From The CEO
THE GREATEST STORY EVERY TOLD IS BEING TOLD THROUGH EVERY HUMAN BEING WITHIN THE EVOLUTIONARY EXPRESSIONISM OF LIFE ENERGY. THE INSPIRATION THROUGH LANGUAGE COMMUNICATES A VIBRANCY AS BEAUTIFUL AS A RAINBOW AFTER THE RAIN. THE RAINBOW'S END CANNOT BE FOUND WITH ITS POT OF GOLD AND YET THE THOUGHT INVIGORATES THE MIND'S IMAGINATION. WE THE 'ARTIST' CAN CONSULT THE INFORMATION MODULES GATHERED THROUGH THE CENTURIES BY ANCESTORS OF THE HUMAN BEING TO POTENTIALLY ASSIST US IN DEALING WITH LIFE'S EVOLUTIONARY PROCESSES MORE EFFICIENTLY. OUT OF THE CRADLE OF HUMANITY WE HAVE EMERGED AN UNPRECEDENTED SPECIES OF DIVINE ORIGINATION AS THE IMPETUOUS CHILD TO EXCEL BEYOND THE CURRENT STATUS OF HUMAN EXISTENCE.
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FEATURED ARTIST 
HANNS HARRS 
In the Autumm of ones lifetime as so frequently stated one merely reflects, recalls and remembers the sojourn as the full circle of life is spiraling into another dimension of creative abandon. Hannes Harrs caught CCPI's attention while researching for ArtWorks that radiate an aliveness which signifies the pulse of Human consciousness. The universality of Human experience calls forth the genius of this European who truly has contributed so much focus to South African Art in a profound and unique way. The elegant simpilicity of which Mr. Hanns directs our attention to the depth of complexity is exquisite. 
Hannes Harrs passionate involvement with the Dark Continent begins in childhood when an uncle, a ship’s captain, brought him artifacts from Africa, mostly craftwork used in fertility rites and festivals of all kinds. Apparently the impact was so great it compelled him to migrate to South Africa in the fifties. The insurmountable love for Africa and the artifacts of its people became the center of Harrs own creativity. The influences were never superficial or cosmetic, as reflected in so many of the fashionable products flooding galleries and museums at the present moment due to ignorance and a misplaced since of guilt in the aftermath of colonialism.  The rhythms, colours, textures and content of Africa transfigured the ArtWorks exuding from the inner realms of the imagination of a lifetime career of meaningful observations into a universal exhibition of thought provoking works of art. It is said that even artists of European extraction, born on the African continent, would not experience Africa in the same way as Hannes Harrs.  Q: In retrospect where are you taking us today in observation of your Artworks? A: I am dreaming the dream of my youth and taking you into the dark continent of Africa; it's rhythm, pulse and colours. Q: How has your experiences of life or influences in your lifetime's sojourn helped to compose your concepts, ideas, theories, time frames, etc. in producing your creative pieces of Artwork? A: I escape into my own world from the tediousness of life. Q: What specific statements or consistent themes have you focused upon that keeps reoccurring as the silver thread throughout your Artworks and why? A: The Soul, enchantment and colours of Africa Q: What inspired you to take an interest in Visual Arts, and who specifically encouraged you to pursue the medium of painting? A: Art is in our family. I still have some drawings of my grandmothers. My aunt was an art teacher. Q: To what extent does the culture in which you live, influence, impact and invoke you to express the depth of your insights through colours and forms of such brilliance, buoyancy, vigour and dynamics shown in your existing Artworks? A: The only way I could come to Africa was to get a job on the mines. Once there I went to night school in order to study art. The culture in which I live now does not contribute at all. Rather the landscapes, and the people of Africa, their tribal art and craft. I have been a collector of African Art for over forty years. Before that I collected Stone Age implements. Q: An Artist is a visionary in many ways. When reaching beyond the boundaries of created expressions produced within the cycles of time in an infinitely changing world, how do you perceive your vision has expanded, changed and/or assisted in the evolution of conscious awakening for humanity? A: I cannot claim to have done any of that. Q: As an Artist imparting observations of life's impressions into the world of Humankind becomes a keynote speaker through his ArtWorks, a voice for generations to hear, learn, grow and develop greater insights about the Human existence, how would you handle on a large scale the task of changing the direction of Humanity, if indeed this were possible at this point of your Art Career? A: Even towards the end of my career I think it is impossible to change the direction of Humanity! In my opinion, only a handful of artists such as Leonardo Da Vinci and Picasso have managed to do that. In my opinion, artists can only portray and comment on the times and the society in which they live. Q: How do you connect with the motifs that emerge from within the blank space of the canvas? A: The whole process