Sometime in the sixth grade, I first heard philosopher Soren Kierkegaard’s wisdom, “Once you label me, you negate me.” I wish I could tell you that my exposure to this teaching happened while I was attending some kind of summer symposium for gifted children. But alas, I heard it folded into a joke by Mike Myers’ character Wayne Campbell in the 1992 comedy Wayne’s World. Because Wayne’s World is one of my favorite films and I watch it several times a year, I am often reminded of Kierkegaard’s teaching and am challenged to ponder its layers of meaning. As a woman in long-term recovery who works with others in recovery, and as an out bisexual woman who serves as an LGBT+ advocate, I often handle questions about what it means to label or be labeled versus what it me mean to define or identify. Moreover, discussions rage around me and within me about whether or not we place too much stock in identifying in a certain way or calling ourselves certain things. Do labels or identifiers help to advance recovery and advocacy, or do they keep us stuck in unhelpful pigeon holes? Do labels really negate us, and does it make it any better if we swap out label with the word identifier? And on a spiritual level, does the practice of labeling or identifying keep us cut off from the essence of our true nature?
Let’s begin by looking at the distinction between labeling and identifying, for exploring this distinction sets a foundation to answer these very important questions.
“I don’t like to label things,” is a line I’ve heard from many people around me, from wishy-washy people I’ve tried to date to employers who have been non-committal about issues like job descriptions, expectations, contracts, and titles. Just about every woman I’ve worked with or known has been hurt in some way by a potential partner saying they don’t want to put a label on something, when it is really just an excuse to buy time or not commit. Yet I have also experienced very deep friendships that can be hard to specifically label or define because the feelings and roles involved don’t fit into any kind of a neat box. And I’ve also accepted work gigs that seem to defy the gravity of definitions and labels. On any given day it’s hard to describe exactly what I “do.” In fact, it’s a bit of a running joke in my family as my brother has long asked me, “What do you do?,” and my stepson often asks, “So Jamie, how many jobs exactly do you have? I count nine.” In my view I only have one job, yet it’s composed of so many facets and segments I can understand where it would feel confusing to people who don’t get it.
So an argument to be made for labels is that in many contexts, they can keep people safe (especially in work settings and in certain interpersonal relationships) and minimize confusion. Labels can work very much like boundaries and expectations in this sense, so it may feel better to many to call it a definition. Yet we’ve all run into cases where once somebody gets labeled as something, especially in a binary context, it creates a limiting and maybe even discriminatory tone. In this day and age, we only have to look to how political affiliations have divided us to see how this plays out. Many Democrats don’t trust Republicans, especially if they find out they are supporter of President Trump, and immediately shut them down as people as a result. The opposite can also happen, as I know many people (especially those who knew me when I was younger and more traditionally religious) don’t want to hear what I have to say because I’m now rather liberal. The devil’s advocate response I’ve heard, especially from others in the LGBT+ community, is that knowing if someone voted for Trump or not is a sign, a mark that helps them know if they’re really safe with that person. Although I heavily relate to this sentiment and even experienced a great deal of it myself after the 2016 election, for me it is not that black-and-white.
The issue of labeling comes up quite a bit in the recovery and LGBT+ communities in which I live and work. My Trauma and the Twelve Steps work is brilliant to some because it is integrative. Yet my perspective confuses many because even though trauma-focused in my orientation, I still introduce myself in appropriate contexts as, “Hi! My name is Jamie, and I’m an alcoholic and addict in long term recovery.” For me, this is an identifier and not a label. And it is my choice to identify publicly in this way, which makes it very powerful for me. Saying this identifier out loud keeps me grounded in the reality of my story, and I take great pride in being able to introduce myself in this way. Where it can feel like a label, in a negative sense, is when people judge me by this identifier, or if I completely define myself by this identifier. For me, identifying opens up possibilities where labeling connotes being limited by the way in which I identify (or by the way others try to identify or label me).
I recently put the question out to my hivemind on social media and there seemed to be a general consensus that identifying has a much more positive connotation in the English language than labeling. Another common theme is that labeling is more likely to come from without whereas identifying is something that is very personal to the individual doing the identifying—it comes with within. Skeptics or critics may roll their eyes at me when I say things like, “I am an openly bisexual woman in long-term recovery from addiction and dissociation.”
More PC bull crap. Why does everyone need to label themselves? Or be special?
