Objects have connotations unrelated to their purpose. Art can stretch these personal and universal undercurrents into something that celebrates life.
Federico Uribe was born in 1964 in war-torn Colombia. The Columbian Conflict, as history books name it, began in the mid-sixties and continues today. His homeland has been ravaged by armed warfare for the entirety of his life. You might think that this would make a broody, angry artist, and he was such for a time, but he decided that, in order to live, he needed to celebrate the life he was given and reconcile with his past. The key to that was to look at the world around him with new eyes and to use his hands and creativity to remake the world around him with humor and beauty.
Uribe has also made fantastic animals from colorful shotgun shells, turning something ugly and violent into something beautiful and playful. It is by remembering how to play that Uribe triumphs over the darkness and regains his childhood. That childhood is imbued with a reconciliatory power that shows us we can change our world by changing our perspective and helping others to see our vision. As Uribe puts objects in new contexts, we can put ourselves in new relationship with each other and with nature. The way to capture this energy of transformation is not through political statements, but through authentic feeling.
In Good Faith, Federico Uribe
Mahatma Ghandi once said “We but mirror the world. All the tendencies present in the outer world are to be found in the world of our body. If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. This is the divine mystery supreme. A wonderful thing it is and the source of our happiness. We need not wait to see what others do.”
Please visit Federico Uribe’s website to see more of his wonderful vision.
The idea of attention or contemplation, of looking carefully at something and holding it before the mind, may be conveyed early on in childhood. ‘Look, listen, isn’t that nice?’ Also, ‘Don’t touch!’ This is moral training as well as preparation for a pleasurable life. It need not depend on words, but can also be learnt from patterns of behaviour which should in any case back up the words. The far reaching idea of respect is included in such teaching. The, as it might seem, sophisticated concept of a work of art may be acquired easily. Children, if they are lucky, are invited to attend to pictures or objects, or listen quietly to music or stories or verses, and readily understand in what spirit they are to treat these apparently dissimilar things. They may also be encouraged to contemplate works of nature, which are unlike works of art, yet also like them in being “beautiful.”
―Iris Murdoch,Metaphysics as a Guide to Morals
If you have never come up against Nothing you have no idea how it can scare you out of your wits. When I was a child I used to be afraid of Something in the dark. I know now that the most fearful thing about the dark is that we may find Nothing in it.
―Howard Spring, The Mammoth Book of Modern Ghost Stories
Therefore, she hummed the provincial lullaby she had learned from the officers’ children in the English Quarter of Jerusalem, and watched in fascination while the savage radical’s eyes misted over with tears. For an instant, the prison bars melted away, and she felt God’s presence—for the first time since their imprisonment. She was not a captive, and this man was not her captor. Indeed, they were both merely God’s children.
As human beings we move from one reality to another, crossing so many bridges that we become bridges ourselves: between countries, between cultures, between periods of time, between our own memories.
Most of the time we simply keep moving.
Sometimes synchronicity, the meaningful connection between seemingly unrelated events, stops us in our tracks and asks us to reevaluate and reinterpret how we see our lives and their connection to others around us. The Other Immigrants by Saba Husain is a revealing expression of one of those moments.
Passing through the soaring architecture of Grand Central Terminal in New York City, in the footsteps of travelers and immigrants from many lands, Saba is transported back to her home in Lahore, Pakistan. It was a whisper carried across the famed Whispering Gallery that took her back to childhood under the lemon trees. She hints with an eloquent simplicity at a sense of continuity between her younger self and the self that now makes a home in this distant land. It seems, almost, that she could step across time and into the streets of Lahore, taking us with her.
Saba Husain, published in Natural Bridge Journal #34, Fall 2015
Note the path that winds its way through Saba’s words. How exhilarating and humbling to experience a moment in which the pattern of your life reveals itself!
“Oh, here we are at the bridge. I’m going to shut my eyes tight. I’m always afraid going over bridges. I can’t help imagining that perhaps, just as we get to the middle, they’ll crumple up like a jackknife and nip us. So I shut my eyes. But I always have to open them for all when I think we’re getting near the middle. Because, you see, if the bridge did crumple up I’d want to see it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn’t it splendid there are so many things to like in this world?”
Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it’s an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.
From childhood’s hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.