starts in my mind, possibly weeks or days before I even lift a brush. When I stand in front of the blank canvas, I bring to birth the motifs that have been developing in my mind. It helps me to express them onto the canvas. Q: Who are the primary Master Artists that you consider to have influenced your styles, approaches, intelligence and acute senses regarding the intricacies of artistic creativity and in what ways? A: All of the unknown masters of ancient African art, as well as nature. Also Turner's landscapes, Klee's works, Tapies and Cy Tombly. Q: What is your most difficult challenge as an Artist/Painter/Human Being? A: Depression, humility, as well as getting old and frail. The idea in my head that I have not achieved what I set out to achieve. Q: What distinguishes your Artworks from other Artists currently living and/or deceased? A: I do not like to call myself an artist and have always disliked the label. I am more comfortable with being a painter and sculptor. I have a unique style and expression, which is now being copied by others. Q: What bit of wisdom can you share and pass on to the up and coming artist in their process of achieving creative goals and artistic endeavours? A: Being an artist is in my opinion not an easy life style and requires passion, dedication and sacrifice.  CONCLUSION: No life is ever wasted in the divine scheme of creation. We are the one, we are the way of creative expression that crystalizes the clarity of existing non-existence through formation. The uniqueness of every individual is engulfed by the unified field of energy from whence it comes and shall return to come again throughout infinity! Thanks to the 'Artist' for touching so many hearts with a life well lived through the ArtWorks produced by Hanns Harrs. Forthcoming events/exhibitions 1) currently at Imaian's Gallery, Madrid one man show 2) starting 19th February at 3rd I gallery, 95 Waterkant Street, Cape Town. 3) for the entire month of March at Gateway, Natal, South Africa web site: Hannes Harrs SYMPHONY REVIEW THE FRIDAY MORNING MUSIC CLUB ORCHESTRA AND AN INTERVIEW WITH ADRIENNE PAIEWONSKY We were excited to be introduced and enthralled to hear the "The Friday Morning Music Club Orchestra" under the guidance and musical direction of Sylvia Alimena, Conductor at The John F. Kennedy Center for the Performing Arts, Terrace Theater, February, 2004. Founded in 1943 as a string ensemble, the FMMC Orchestra developed into a full symphony orchestra in the 1970's. When things are changing right before ones eyes one sometimes can't believe it! But none the less it doesn't matter if one believes it or not because it changes and that is a fact which just changed before ones eyes! Such is life's magical, wonderful and unpredictable transformations through the symphonic sound of 'The Friday Morning Music Club Orchestra'. Everything in creation has the sound of music when we listen very closely and attentively to the rhythmic vibrations echoing throughout time and space. The power of this observation was recently experienced by CCPI through the instrumental conglomeration comprised of Violins, Violas, Cellos, Basses, Flutes, Oboes, Clarinets, Bassoons, Horns, Trumpets, Trombones, Tubas, Timpani and Percussion. The unification of symphonic sounds resounded the harmonic convergence by the multitude of musicians gather upon the stage of life. It was, it is and it will always be the sound of music that arouses the emotional intensity of the Human Spirit. The benevolence radiating from the stage of this orchestral magnitude of kindred spirits was supreme and lingers on in CCPI's conscious awareness. The program was delightful. It consisted of Richard Wagner's (Born May 22, 1813, in Leipzig & Deceased, February 13, 1883, in Venice) - Arrival of the Guests at the Wartburg, From Tannhäuser; Antonín Dvorák's (Born September 8, 1841, in Mühlhausen & Deceased, May 1, 1904, in Prague) Cello Concerto in B minor, Op. 104; Felix Mendelssohn-Bartholody's (Born February 3, 1809, in Hamburg & Deceased, November 4, 1847, in Leipzig) Symphony No. 4 in A major ("Italian"), Op. 90 The conductor, Sylvia Alimena, was regal, astounding and a joy to observe as she took the helm of the orchestra through the movements of music perfection. It was a sad note to hear of the departure of Ms. Alimena who is concluding her 12th season with "The Friday Morning Music Club Orchestra", as seeing her in action brings forth celebration of music. It is evident that Ms. Alimena has evolved beautifully and must proceed to new heights upon her sojourn. She was a wonder to behold with her impeccable style, charisma and subtle flare for theatrics which titillated the spirits to aspire to greatness. This conductor is active throughout the Washington, D.C. region with the Eclipse Chamber Orchestra, Brass of Peace, The McLean Orchestra, and currently performs as a hornist with the National Symphony Orchestra. She is a native of Long Island, New York, where she began playing the french horn at the age of nine. In 1981 she was winner of the Boston