EarthPainting comes from a vision
The vision of EarthPainting
In 2010 I had a powerful spiritual experience – through a breathing process that is called “rebirthing” – in a moment of my life that was very tough, I was living an important loss and it was a time of new awakening for my soul. During this experience, instead of reliving my birth, I had the surprise to be transported in a future time, in a space made of forest, land and wise tribe.
What did I see? First a big wave, and behind it, there was my future. I saw myself standing in the river of Mother Ganga, holding with a comunity of people a big painting canvas, chanting and blessing it in the sacred waters. It looked like a ritual ceremony. After that, we all sat down on the soil and began to create together a powerful organic painting by using natural colors, made by ourselves from the plants, spices, herbs and fruits. One at a time, sun and the moon were drying the painting and blessing it with their magic rays. Close to me there was a sort of spiritual protector /shaman/teacher/guru from the comunity that was praying and guiding the process with me. People from all ages were invited to tell their story through natural painting with colourful symbols to relate their land, their local culture, their wisdom and their cosmogony. I felt so grateful for what we were cocreating together. I was litteraly full of energy and clarity. Afterwards all the process I had witnessed through my inner vision I’ve called it “EarthPainting” .
In the second part of the vision, I’ve seen myself in different sacred places worldwide to co-create this collective ritual as a ceremony to honor the creative and spiritual connection between humanity and Mother Earth. I was there to display concretely through Art the possibility of a sane, wise and evolutive relationship to nature.
Art as a metaphor, as a conscious path, as a concrete manifestation of a future possibility
By using the local biodiversity, we can create a kind of “tribal organic painting”, with original pigments, natural brushes and local handmade papers or cotton fabrics to use as canvas and therefore directly honor Mother Earth for her gifts and deepen in a conscious way our interconnection with the web of life.
It was a so clear vision that I understood that it wasn’t a daydream, it never left me from that time. I was envisioning creative rituals in sacred places, as a symbol of resilience and future for humanity; places where was preserved a paradigm of respectful wisdom and gratitude towards nature.
This vision was about the importance of preserving the sacred wisdom of intelligence of Life for the soul of the world.
Do you remember the concept of Noah’s ark? it was quite similar: the possibility of looking after and enshrining the richness of the tribal cultural wisdoms through a story painting. The opportunity to create collective artworks that would have come directly from the bowels of the earth.
Organic paintings to awaken consciousness about our relationship to nature
I had the intuition that this project was helping us realize the nature of our relationship with the earth in our post-industrialized societies. What is the Earth for us? What does land means for us? Most of us had lost the genuine contact with Mother Earth: humans are at risk because they turned strangers to nature.
Safeguard and protect the value of Interconnection
Slowly I understood that the finality of EarthPainting, by co-creating tribal organic painting around the globe in sacred places, was to protect and safeguard a precious value: the sense of interconnection. What does it mean? Interconnection can be seen as a quality of communication with the land, made of respect, love and gratefulness, which risked to disappear along with the latest indigenous people and the globalization.
It was urgent to understand how did indigenous people collaborate with the rythms of nature. What did we loose finally?
Ayni, the sacred art of reciprocity
I imagined EarthPainting could created a sort of “bank” of artworks to tell the story of a relationship between humans and nature based on the force of reciprocity. They called it “Ayni” in the Andean tradition: ” Ayni is a simple reflection of the reality that exists in the energy world, where everything is mutually connected and interrelated (…) When you give something, you are entitled to get something back and when you get something you have an obligation to reciprocate and give something back” ( read more about it), This story would have told through an art that would have contained organic pigments, natural elements, local culture and spirituality.
Education and transmission
I imagined that a child used to grow in a globalized world discovering these paintings could receive a learning experience of inestimable value. We are living in a distant way from nature as if nature was something different from us, but we are nature and nature lives in us.
EarthPainting as a living library of Mother Earth
Each EarthPainting born in sacred places would have teach a lot about the diverse traditions and the wisdoms of humanity. Does a painting can indicate the unity hidden behind diversity and open a path towards a feeling of family between peoples? I believe that is possible and I know that is the service I can contribute to.
EarthPainting as a vision, as a living library, as a creative ritual, as an artistical organic process is a path for us to increase the value of biodiversity through art, as a treasure to appreciate, symbol of the alliance between inhabitants of the earth and the land.
EarthPainting nasce da una visione
E’ stata una visione avuta nel 2010 fa durante un’esperienza di rebirthing: in una “frazione di respiro”, sono stata proiettata avanti nel mio futuro, in uno spazio-tempo fatto di foresta, terra e tribù. Mi vedevo mentre stavo co-creando e facilitando un rituale collettivo di pittura con una comunità indigena, una cerimonia di connessione con la terra: stavamo realizzando insieme un grande dipinto di carta, che avevamo prima bagnato dentro al fiume, e per dipingere, utilizzavamo la ricchezza delle risorse della biodiversità locale: i pigmenti e i strumenti stessi provenivano dall’ecosistema, dai minerali, dagli alberi, dalla frutta e il ritmo stesso della cerimonia seguiva il ciclo solare e lunare. Il territorio era stato trasformato in pittura organica, in EarthPainting.
La visione parlava di viaggi lontani, in luoghi simbolici per il futuro dell’umanità, anche a rischio di “predazione” moderna, dove si era miracolosamente conservata una riserva di saggezza rispettosa, fatta dalla riconoscenza dell’uomo verso la natura.
La visione parlava dell’importanza di preservare quelle saggezze così necessarie per l’anima del mondo.
Una sorta di arca: la possibilità di custodire la ricchezza del patrimonio ambientale tramite l’arte, delle opere collettive tribali, fatto di una pittura proveniente dalle viscere della terra.
Con l’intento di far riflettere le nostre società contemporanee sulla sostanza della nostra relazione con la terra – suolo che ci nutre e ci offre risorse ma anche pianeta che ci ospita- e sulla perdita del senso di contatto con ciò che ci circonda, come sul rischio della nostra progressiva estraneità dal mondo naturale.
La finalità era di realizzare, nei luoghi più sacri della terra, dei dipinti tribali con l’intento di salvaguardare un valore – che potremmo chiamare, il senso di interconnessione – una qualità di legame con il territorio, fatta di rispetto, amore e gratitudine, che rischiava di scomparire insieme agli ultimi popoli.
Come collaboravano i popoli indigeni con i ritmi della natura circostante? Cosa avevamo perso? E’ possibile creare una sorta di “banca dell’interconnessione ambientale” che racconta la reciprocità di relazione tra gli uomini e l’ambiente tramite l’immagine, tramite i miti e i materiali naturali? Guardare questi dipinti potrebbe un’esperienza di insegnamento di inestimabile valore, per noi che viviamo distanti dai ritmi della natura. Erano le domande che mi passavano per la mente.
Così nasceva EarthPainting: come finalità, era una biblioteca vivente della Terra, un’arca, una visione, una banca dell’interconnessione ambientale; come processo, erano rituali di co-creazione, dipinti tribali fatti con una pittura organica, valorizzazione della biodiversità come tesoro da apprezzare, simbolo dell’alleanza tra gli abitanti della terra e il loro ambiente, archetipo dell’anima dei luoghi in un determinato tempo storico.