Unnecessary Violence and Ramblings- archiving of my Shadow Work Journals 1986 to present. Sample 19: November 29, 2000

This daily archiving series is about organizing and dating my journal collection. Several samples have left me a bit raw. This sample is another lighter one… Fall/Winter on the Sunshine Coast, fully immersed in creative process. This is more an image/idea file and sketchbook than journal.

See:

Unnecessary Violence Project Explanation and Sample 1 Oct 21, 1992

Sample 2 Date Dec 15 1994

Sample 3 May 16, 2000

Sample 4 August 14, 2002

Sample 5 June 13, 1990

Sample 6 August 23, 2019

Sample 7 December 17, 1995

Sample 8 October 23, 1995

Sample 9 September 1, 2004

Sample 10 September 6, 1999

Sample 11 November 6, 1989

Sample 12 October 23, 2001

Sample 13 October 22, 1993

Sample 14 April 20, 2013

Sample 15 January 31, 1997

Sample 16 January 5, 2012

Sample 17 January 1, 1992

Sample 18 June 14, 2000

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Today: Journal Start Date November 29, 2000

Cover

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Sample Pages and Drawings

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Sample Quote

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Unnecessary Violence- random archiving of my Shadow Work Journals 1986 to present. Sample 3: May 16, 2000

This daily archiving series is about organizing and dating my journal collection, as well as acknowledging the self-directed violence as important therapeutic shadow work. Processing my projections and darkness.

See:

Unnecessary Violence Project Explanation and Sample 1 Oct 21, 1992

Sample 2 Date Dec 15 1994

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Today: Journal Start Date May 16, 2000

Cover

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Pencil, coffee, ink, April 11, 2000

Sample Page

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Sample Drawing

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Sample Writing

May 16, 2000

To recapture the connection to the creative process, I must begin from the beginning- and that is to “come back” to the IMAGE/IDEA FILE, to “come back” to my journal- only this way can I begin to explore the central theme to the next body of work- only this way can I begin to UNDERSTAND why I was driven to study the IMMIGRANT, the PIONEER- the woman at the centre entering the new world, with the ancients on her back. In order for this theme to work, I cannot remove myself from it. I have to place myself within the play, as its central character. I have to become the people that I study. Only this way will the work be done, filled with my meaning, have any kind of importance. And it’s only through the journal that I have privacy and space enough to have a world of my own. A place just mine so that I can create SOME THING.

Does the central motherless child/woman recur in my work because of the awe of independence?

June 1, 2000

Struggling, haggard, the forgotten, the overlooked, the lost, misplaced… As Vilhelm Moberg did, I too want to awaken the dead. I too want to conquer fate and oppression. I too want to recall what was past and what has been lost. I want to return this homestead and its souls to life. This little world shall be restored. I want to recreate it.

June 4, 2000

I was going through some journals, while reorganizing my studio and came across the following, told to me by [my son] January 30,1996 [the day before his 8th birthday], on the way home from his after-school science class: “Hurry home. I need to watch the sunset. The sun is giving me my birthday present. When the sun sets and the colours change, the chemicals change. The sun shows me my past. The sun celebrates my birthday’s yesterday.”

July 14 2000

Drenched in memories. Surrounded by photographs. On an island in a sea of memories, emotions, moments, nostalgia, and personal history. Overwhelmed with almost a sadness – as if those moments are lost forever and the sense that I didn’t savour them enough. But the moments are there- in the photos and in the memories conjured and in the experiences that have created my children’s present selves. Their cuteness, their smallness, innocence tugs at the heart. And I feel proud that we could give them such a great life. And hopefully continue to.

Sample Quote

“Through the eyes of the woman we begin to see history as the stuff of daily struggle… Wherever there was a woman, there was a nucleus of a home.” – Lillian Schlissel

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