University Concerto Aria Competition and was awarded a full fellowship at the Berkshire Music Center. Sylvia Alimena's professional career began 1980 as a member of the Boston Ballet Orchestra, the Boston Pops Esplanade Orchestra, the Beacon Brass Quintet, and Principal horn of the Boston Lyric Opera and the New Hampshire Symphony. The Cello Concerto in B minor, Op. 104 by Antonín Dvorák was performed superbly by the cellist Cecilia Sangkyung Lee, who is active as a soloist and chamber musician throughout the United States, Canada, Korea, and Europe. Ms. Lee, razzled dazzled the audience with her virtuosity and command of cello. The magnetism exuding from her very Being was electrifying to watch as she immersed her mind, body and soul spirit into the depths and heights of suspended echoes of the cello's vibrational sounds. This musician embodied a musicality with an ease and grace for many to enjoy as she rises to the top of her game. Cecilia Sangkyung Lee earned a bachelor's degree from The Juilliard School, and a Master of Music degree and an Artist Diploma from Yale University, where she studied with Aldo Parisot. She is the Winner of the 2003 Washington International Competition as well as the Canada National, Woolsey Hall, University of Toronto, Douai International Competitions and many others. The star is born! In 2001 she was invited and played with the Korean Symphony in the third Seoul Arts Festival, a concert broadcast on television and radio thoughout Asia. This year's agenda has her slated to perform with the Tuscaloosa Symphony Orchestra and the Dae Jeon Philharmonic Orchestra in Toronto. She has been featured in the New Artists Series in Toronto, and has performed at Lincoln Center's Paul Hall and Alice Tully Hall, at Merkin Recital Hall, and at Carnegie Hall's Weil Recital Hall. Ms. Lee is also a master of chamber music performance with collaboration with Menahem Pressler, Miriam Fried, Boris Berman, Eric Friedman, Syoko Aki, Jesse Levine, and Elisabeth Sawyer Parisot, etc. This exemplifies the caliber and quality of the performance demands by "The Friday Morning Music Club Orchestra". The orchestra continues to consists of highly qualified musicians, professional and amateur, all of whom provide their talents and services as donation to the 'Art of Music'. Although "The Friday Morning Music Club Orchestra" maintains an amateur status, the orchestra has earned an outstanding reputation for its consistent performances of excellence. It is also a community-based organization that presents four to five concerts annually in the Washington, D.C. Metropolitan area. In addition to the Orchestra and Chorale, the 'Friday Morning Music Club' presents chamber music concerts every Friday at the Summer School Museum In Washington, D.C. Monthly concerts are also offered at the Strathmore Hall Arts Center, Collington Auditorium, the Gallery at the ellipse, and Old Town Hall. All concerts are free and open to the public. The Club also sponsors outreach programs in nursing homes, concerts in schools, and competitions for high school and professional musicians. With more than 750 members, the Club's objective is to promote musical culture among its members and the community. The only thing missing at this presentation was a program insert regarding information about all of the musicians playing in the orchestra from all the different walks of life as well as career endeavors. We felt a little disappointed not to have insight into their career paths that compelled each one of these Human Beings to be on stage as musicians of "The Friday Morning Music Club Orchestra". So we sought out an interview with one of the members of this orchestra: A PROFILE OF THE PROFESSIONAL PERSONA IN MUSIC AND ART
ADRIENNE PAIEWONSKY FIRST VIOLINIST FROM THIS KENNEDY CENTER PERFORMANCE The authenticity and originality expressed without a doubt constitutes that a truly professional artist/musician is in the midst of our universe. She brings tears of joy to us for what she hasn't said in what she has said so brilliantly. We are blessed to receive the divine channeled through such a radiant Being, who deeply loves 'The Art of Music' . What she contributes to this life is inspired by the muses and cannot be withheld from the masses. One is a professional (not by title and/or position but by love) and will always be a professional when one loves what one does 100% + in the living of it! Here is the voice of Ms. Paiewonsky.... Q: What inspired you to take an interest in music, and who specifically encouraged you to pursue this creative medium? A: I was encouraged by my parents. My mother, in particular, always encouraged me to take lessons. She drove me to lessons, to Youth Orchestra rehearsals and concerts, encouraged me to go to music camps. She played the piano, enough to help me with some of my music. When I was in high school, my parents were happy to have my friends come to our house to play chamber music. My mother found out about the Hartt Summer Youth Music Program and encouraged me to apply the summer after eight