I offer this response: Being open an honest about these things has allowed me to heal and be able to say and claim other parts of my identify like I am a deeply spiritual person, proud of my Eastern European ancestry, and I live each day to the fullest, enjoying life as much as I can and helping and serving others who my Higher Power sees fit to put into my path. I am a yogi, a seeker, a lover, a mystic, a sister, a daughter, a surrogate mother, a friend, a teacher, and author, a guide, a movie lover, an expressive artist… Shall I go on?
I can celebrate the fullness of my human identity because I’ve learned to be honest about my story and what it has meant to shaping my identity. Robert Ackerman, the teacher and recovery writer, said in a 2015 talk: “You cannot expect yourself to become a fully functioning individual (physically, emotionally, spiritually) if you deny a part of yourself. The key is integrating all of who you are.” I felt like he was talking directly to me, and in the months following this message circumstances allowed me to come out fully (not just to my close friends and colleagues) about my bisexual identity. Doing so was a game changer not just for my mental health, but for feeling more authentic and genuine in my professional work. I feel now that no one can label me, and if they do so pejoratively, it’s lost any power to affect me.
The yogic perspectives and teachings from other spiritual paths may offer a slightly different angle to the challenge. Teachers I’ve studied with contend, “As soon as you say I am…, then you are limiting yourself. Because you are really your soul and the pureness of consciousness.” In fact, in many yoga settings, it’s common to introduce yourself by saying, “I’m called Pragya,” instead of “I am Pragya.” Even saying things like “I am anxious” can be discouraged because you are identifying yourself with your anxiety.” It may be preferred to say “I have anxiety.”
Ever the bridge builder, my feelings are that both perspectives are true. I know that when I look at the bigger picture and my Divine essence, it is very limiting to label or to identifying myself in any way. Who I really am exists at a soul level that cannot be damaged or affected by anything on this plane. Yet I also live on the human plane for the time being and to know who I am in this body, a knowing that is empowered by the ways in which I identify, helps me to thrive while I’m here. Knowing the communities to which I belong and where I stand in work or relational contexts is important. Important, yes; everything, no. Like many answers to existential questions answered through the yogic perspective, the key is to not be attached. Freeing myself from the grip of attachment—to outcome, to definitions, to identifiers, to labels, to anything is the key to health and happiness. And this detachment I practice while also being honest about what matters to me is what allows me to be fully human and fully Divine, dancing as One between the worlds.
In many parts of Ohio, competitive speech and debate is a sport. I caught the bug my sophomore year where I tagged along with my best friend to a tournament. There was something about the pageantry of even a run-of-the-mill weekly speech tournament that was magical—and I wanted to be a part of it! I was transitioning out of figure skating, deciding to focus more on academics, and competitive speech seemed to be the perfect fit for me. I got to dress up, perform, and be my geeky self…how could I not fall in love? I went to a city school with a very small speech team and it made me proud when I was able to represent and often best kids from the Catholic schools and the big suburban juggernaut teams. It felt like I was a skater from a small country going up against the Russian powerhouses! In my competitive days I was never the best of the best, although I got a chance to try out many new ideas that would be the root of what I now identify as my professional voice. Junior year I made it to state and senior year I made it to nationals. Although constantly stuck in the second or third place slot my senior year and bitterly let down at some big tournaments, I remember my time on the speech team as my most precious in high school. Some of my dearest friends, many from those powerhouse schools, were made during my time in competitive speech.
So it’s no wonder, like any obsessed sports fan, that I spent the better part of fifteen years after leaving high school involved in high school speech in some manner as a coach. And coaching young people on several different types of teams proved even more transformational than my own high school speech experience. Yes, I was a “speechie” in high school, as we are often called, yet being a coach crystalized the power of that identity in my being. For this reason, I dedicated my newest book Process Not Perfection: Expressive Arts Solutions for Trauma Recovery to my students, the “speechies” that I coached between 1997 (the year I graduated from high school) until 2011. As I reference in the dedication, they truly taught me the power of expressive arts as healing.
I coached on four teams during that time—I assisted at two schools while I was an undergraduate. I had the privilege of being the head coach of Chaney High School, my alma mater, when I was in graduate school and during the first two years of clinical career. To coach a Chaney kid to a state title, and coach another to three state final rounds in three different categories during his tenure, brought my “small team” kid experience full circle. I thought I was done…what could top that? Then in 2008, when I moved to one of those suburbs I once growled at when I was a city school kid in Youngstown, OH, the head coach of that team (an old friend of mine), pulled me in for one more go as his assistant. I got to coach on two state championship teams, a new experience for me having always either been on a small team or having coached one.
