the hand of yet another child who has tasted prematurely of wrenching loss, their eyes well with tears that fall easily to the ground The soil needs this water. Grief is but a gate, and our tears a kind of key opening a place of wonder that’s been locked away. Suddenly we notice the sustaining resonance between the drumming heart within our chest and the pulse rising from under the ground. (p. 309)

From Becoming Animal: An Earthly Cosmology by David Abram


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Brandstater Gallery Exhibit

July 4, 2012

I have three graphite drawings in this exhibit. Two drawings are from nature (a wild cucumber pod and the bone pictured below) and one is of an oddly shaped and burned down candle from my home. In choosing to draw these objects I became intricately involved with the World of Small where the tiniest detail has importance and where even the plainest object takes on significance when appreciated slowly and up close. I chose these three drawings because of their mysteriousness; you might not recognize what they are until you read the title. In this way they appear quite alien and go nicely with my new series of alien drawings. Alienation was not always unfavourably looked upon as it is today, and was actually something to be sought out because it allowed one to view society from other vantage points.

The confrontation with the unconscious usually begins in the realm of the personal unconscious…and from there leads to archetypal symbols which represent the collective unconscious.

Carl Jung, as quoted in Surrealist Art: The Lindy & Edwin Bergman Collection

Kathryn V. Crabbe, bone, 2012, mixed media on paper, 5 x 8”.

Kathryn V. Crabbe, bone, 2012, mixed media on paper, 5 x 8”.

PAAR Exhibit (Plein Air Artists of Riverside)
Brandstater Gallery
La Sierra University
4500 Riverwalk Parkway
Riverside, California

Exhibition dates: July 9-August 22
Reception: August 22, 6:30-8:30

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Dreaming aliens

July 4, 2012

I am discovering that drawing aliens really captures people’s attention as if they are trying to remember something like a door they forgot to lock. Is everyone secretly building transporters? “Do I see aliens?” someone asked me the other day and I replied “No”, but I have in the past and I have several friends who do see aliens and no, they are not crazy, but I have noticed that it’s mostly men who are interested in them these days. Why is that?

Kathryn V. Crabbe, including this condition (SPECIAL), 2012, mixed media on paper, 5 x 8”.

Kathryn V. Crabbe, including this condition (SPECIAL), 2012, mixed media on paper, 5 x 8”.

Notes from the Seth Materials

Creativity connects waking and dreaming reality, and is in itself a threshold in which the waking and dreaming selves merge to form constructs that belong equally to each reality. You cannot begin to understand how you form the physical events of your lives unless you understand the connections between creativity, dreams, play, and those events that form your waking hours. In one respect dreams are a kind of structured unconscious play. Your mind dreams in joyful pleasure at using itself, freed from the concerns of practical living. Dreams are the mind’s free play. The spontaneous activity, however, is at the same time training in the art of forming practical events. (p. 141)

The inner core of dreams provides a constant new influx of material, feedback, and insight from the psyche, so that the personality is not at the mercy of its exterior experience only – not confined to environmental feedback only, but ever provided with fresh intuitive data and direction. Even if such dreams are not recalled, they circulate through the psychological system, so to speak. They are responsible for the inventiveness and creativity of the species, even bringing new comprehensions that can be used to bear upon the life of the physical world. (p. 187)

Small amounts of ordinary stimulators, such as coffee or tea, taken before bed when you are already sleepy, have a beneficial effect in stimulating dream activity and aiding dream recall…a very small amount of alcohol can also serve. Anything that suppresses activity will also suppress your dreams. As is known, anyone deprived of sufficient dreaming will most likely begin to hallucinate while in the waking state, for too much experience has built up that needs processing. There are many secondary hormonal activities that take place in the dream state and at no other time. Even cellular growth and revitalization are accelerated while the body sleeps. (p. 190)

Jane Roberts, The Nature of the Psyche: Its Human Expression, (Seth Material)


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Point of Power

June 26, 2012

As I continue on with these drawings of aliens I return to my roots; drawing figures, faces, decorative surfaces. But why aliens? When I first moved to the States I was a legal alien and now I’m just alienated or feel that way often, perhaps it’s the artist’s role (one of many), but it does have it’s advantages ie. lots of time to paint and draw and read! The Weth notes in this blog post seem to go with the alien drawings because it is channeled information received by psychic and spirit-medium Jane Roberts in the 60’s and ’70’s. Reading the words and viewing the art below should help you expand your mind in regards to your personal point of power and how you can influence your reality in a positive way or at least it did for me.

Kathryn V. Crabbe, pulled forth (JABBER), 2012, mixed media on paper, 5 x 8”.

Kathryn V. Crabbe, pulled forth (JABBER), 2012, mixed media on paper, 5 x 8”.

The Seth Material as channeled by Jane Roberts (some of my favorite bits)

But while disasters, imagined or encountered second-handedly, may in fact later occur, they are far different from physically encountered ones. You only add to their unfortunate nature by negatively brooding upon what might happen in the future, and you destroy your own stance. Your stance in time is highly important, for it is your practical base of operations.

To some people wars, poverty, murder, treachery, corruption, are primary experience, and must be dealt with – as requiring immediate action. The body must react. Such persons are beaten up, or robbed. Those are immediate sense data, and in one way or another they do react. However feebly, their point of power corresponds immediately with the point of danger.

You cannot react physically in the same way to projected or imagined dangers. There seems to be no possible reaction. You are frustrated. You are meant to deal with your immediate, primary experience, and in so doing you take care of your responsibility. You are able to take action in your own experience, and therefore affect others. You do not have to be ignorant of wars in other corners of the world, or close your eyes. But if you allow those experiences to overcloud your present, valid intersection with reality, then you speak and act from a position not your own, and deny the world whatever benefits your own present version of reality might allow you to give. (p. 213)

Jane Roberts, The Nature of The Psyche: Its Human Expression

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