grade. I ended up going for four summers. That is where I first played chamber music, and met Corky Watkins. Corky was my roommate the first and last summers that we went to Hartt. She became one of my best friends through high school, and we are still in touch; she is a cellist, teaches cello, and writes about teaching. I hope you realize that I am not a professional musician! So, I have not made a “professional career” out of music, but I suppose you could say that I have seriously pursued an avocation of music—serious study and practice of the violin and chamber music, and also some orchestra playing. After my loved ones, family and friends, music is what keeps me going. (Maybe I should say “music and art” because I love art also.) I guess that a theme that runs through my musical experiences are the strong friendships I have made with people I have studied and played chamber music with. Over the years, many of my friends are people I have met through music. In terms of talking about some of the experiences themselves, during orchestra rehearsals and performance: First of all, learning the music is an experience! I had a lot of notes to learn for the Feb. 9 concert. A lot of the work is going over small sections using the metronome. I have really enjoyed working with the conductor of the Orchestra. The sensation of being part of music that is so huge, or so beautiful, is great. I can’t dwell on it while I’m playing, but I really appreciate it. One good thing about the first violin part of the Dvorak Cello Concerto is that there are huge periods where we don’t play, and can just enjoy the music. At the end of a concert sometimes I get emotional, it is almost unbelievable and overwhelming that we did it and that the music was there. Last year we played the Bach Concerto for Two Violins, and even during the performance I was practically crying—I had played that piece a lot in high school with one of my best friends, and I really wished my mother was there. So, one aspect of playing music for me is “connections”—connections to the friends I love, connections to my mother who always encouraged me and came to my concerts and drove me to lessons. My mother always encouraged my music and supported my friendships. Q: As a Musician imparting observations of life's impressions into the world of Humankind becomes a keynote speaker through music, a rhythmic voice for generations to hear, learn, grow and develop greater insights about the Human existence as a creative Being, how would you handle on a large scale the task of changing the direction of Human Being through music, if indeed this were possible at this point of your Career path? A: This answer may be more concrete than you are looking for, but here goes: people can be profoundly moved by music—hearing it, being at live performances, in addition to playing music. So a simple answer would be to bring music into more peoples’ lives more often—more concerts (in concert halls, schools, neighborhoods), more music education in schools, more after school music activities. My family is very fortunate to be able to send our son to a Waldorf school where music is part of the daily routine. In addition, my son’s class has a wonderful music teacher twice a week, the twice a week eurythmy class has a pianist accompanist, and every child in the class is studying a string instrument. Q: Who are the primary Masters that you consider to have influenced your styles, approaches, intelligence and acute senses regarding the intricacies of artistic creativity as a musician and in what ways? A: I have been very lucky to have Ricardo Cyncynates (Assistant Concertmaster of the National Symphony) as my teacher since 1987. He is a fabulous violinist and a wonderful teacher, and he has stuck with me through my many “distractions” and life experiences (graduate school, getting married, having a child and being a stay-home mom). Not only has he taught me technique and music, he really has taught me how to practice. One of the important lessons I’ve learned from Ricardo is that “he never assumes he is playing in tune”. He is always listening. So, no matter how much technique, musicality, etc. you may have, you can never be complacent. One of the reasons Ricardo teaches is because it keeps him thinking. My violin teacher after college, Mark Ellsworth, was also a very important part of my life. Mr. Ellsworth also understood what I was going through over the years, and always encouraged me. During difficult times, he would say “let the violin help you through this.” I was fortunate to have worked on a lot of unaccompanied Bach with him. I have also been fortunate to have the Portland String Quartet (PSQ) as teachers and friends. I have studied with them during their summer workshops since 1981. In addition to being an excellent string quartet, they are wonderful teachers and coaches, and I have studied many of the great quartets and other chamber works with them. Over the years I have thought that working as a string quartet was really a model for so many other human