During all of these stints I met such awesome young people—I can think of no other adjective for their spirits or for the experiences I had coaching them. Coaching is not quite the best word. Rather, I had the privilege of guiding them through process, the construct I now celebrate in my work as a trauma-focused expressive arts therapist. To be in process as you prepare for competitive speech, especially if you want to see good results, is to be constantly willing to engage in trial and error. As a coach I often guided my kids through one sentence of their speech or performance piece in thirty different ways, just to test it out and notice what best popped. This same idea applies whether a student is in more of a performance-based category like drama, humor, or poetry reading, or one of the classic speaking categories like original oratory.
Working with my students is where I really developed the competency of listening with my body, a skill that has served me well as a trauma-focused therapist and expressive artist. You listen and you notice with something that often can’t be put into words for a sense of “That’s it!” These moments can happen at 7:00pm at night in a high school classroom, long after other students have cleared out. And then your student may take it to a tournament, try it out, and it falls flat, which can be an invitation back into process. Or, they may take the fruits of their work to a tournament and, following the flow of their intuition, may create even more magic than you or they even thought possible during those hours of practice.
I wish that I could tell stories about all of my students in this piece, but there is simply not enough room! A book wouldn’t even suffice. In reality, they all taught me something. Even the kids who resisted the depth of practice it would take to be competitively successful taught me about process, whether that was getting to explore resistance or to realize that for some kids it’s never about winning. The process is in the having fun, enjoying friendships and trying something new in their high school speech experience. In expressive arts therapy we talk a great deal about the work not being outcome-focused. Because competitive speech is, well, competitive, the end result was imperative to many of the students I coached. It was to me at the end of my high school speech career which is why I don’t think I enjoyed it as much as I could have. Yet I inevitably found that the students who were willing to dive in and embrace the process—the trial and error, explore the range depth—ended up being most successful in terms of trophies and titles won. I think there is a lesson here for those of us who pursue the arts professionally in one way or another—the power is in the process. Focus on the process, and you may be utterly amazed at the outcomes you are able to achieve.
And then we can pick apart what it even means to be successful. In reflecting back on my own high school speech career, I never came close to achieving the success that many of my students did. Yet I now have a professional career and public image that is based largely on my ability to speak publicly. I remember the first time I offered a continuing education training for other professionals in 2007, one of my colleagues asked, “Where did you learn to hold a crowd like that?” I chuckled and replied, “You have no idea,” thinking fondly on all of those hours I spent preparing with my own coaches and friends in high school, talking to walls (a common warm up practice on tournament day), and then working with my own students. The trophies have been thrown away or recycled and yet the fruits of the process remain.
Now looking back, the students who had the most impact on me are those who were never major contenders for awards. Yet I saw them blossom in terms of confidence and ability to stand tall and speak their voice. I remember one student who came to me during my second stint as an assistant, asking me if he could still be on the speech team even though he had a speech impediment. I adored his spirit right away and welcomed him aboard. He is now a lawyer. The person I coached to the state title at Chaney is a teacher and speech coach herself in Baltimore, and I beam with the pride of a mother when I see the pictures she posts at tournaments with her own students.
So many of my former students are making a real difference in this world, regardless of their chosen profession. Through the wonder of social media and texting, I am still in touch with many of the young people I had the joy of coaching through the years. Instead of talking about gesture placement and intonation, we now talk about life. It warms my heart that they can still seek out my experience, strength and hope… and it’s a two-way street. When I hear some of the young people, I coach make such intelligent life connections that I wish I would have made at 22 or 23, I smile and thank them for sharing a lesson with me.
And this is what I mean by all life being a chance to engage in process.
The inclusion of culinary arts in Dr. Jamie Marich’s newest book Process Not Perfection was alluring to me. Particularly, as she included it under the tantalizing header of “Nourishment” as it relates to “manifesting” oneself through expressive arts. So, when I was asked to contribute a piece on culinary arts, I was like a kid in a candy shop. I had big plans for canning my latest batch of apple butter and whipping up a batch of tangelo clove marmalade. I am a preserves devotee. The entire process is magic to me: the alchemical transformation of ingredients that results in something greater than the sum of its parts, in my lovely copper jam pot, nay cauldron, is pure magic. I had fanciful dreams of waxing quixotically about the poetic process of mindfulness based culinary practices that increase flexibility and adaptability in a way that nourishes the soul. So, I set out to batch my preserves, like a kitchen witch with my metaphorical pointed hat perched upon my head, and the desire to go deep with some sugar.
