Feminine Mysticism in Art

In the information age, many women artists face an overabundance of information and a bewildering range of options which can fragment and overwhelm them. Not only are they required to adapt to the rapidly changing technological age of computers; they are also required to develop an assortment of personal and business skills in order to exist in a highly competitive market, yet still live up to the expectations of the good mother and wife roles they have internalized from their parents and culture.

The complexities and demands these female mystics and visionary artists continue to face can often produce a deep wound, which I refer to as “the visionary’s wound.” This wound is caused by a backlash in the form of harsh criticism and rejection by a fearful and intimidated dominant paradigm that hates the reflection visionary artists can’t help but offer-a reflection of society’s shadow self, as well as its beauty. It is this wound that all mystics and visionary artists have to come to terms with at some point in their life in order to remain viable in today’s increasingly competitive environment.

Some have consciously chosen to hide out from the world because, in their eyes, the world is too painful for them to deal with. Others have made a conscious effort to heal their wounds and begin to trust in the Great Spirit to guide them on their artistic journey in the world. Nonetheless, many female mystics and visionary artists know of this wound; in fact, they live with it every day. Yet, ironically, it is often because of this wound that these women artists can create works so profound, so deep, so complex, so spiritual and so compassionate. It is because of this wound and the reclaiming of the parts of themselves that have been in bondage that their artwork is so exquisitely meaningful and impacting.

For example, a painting entitled “An Angry Young Woman” by visionary artist Uma Rose is a perfect example of the “visionary’s wound” and the anger and pain it has brought to her life. She views this painting as a premonition of sorts, as she didn’t fully understand why she painted it until later in life. At the time she did the painting she had been delving into transcendental meditation, enabling her to get in touch with various hidden parts of herself. The woman in orange is holding a rattle, which is a shamanic tool used to guide people into a higher state of consciousness. She intentionally made the woman’s throat area to look as if it was swollen, or as she describes it, “pregnant with rage.” While in a shamanic trance, a spirit guide came to her whom she describes as “a loving old wise woman who was trying to help me to release the rage that I was holding in my throat.” Uma believes this guide was an embodiment of the great Mother who had come to help her release pent-up emotions which had remained trapped in her emotional body. She believes this painting is an example of unconscious desire becoming conscious through the artistic process. In other words, her desire for emotional release as well as a desire for meaningful ceremonies was calling out to her, producing “a magical process of bringing unconscious desire into manifestation which brought deeper understandings about myself.” Through the embracing and releasing of her rage, or her shadow self, she was able to get in touch with her pain and the deep wounds that were blocking her ability to grow spiritually and artistically. It is through the release of this rage and the healing of her wounds that she was able to cultivate compassion for herself and for others.