endeavors: each member has to know his part, other parts, and understand the work as a whole; when you are playing you really need to be listening to the others more than to yourself. I also appreciate that the music you make communicates the spirit of the composer, emotions and thoughts are experienced by the listener, and as a player you experience the music and the dynamics of the group working together. Q: What is my most difficult challenge as an Artist/Musician/Human Being? A: The short answer: Finding the time to practice and to play chamber music. But in some ways I don’t dwell on that because music is what I do. I practice because I want to. I’m in the orchestra because I want to be there and be part of making that music. There are so many things in our culture that I don’t participate in or do because I don’t want to (we don’t watch a lot of TV, don’t have shopping as a hobby, etc.) And there is such joy in music--that is why I practice, play quartets, play in the orchestra. It is such a thrill to play great music, to rehearse with a group that works well together, and it is so great to perform and have friends in the audience!! Q: How has your experiences of life or influences in your lifetime's sojourn helped to compose your concepts, ideas, theories, timeframes, etc. in producing your creativity as a musician? A: To answer this on a practical level, I’ve learned to be more efficient with my time—to not avoid the hard passages, but to break them down into small groups (“nuggets”, Sylvia would say). Work on each nugget, using different rhythms and bowing, use the metronome, etc. I’ve heard the expression that “preparation is a prerequisite for spontaneity”. By really being prepared, you can take advantages of opportunities musically, and also, you will be able to be flexible when playing with other musicians. Q: What bit of wisdom can you share and pass on to the up and coming musicians in their process of achieving creative goals and artistic endeavors? A: I suppose an important lesson is that you don’t have to be a professional musician to have music be an important part of your life. Actually, the friends of mine who are professional musicians virtually have no time to play chamber music “just for the fun of it”. I’d say practice as efficiently as you can. There were periods in my life where it was hard to find the time to practice, and I considered that the violin and music “were just hanging on by a thread”. However, I got through those times, and continued with my lessons, continued going to summer workshops, and here I am. Fortunately, my teacher still encourages me. Many of my friends from music are thirty to forty years older than I am, and I can see that music keeps them going! Special note: Something that is very important to me--that I have the support of Paul. Paul and Sam (Ms. Paiewonsky's husband and son) come up to Maine with me for the String Quartet workshop--we've been doing that since Sam was two years old. And of course, Paul stays home with Sam when I'm at rehearsals. Before Sam was in kindergarten, I used to have people over to play quartets. We'd play until 10:30 PM or so, and then stop and have a snack. Paul and Sam would join us for the snack. Those were the days when Sam had afternoon preschool and we could sleep late in the morning. MS. PAIEWONSKY, THANKS A MIL'! AND MANY BLESSINGS! AND THANKS TO THE KENNEDY CENTER PROGRAM INFORMATION FOR EXTRACTIONS TO SHARE WITH THE PUBLIC! For information about the club & its activities, call (202) 333-2075 or visit website: Friday Morning Music Club For Kennedy Center information, visit: The John F. Kennedy Center |
One of the greatest joys in living life moment to moment is to BE free! No Stress, No Strain, No Struggle, Just Surrendering to the ease and grace of Human Being without any attachment. This takes sincere, dedicated and consistent practice like everything else we practice in our daily lives to experience. Whatever the moment brings is perfect for the individual and collective growth, development and cultivation as creative mastery overtakes all chaos and confusion within the Human Dominion. We continue to learn how to apply living freely within the world of Humankind without inner and/or outer conflicts of the delusionary world which briefly entraps and imprisons the free spirit. Words do not control the actions one undertakes; words simply affect positively and/or negatively the actions one takes, thereby affirming that the action is a decision in motion. Why do we persist to try convincing another Human Being of what to do, when the particular individual(s) is bent on doing what they want to do anyway. It seems the men of the world are not moved by words; they are manipulated by them, especially when the words are not sincere but glorified as propaganda. Every compassionate opportunity to resolve this mortal battle for power over heaven and earth affirms that neither quill nor sword are mightier than silence, although we use both to demonstrate a point of view, yet they may beguile the soul of Humanity.