By now you may have guessed that this weekend’s canning plans did not result in the whimsical witchy magic potion experience I had imagined at the outset, but rather quickly moved from the delicious “nourishment” category all the way back to the I’d-rather-not-be-here “distress based tolerance” category.
Apples went in the pot Friday evening. I cranked that bad boy up hoping to expedite the process and finish that night. No such luck as they still cooked too slowly. No problem! I’ll just slow it down and finish in the morning! Saturday morning resulted in a two-hour call (a delightful one, but one which would put me just another few hours behind). No big deal! A pro such as myself is certainly capable of conducting magic on the fly! Yet immediately on the heels of that call a pal showed up for a cup of coffee and to pick up a few jars of jam. Still feeling like a casual boss, I spent some time catching up and sent him on his way as my folks pulled in the driveway. “Let’s grab lunch!” they quipped. The panic began to set it. In the 5 minutes between calls and guests, I had begun zesting my tangelos. With the full knowledge that that is a flipping 48-hour process, I headed to an anxiety-ridden lunch, in which my head was exclusively focused on my damned preserves. Upon returning, I ran into the house, finished dissecting a crap ton of tangelos and got the suckers boiling. In a full-on panic now, I flipped on the power burner and filled up the canning pot. While waiting for that SOB to boil up I feverishly washed my jars and filled up a 5-gallon bucket with 25lbs of sugar. You can see where this is going, but I’ll just say the process involved a hammer and leave your imaginations to fill out the rest. The cans went down in the boiler, with apple butter splattered along the wall and after having the rack crash, I somehow retrieved them with only minor burns to my fingers. Somewhere in the midst of all of this, my carbon monoxide detector went off.
This is how the sausage, or jam as the case may be, gets made. The process is always magical in retrospect. From further down the road I can look back at my life and see how painful confluence of events has led to me existing in a satiating place of contentment. I can and do wax poetically about the beauty in overcoming the inherent challenges that exist in life having already moved through them. Beauty and magic are much easier to appreciate when we’ve made it to the other side of painful transformations.
In order to make jam, we are required to employ the right configuration of ingredients and processes in order to break apart the water, sugar, acid and pectin at the molecular level. We must add enough heat to fundamentally dissolve the old molecular bonds, boiling them at near scorching temperatures. The change here occurs under immense pressure. It’s only after that breakdown, that each component begins to re-bond in a new way, and the mixture begins to gel and transform into something completely new and so satiating.
Growth hasn’t always been a product of adding heat and pressure in my life. I’ve grown a great deal through joy and communion with other artists and soul searchers. But in my own life I have found that fundamental self-transformational change has most often come after the application of high heat and intense pressure, and that molecular breakdown and reconfiguration of the molecules that make up my soul has been necessary for reconstituting myself in the most delicious and satisfying ways.
So, with my pointed hat slightly askew, and my witch’s brew splattered all over the damned kitchen, I commence to sweep up the sugar coating the floor and clean up the sticky spots on my counter, and finally bask in the fruits of my labor. The process is painful sometimes, and the beauty of it isn’t always apparent in the midst of it all. The products of all that work, however, can be so damned sweet. For the record, the apple butter is delicious.
Simple Apple Butter
6 lbs of apples
3 ½ c. white sugar
½ c. Apple Cider Vinegar
1 tbsp Ground Cinnamon
½ tsp Ground Cloves
Core apples, leaving on peel and add all ingredients to cast iron pot on medium-low head, or crock pot if you’re feeling lazy. Use an immersion blender to blend once apples are soft and let simmer with the lid off until liquid reduces by half. Ladle into clean 4oz jars and can in water bath canner or just eat that stuff. Makes about 12 4oz jars.
When I started in the a 12-step programs I was immediately taught the history of AA and the incredible “coincidences” that transpired to bring the co-founders together, along with the pieces of the puzzle to finally find a solution to alcoholism. I was taught that Roland Hazard was one of those pieces. He spent a year studying with and being treated by Dr. Carl Jung in England before returning to New York and influencing Ebby Thatcher who was a childhood friend of Bill Wilson. As a result of Carl Jung explaining to Roland that he was a hopeless alcoholic who needed a “vital, spiritual experience,” another piece of the puzzle was put in place.
