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WRITING CONTEST  LING, Marlow Brooks Author: R.R. Shakti Take several deep breaths as you observe this calligraphy painting by Marlow Brooks. Look at the artwork closely and note its details, colors, textures, shapes, and composition. Let your eyes wander over every part of it, taking in as much as possible without immediately forming opinions or words. Let this practice be a meditation. Focus on your breath and allow yourself to be fully present with the artwork. Let go of external distractions. Then, engage with emotion. Allow yourself to feel any natural responses the art provokes. What mood does it create? What does the artwork do to you? How does your body respond to it? How do you feel? What arises to your memory? Your imagination? Does it remind you of a specific concept or story? Now, take a few moments to express your responses and reflections in writing. Write in the form of “first thought, best thought,” a stream-of-consciousness style to capture the immediacy of your experience. Don’t worry about form or structure. Describe what you see, what you feel, and any thoughts the artwork conjures. Allow your insights to provide the details. Once you have captured the initial impressions, explore the deeper meanings. Consider the context of the artwork: its historical, social, or personal background. How do these elements influence your perception and interpretation? Consider why you wrote what you did. Does your writing provide an invitation into deeper understanding and self-awareness? Allow yourself time to reflect. You may revisit your writing later, revising to more accurately capture your thoughts and emotional responses. This is a practice of Ekphrastic poetry and your submission could win you a copy of Marlow Brooks’ book of art and poetry: The Way Through. Your entry may also be featured in an upcoming issue of Soul Artist Journal. 
Calling for Ekphrastic Writing SubmissionsSubmit your Ekphrastic Writing inspired by the painting LING, by Marlow Brooks for a chance to win a copy of her art and poetry book: The Way Through. Your entry may also be featured in an upcoming issue of Soul Artist Journal.
The term "ekphrastic" comes from the Greek word ekphrasis which means "description." It is derived from the prefix ek- which denotes "out" and phrasis which refers to "expression." Ekphrastic writing is an outward expression of your inspiration, a practice of writing what you see and experience with rich detail. Ekphrastic poetry engages a work of visual art–a painting, sculpture, or photograph–and uses vivid language to describe, interpret, or explore the emotions and ideas evoked by that piece. As a meditation practice, Ekphrastic writing provides a deeper experience of the artwork and fosters a profound connection to your own creative intuition. It encourages you slow down, observe with mindfulness and discover new dimensions of authentic self-expression. READ NEXT
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POETRY • ART • OBSERVATION  Everything In Its Place, Heide Presse Author: Margeaux Candlin “Ekphrastic writing delves into the world of visual art, translating and expanding on its themes through verbal expression. It creates a bridge between mediums, using words to deepen our engagement with art and uncover new dimensions of meaning.” (MasterClass, n.d.). I first encountered ekphrastic writing—or ekphrastic poetry—through the Steamboat Art Museum’s (S.A.M.) annual “Painted Words” competition. This event invites participants of all ages to write about a piece of art displayed in the gallery, culminating in a contest that celebrates creativity and interpretation. In 2024, the Painted Words competition centered on an exhibition by Heidi Presse titled “We Set Our Faces Westward...One Woman's Journey 1839–1848.” This powerful collection draws inspiration from the journal of Keturah Belknap, a young woman who migrated from Ohio to Iowa as a newlywed in 1839 and later, in 1848, traveled to Oregon while pregnant and caring for her three-year-old child. Despite facing immense hardships—including the loss of three children—Belknap’s journey epitomizes the resilience of westward pioneers. Through her art, Presse vividly portrays the daily lives of these settlers, from farming in Iowa to enduring the long, arduous wagon journey west (Presse, 2023). The Oregon Trail Ekphrastic writing by Margaux Candlin, inspired by the artwork: “Everything In Its Place” by Heide Presse Preparation Children laugh as they chase one another. Quick footsteps kick up clouds of dust. Ranch Hands hammer repairs on a nearby fence. Sharp knives whistle as wheat is swiftly cut. I prepare our wagon with order and forethought. In the first trunk: A season of clothes, weaved from wool and flax. In the second: Linen bags, stuffed with grains, flour, rice, coffee, and beans. During In the fourth of our six month journey we are skin and bones. Supplies dwindle. We ration what’s left. Our garments are too thin. The fires we burn are no match for cold nights and heavy rains. Illness looms. Hannah, at two years old, is inconsolable. Our medicines are of no use. She fusses, cries, shivers, and sweats. I cry as well. Fever leads to demise. Arrival My being yearns for the home we left and the children we lost. I cannot eat or sleep. I cook, wash, and fetch water in a daze. Grief swallows my soul. Our journey was not worth my broken heart and the promise of gold. Insights from the Practice Ekphrastic writing offers an opportunity for reflection and connection. Imagining myself as a traveler on the Oregon Trail through Heidi Presse’s art allowed me to step into the shoes of those pioneers. While I could never fully comprehend their reality, this exercise deepened my appreciation for their resilience and sacrifice, broadening my perspective on history and humanity. While the Oregon Trail marked a significant chapter of American history, it also brought devastating consequences for Native Americans displaced to reservations. Moreover, the settlers who traversed the trail faced numerous hardships—illness, injury and scarcity of resources among them. These challenges reveal the transient nature of external circumstances and underscore the importance of cultivating inner resilience. Human nature often leads us to believe: “If I lived in a different place, my life would improve,” or “If I achieved this, I would be happy.” Yoga, however, encourages us to observe our experiences with equanimity, recognizing that external conditions are ever-changing and do not define our inner state. By fostering awareness and empathy, we can better understand the experiences of others and ourselves. Ekphrastic Writing is a practice of connection, observation & creative expression. Choose a piece of art that resonates with you. Observe it closely. Reflect on its themes, emotions, and stories. Then express your observations and interpretations in writing. This process fosters a deeper connection to the art and enhances your creative thinking. This article was edited from the original post at weavingartandyoga.com, 12/15/24 References:
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Author & Artist: Lindi Cranston  The following works are an exploration, a returning to self. The necessity of breaking from constructs and cages and systems that move one farther from SELF, is an arduous journey. So the return is sweet and requires gentle permission. The permission to express what IS becomes the slow growing freedom to connect the self to the rest of what IS.
Many of these works are born out of a practice that envelopes play, flow, and a setting aside of the consciousness and expectation. Many can stand as they are or can also be considered “unfinished”. They are explorations of mark making with lingering possibility for more development. I have opened conversations with the works and they tell me what they want. Some want to be left, some want to be revisited, some have a story to finish. I seek to let them tell their stories from a center that is me…and the knowing of what connects me to all things. I remain unattached to a plan for each work as my practice is built on a new way of life. One which does not seek a specific end, but finds liberation in allowing what is to be. While most of what is here is abstract, I seek to use the freedom gleaned from this abstract practice to inform my representational work. I believe that my growth as a figurative painter depends on this foundational play…the spark of authentic creative energy flows through me from all things. |
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