The dye has been cast since the beginning and one must fulfill one's destination for the whole of Humankind! It's Life! We must not continue to do things out of desperation for it will truly create a worse situation for Human existence. The smart cat never gets caught to be skinned alive and a dead cat doesn't care. Crimes of passion aspire to public popularity while producing poverty stricken lives as the worst kinds of violence against Humanity designed to destroy the Human spirit. Art is an essential requirement for the survival of the soul of Human Beings. The agony and the ecstasy of the 'Artist' intensifies through ages of creative exploration, discovery and investigation for the truthful search that releases from the depth of pathetic lives cast into the bottomless pit of society to be Freed.
We 'Artist' learn through simplicity that perseverance, endurance and breathing is the surest ticket out of a hellish environment doused in perpetual destitution. Many times we get what we want and don't see it - and see what we don't want and get it; this is a seeming paradox of Human consciousness, however it is essential for the awakening state of Being. Until we completely embrace the moment's treasures of life by release, letting go and enjoying the journey of life regardless of where we are and what we do and/or don't do, life will keep presenting its wonderful opportunities to choose to LIVE! LIVE! LIVE! (BREATHE) although the world is one big mess! It's perfect!
"The entire universe is a university. Everything and everybody is a professor to us. We constantly learn from everybody and everything. We learn even more through pain than through pleasure. Whether we want it to or not, the world will give us the experiences we need and make us grow." - Sri Swami Satchidananda
Where are we but here! This wonderful sojourn of life reminds us constantly that whatever we think is temporal, momentary and eternal is whatever it is for the moment that it is and then...POOF! Everything Human Beings are doing is done the moment they do it and then... POOF! We cannot go back when we have never left in the first place... no matter how many times we reference past, present and future thought structures, the Universe is whatever it is and hasn't stopped expanding its unified field of life energy. It is changing even when things appear to be the same. It isn't only what we see with the naked eye but what we don't see with the naked eye that is truly happening. This is what the master 'Artist' captures and expels through multi forms for a brief moment; the particular items (causes and effects) experienced in the mind's manifesting field of energy; the things surrounding the Human Being's conscious reality within an illusion of existence which quickly fades away into non-existence.
The daily news delivers to the existing populace the aftermath of justifiable genocide of the Human Being via purposed facts which are held desperately to qualify duality's clinging hold upon the free spirit. The uncontrollable life and death syndrome asserts finite occurrences as we know them through database channels of negative/positive energy transference. What are we to do? Network! NO, NO, NO, we are to go to the radio and television set(s) and turn them off! Take a break! Free the mind of all distractions and create what we say we want out of a peaceful state of mind! The practicality of life is evident when one observes that every body is practicing dualistic habits religiously. We, the people, practice diligently the things that we say we don't want to do and never practice the things we say we want to do. We can ascertain from this dilemma as well as acknowledge that we seem to have a big problem in this area.
The facts are new to the pursuing mind which deliberately denies the answers to its questions about itself. It is upon discovery of itself that the enlightened mind realizes that all facts are old in a new state of Being. The news headlines, tabloids, current events and media are old recycled information to the Creative Being who knows there isn't any permanency of its reports, just the sensational magnetism merely used for shock effects to the psyche. The story lines we create, produce and/or express during this evolutionary process of life's continuum are minimized by the facts that the untold story is always being told through various repetitions with the same actions-reactions on display as transcendence traverses the Human psychological constructs which are deconstructing the matrix of itself. We simply are not going on the way we are used to going on....The Human Empire is crumbling all around us...as transformation of its inhabitants is taking a definitive direction towards a total mutation of consciousness without qualifications to block the flow of FREEDOM.
To keep focus upon a greater purpose of mankind is very difficult when we all feel like prisoners in our own home; prisoners of mind, body and soul concepts. It seems the mind has become truly absurd with petty details of trivial human pursuits, conversations and emotional baggage that interfere with the brilliant manifestations awaiting to uplift the Human Being to heights beyond any imaginable height.