When I started my master’s program to get my clinical social work license, there were endless research papers required for the program. I repeatedly saw Carl Jung’s name as a reference. More specifically, they were quotes from his Red Book. So, I I therefore asked my husband for the book for Christmas and he surprised me and bought 3 different books about or from Carl Jung.
In Carl Jung’s book Memories, Dreams, and Reflections there is a chapter named “Confrontation with the Unconscious.” The name immediately drew me in, because having have been trained in EMDR, which addresses our unconscious and the trauma that is stored in the body. I was determined to become the best therapist I could be, but also knew I had my own healing to finish. I felt resistance from within to dig deeper. One day while praying on the resistance, I saw this book Memories, Dreams, and Reflections, sitting on the shelf and immediately turned to the chapter about the unconscious. In the chapter, Carl Jung discussed facing his own internal struggles with his subconscious. He stated:
“The dreams, however, could not help me over my feeling of disorientation. On the contrary, I lived as if under constant inner pressure. At times this became so strong that I suspected there was some psychic disturbance in myself. Therefore, I twice went over all the details of my entire life, with particular attention to childhood memories; for I thought there might be something in my past which I could not see and which might possibly be the cause of the disturbance.” (p. 173)
He went on to discuss a memory from when he was 10 or 11 years old, stating, and stated “to my astonishment, this memory was accompanied by a great deal of emotion.” I related to the memories that still hold emotional charge. I still am run by so many of my fears developed in childhood. The work I did in the recovery programs had brought me so far and I was living life like I had never experienced before. I had also developed a relationship with God, as I understood God, but my internal world needed more help. I firmly believe my God brought me to EMDR and the Institute of Creative Mindfulness to further my healing and to use my experience to hopefully help others find the same healing. I knew even reading this chapter in Carl Jung’s book was led by that Higher Power. The last line in this chapter that convinced me I needed to do EMDR myself was when Jung discussed his own resistance to looking at his negative emotions and what it was costing him to look at them. He felt he had no choice, but to go deeper and stated, “A cogent motive for my making the attempt was the conviction that I could not expect of my patients something I did not dare to do myself.” (p. 178) I felt my path was paralleling his in some way, and I “had no choice”, but to continue this journey.
Soon after starting my own EMDR sessions, I went to a weekend retreat to learn about expressive arts. We learned to used paints, pastels, dance, writing, poetry, and yoga to encourage the healing and express what our parts inside needed to say. If Jung was not describing dissociated parts, I don’t know what he could have been describing. Jung stated,
“The essential thing is to differentiate oneself from these unconscious contents by personifying them, and at the same time to bring them into relationship with consciousness. That is the technique for stripping them of their power. It is not too difficult to personify them, as they always possess a certain degree of autonomy, a separate identity of their own. Their autonomy is a most uncomfortable thing to reconcile oneself to, and yet the very fact that the unconscious presents itself in that way gives us the best means of handling it.” (pg. 187).
When I returned came home from the retreat, I returned to Jung’s writings because I remembered he had discussed using his imagination to play. He also used yoga to ground himself:. “I was frequently so wrought up that I had to do certain yoga exercises in order to hold my emotions in check.” He used this exercise to calm himself and then he would go back into the emotions. This is just like we do while reprocessing in EMDR. Again, recognizing the parallel to our paths brought me comfort that I am not on this journey alone. Yes, in 1914, they did not call it EMDR or Expressive Arts Therapy, but even then the solution was the same.
I have still not found comfort in painting or drawing, but I enjoy reading, writing, and singing. All of me becomes one when I am listening, feeling, playing, or experiencing music. This is my comfort, my joy, and my journey. I am about to attend another retreat to learn more about myself and take another step towards healing. My internal world has always made me feel separate or alone, but knowing a great mind like Jung followed this journey and my new friends at ICM, I am no longer separate and I can celebrate my “weirdness."
For years I was scared to buy paint. One of my college roommates was an art major, and it captivated me to watch her paint. She had the capacity to create such beautiful, museum-quality pieces with her amazing talent. I loved to watch her work her magic! To this day I am proud to have several of her pieces and prints in my home, as I’m reminded of those beautiful memories of watching her in-the-zone.