There isn't any shelter like the thunder dome of chaos and confusion, life is wild and crazy and we might as well balance on its surf board atop the tidal waves of its universal precepts. Yes, we persist to live life externally with little attention to the internal movements bringing forth another revelation in the consciousness of Humanity. All of the activity on the surface keeps one very busy thinking, talking and acting like a crazy man ensconced in anger and rage, however the Human disappointments are because we do not understand that every Being is perfect in the role they are playing.
"If you are just going to follow nature and get tossed by the waves, then why should you go to surf? The nature of the ocean is to try to dump you. You are going there to learn to surf without getting dumped. It is the nature of the mind to constantly change. You should learn how to surf on the waves of the mind, rather than being tossed and beaten by them. Always affirm that you are not going to be the slave of the mind; you are going to be the master. Exercise your mastery. If something terrible comes, you think, "Oh, I can't bear it. I can't stand it another minute." But if you just hold on a little longer, it passes. Then you are so relieved. Good and bad are all a mental matter. Sometimes white clouds come; sometimes black clouds come. Wait a little; everything passes away. Don't give up. When a restless cloud passes, you are peaceful again. If you give up and run somewhere else, there will be a difficult situation to face there too. Wherever you go, your own mind goes with you. It will create the same problem, maybe in a different way. If you can keep control over the mind, wherever you are will be a heaven. If you do not have that control, even if you are in heaven it will be a hell for you." - Sri Swami Satchidananda
We 'Artist' are usually getting angry with ourselves for being helpless in the world to eliminate its corruption, limitations and restrictions, however we must not get confused and misuse this anger by becoming envious, jealous and/or resentful towards another. We are 'Artist', creative beings endowed with the gifts of life to manifest the divine within all things created. The immaturity and fear expressed within the Human reality may create angry feelings against the something for nothing or nothing for something crowd disrupting Human maturation and faithfulness unmercifully. The twisted concepts of thought needs to be straightened out without substituting everything for everything else. The greed motivation spiraling ambitious men into ranting and raving lunatics incognito prohibits the natural insatiable curiosity to go where no one has ever gone before. It seems the predilection for irrelevancy as demonstrated by the galoots of the times has confused the Human Being immensely without having the slightest clue of what everything is in the first place.
We 'Artists' have come to bring freedom to the world.
We have come as a light into the world.
And no man who has faith in life,
Will go on living in the dark,
And if any man gives ere to the words,
And does not keep them,
We shall not be his judge
We have not come to bring judgment,
But joy to the world.
While we have the light,
Walk in the light
While we have the light,
Put faith in the light
That we may become children of the light.
Faith, hope and love abide...
These three,
But the greatest of these is love
And remember, where several gather together In the Divine Presence,
There will One Be!
Paraphrased speech - "The Greatest Story Ever Told" - A Movie about Jesus Christ!
In a single lifetime one can become known as a particular identity of notoriety to an audience, however the essence always exceeds the framework of containment by any particular body and/or thing one is known for by the populace. The collective pain and suffering during 'The Evolutionary Expressionism of Life Energy' is an outright call for mercy, not sacrifice. We 'Artist' have endured the denials of greatness within creation by the deceptions of truth, honest, character and integrity since civilization composed its structured concepts. We the 'Artist' will not benefit Humanity if we hide the divine within this universe from ourselves to do the work that has to be done. NAMASTE!
....John J. Steven Cole
"When you are fully aware, you are free but when you are partly aware and partly thining, you are distracted and disturbed, and therefore not free."
- Dhiraramsa
"When you are fully aware, you are free but when you are partly aware and partly thining, you are distracted and disturbed, and therefore not free."
- Dhiraramsa
"LOVE YE ONE ANOTHER"
"HE WHO DOES NOT CULTIVATE HIS FIELD WILL DIE OF HUNGER"
- Guinean Proverb
Damballah Dolphus Smith
(1943-1992)
top"HE WHO DOES NOT CULTIVATE HIS FIELD WILL DIE OF HUNGER"
- Guinean Proverb
Damballah Dolphus Smith
(1943-1992)
Books of Great Insight and Wisdom
DANCING IN THE LIGHT -
Shirley MacLaine
ALONG CAME A SPIDER -
James Patterson
THE FIVE PEOPLE YOU MEET IN HEAVEN -
Mitch Albom
[Available through CCPI-Booklist]
Click the Door to the Reading Room
William Blake 1757-1827
Jerusalem Plate 31
William Blake 1757-1827
Jerusalem Plate 31
News Bulletin
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For further information
SPRINGTIME WORKSHOPS/CLASSES
Baltimore, Columbia, Maryland;
Washington D.C. Metropolitan Area
ACTORS' EMPOWERMENT • ACTING IN LIFE WORKSHOPS
WILL BE IN APRIL '04
&
SIX WEEK CLASSES
(Stage & Film For All Levels - Beginners, Intermediate, Advanced)
STARTING IN JUNE '04
For further information
Evolutionary Expression
Incarnation, 1994.
Acrylic & Oil on Canvas
Poetry #104
EXTRACTION'S VASTNESS
Trickery would mock
The Universe in response
Seeking to outwit oneself,
In efforts to unmask,
The clown finds the puppeteer.
Discovery amid illusions
The world is my canvas
What finds it's way to the easel
Extraction's minute bits
Of vastness
Near the edge of nothingness
Impossible to conceive
Save in spontaneous moments
From which Universes spring.
Decibel adjustments
Sound keys tap periods essence
And what in visual language
Feeling dreams
Traverse times gates.
Aware of shifts
What is yet to be seen
Films contents
Paintings, billboards and buses
Extraction's unfolding
But then this is
The film of life
One is living.
Again, temporal mechanics
Meditation in the garden dream
The created character seems
A life it's own and in
It's perspective does
And chooses freely
It's unfoldment a secondary
To a primary through line.
Imaged intent,
Watered down concepts,
Formed actual "versions"
Beyond the frames extended
Vast canvas bits extracted
From the through line,
Which is timeless and formless
Seeking the unknown magic!
Finding the seamless
Moment of discovery already
Knew in the moment
It is!
Do what good
The rest will follow
All else flows,
Cannot linger here,
When ready,
It is,
Is it not?
The painting sales
Creating new works
And prints in the works!
Resistor's forms:
Knowing what doing
In timing actions with this and that
No time to fit it in.
Relative to spontaneous:
With rambunctious,
Unknown results abandon
From focused point
Action, release, resist, block
They find place in ripples
No one knows
What will happen:
Auditions blown away
Alters precast
New probable event
Manifest
Cancel trip tomorrow
Adrift
Thought trails
Back again
To probable
Image lines attending
Cut!
To point.
New deal
Action
Seamless life
Speak full voice
Altered state
Relationship response
Set in motion
Through line momentum
Approaching events
Steps through scenes.
Exchanges
Freshly made
Heightened forms
Directions emerge.
Split second
Leaves roll off
Voice of intent
Inner action
Character created.
Split second
Leaves whirl probabilities
Pass with ripples in time,
Pasts and futures
Go where its best to be.
Other forms attract purpose
Served, energized fulfillment
Potentials known.
Whence the winds of solitude
Change storm's gentle breezes
Come and go about the eye
And circumference passing through
Ideas run into a wall.
Boundary sorts recontact
To finish,
Read thoughts,
Volumes books,
Reorganized mind
Notice prior overlooks
Tools to see hints and clues
Approaching ease of steps.
Inner actions accelerate,
Gait exercise,
On a walk in buoyant and concentrated
Solar cells,
Energy brought forth
Clear usage and opening.
By JV Harvey
Emerson's Address
Appreciation and Gratitude
We sincerely appreciate all the contributions on every level in support of our efforts to collectively bring about joy, happiness, loving-kindness, peace and goodwill to all of Human Kind. Now is the time and the time is eternally now to give thanks, for the whole of creation to continuously bring about an harmonious convergence for the sake of humanity.
Thanks to every one of you individually in our cyberspace community for the constant inspiration, insight, encouragement, support, interest, inquiry, purchases and/or financial contributions to the work of 'The Evolutionary Expressionism of Life Energy' ArtWorks/Poetry by JV Harvey and Colveyco CPI. We are overjoyed to increase public awareness for visitors, patrons, collectors, curators, connoisseurs of Art, to view our Virtual Art Gallery Series and affiliate Artist's Sites in addition to attending Art Exhibition Shows/Events around the world.
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