Like many people I’ve worked with through the years, my barrier to painting and to most visual art came from a sense of “I can’t do it,” or “I’m not good enough.” I never seemed to have this issue with music, dance, theater, or writing where there was at least some evidence of my competence, usually in the form of compliments or accolades received. I never had a problem calling myself a writer, for instance, winning many awards throughout middle school and high school. And then came the books…
But to call myself a visual artist? To call myself a painter? Hell no! After watching my roommate work, I still felt you had to have a special artist license to even buy paint…
There is one visual form I felt reasonably comfortably approaching: collage. Born out of my love for making travel scrapbooks, collaging spoke to me because there didn’t seem to be competence involved. And I very much enjoyed the process of taking scraps and allowing them to develop into something meaningful when put together. As I began working with my own expressive arts mentor Christine Valters Paintner, I began to get braver about working with visual arts. Sure, I’d long kept some basic drawing materials in the office for my clients and out at Dancing Mindfulness retreats. Yet when I began working with Christine and realizing just how much Dancing Mindfulness as a program connected with the all-of-the-above nature of the expressive arts, I got braver about exploring my edge as an expressive artist.
I continued with collage and ventured into working with pastels and markers. I quickly found that visual arts had even more to teach me because I didn’t approach them with any kind of expectation about the quality of the product. There’s something to be said about being the worst kid in art class who was never chosen for any shows. Because competence was never my focus in visual art, I was naturally more open to just enjoying it, to being in process, and learning from what making just for fun revealed.
I credit crossing the paint threshold to my ex-husband after he saw how much I liked coloring and pastels. When I was going through an especially rough patch in the Fall of 2016, he bought me a paint-by-numbers kit. Although initially skeptical, I soon found that I enjoyed it even more than coloring books. There was something soothing and containing about having lines in which to work, yet my hand responded to the sensation of moving paint along a canvas. I loved everything about it; the colors, the smells, and yes, even the feeling of accomplishment when I saw the final product. There was some leftover paint and while at my local craft store on a run for some other supplies, I bought a small canvas and decided to use the leftover pain to express something original. I painted a mandala and it spoke to me very much.
I continued with this process for the next few months—finishing paint-by-numbers kits and then using the leftover paint to create something original. After a couple rounds of this process, I got brave enough to order some of my own paint off of Amazon and continue with my explorations. I approached it as something fun to do, something that let me play with color and texture and sensation and not be bound by the shackles of outcome.
A few months into this journey is where the painting that graces the cover of my latest book Process Not Perfection: Expressive Arts Solutions for Trauma Recovery revealed itself to me. And in this revelation came what is perhaps the greatest lesson that I ever received about the power of process: be open to where the unexpected, even the failures, may guide you. A pleasant surprise may blossom when you shed these expectations.
I laid down a foundation in gauche, the first time I ever experimented with this unique form closely related to watercolor. I also played around with using some shimmery paints that you can apply with a spray bottle. I liked the mystical ocean of color that was coming into existence! Then the idea came to me—paint a Hand of Fatima! This blue magic would certainly be an ideal backdrop for this symbol I’d come to adore. I printed out a copy of the hand online to follow. This unique pattern, sometimes referred to as a Hand of Hamhsa, seemed relatively easy to copy or trace, even for someone as unskilled as I. When I looked at the lopsided result of my attempt to paint the hand in white acrylic with a fine brush, I was disheartened.
“See, I ruined my cool blue background,” I huffed in frustration.
In the spirit of process, I rolled with that frustration, angrily ripping away a paper towel and I just started rubbing. I hoped that enough of it would come off so that I might be able to salvage some of the base. What emerged was the cool, rather mystical white outline of a flower that you now see on the cover of the book.
“Wow, the hand now looks like a cloud, or a flower,” I said.
I noticed that my raging by paper towel maneuver also made some very interesting patterns on the canvas that I just began filling in with gold… and then with green. And then as I noticed the flower take shape, I finished off the core image with some of the pinkish-magenta that now composes the flower itself.
I stood back in amazement, declaring, “I did that! It’s beautiful!”
And it was totally an accident, the fruit of staying in process and not being fixated on outcome.
From the moment I began writing Process Not Perfection, I knew that this image would be my book’s cover. For being in the process that birthed this painting is when I truly fell in love with the magic of expressive arts. I adore how the practices of expressive arts therapy invite me into a focus on process rather than perfection, and I am so grateful to be surrounded by a community of other expressive artists who inspire me to carry this lesson into all areas of my life.
To the process, my friends! And to the inevitable magic that will unfold from living a life in process…
Institute for creative mindfulness
Our work and our mission is to redefine therapy and our conversations are about the art and practice of healing. Blog launched in May 2018 by Dr. Jamie Marich, affiliates, and friends.