The
'Closlieu' (= closed, protective space)
"The
Closlieu is a place where the personality is allowed to
unfold and expand to unconceivable dimensions and be freed
of everything which isn't genuine: like outer influences, adapting
constantly to them, which restrict and limit it (the personality).
In those exceptional moments the person gets the chance to
experience purely oneself.
Arno Stern [free translation by Malort Kreuzberg-Neukölln]
Painting
in the Closlieu - A Journey
Image
you are entering this room...
All
4 sides closed except for the door. Brown paper covering the walls,
showing plenty of colorful, squarish traces, which came about by
countless participants paintings of previous 'Plays-of-Painting'. Tubelighs
lighten up the room from above - bright as daylight.
You
put your coat aside and choose one of the provided larger or smaller,
white or tinted aprons and by putting it on you slip into another 'reality'.
The
world outside disappears and loses it's grip. You dive in into the
typical atmosphere of the Closlieu - a kind of Cocoon, a safe space
which breathes playfulness and peace. It invites you to forget the day,
the season, the weather and your daily routine. For 90 minutes all that
becomes a dream and a space for curiosity and play opens up.
First
you pick a sheet of paper and choose your preferred spot in the room
when already the 'serving person' arrives to assist you with fixing the
sheet on the wall. Like everybody else you let yourself be inspired by
one of the 18 colors in the middle of the room, pick up a brush and
start playing with the trace it creates on the white paper.
The
'Play-of-Painting' is an invitation to dive into your very own space which is
represented by your sheet and to surrender to your playful impulses
without any judgement.
Thoughts
like 'What shall I paint?' may cross your mind. Many others had to
gently push aside this thought and learn to trust into their own
spontaneity, simply by dipping the brush into water and paint, to touch
down somewhere on the sheet with an attitude of curiosity and openness
and let the natural, shiny, colorful trace lead you along.
Now
another unintended notion may move your hand, another color may draw
your attention, which eventually leads to a play between intention and
no-intention. You will see, this new 'play' with paint and brush will
surprise you more and more in the following weeks and months and will
grow into ever new ways of painting, of motifs and formations. The
'Play-of-Painting' will start to blossom and open up for you mannifold ways of capabilities
and deep perceptions.
Picture
this: everybody around you (is) painting. Small and large, old and young,
quiet and timid ones, lively and cheeky ones, strangers and familiar
ones...
Here
somebody shouting: 'move my pin'!, which makes him wait
a moment for the serving person to come by, while she is still engaged
in mixing two colors for another person. There the noise of a child
hopping down from a stool on the way to dip in it's brush.
One person stands on the upper step of a ladder, painting a larger
picture stretching out over several sheets. Another one is just about to
start a new painting, holding up his sheet in anticipation, waiting as
well for assistance.
Sometimes
you could hear a needle falling - everybody in deep concentration. Then
again the exchange of a few words, a talk between the participants may
occur - about anything but the painting itself.
You
aren't familiar with being assisted - as a matter of fact: served? Watch,
how easily the little ones take to it! They thank it by playing (painting)
sincerely. How easily they accept rules and roles, when communicated in
a firm but gentle way. How respectfully they treat the materials,
because it is trusted upon them. It is trusted that they can. Notice how
witnessing everybody's actions within this special room makes comments and
appreciation unnecessary.
Notice
that you judge yourself and others less and less. That you feel more and
more free and do not care about the opinion of others. You now can
witness the others painting without feeling any envy or pride. In the
end you can leave your painting behind, not only because it is a rule
but because you feel fulfilled by the process itself, knowing that your
painting is in good hands here in the Closlieu.
Perhaps
you will want to continue with it next time and watch it grow in size.
Perhaps you may want to start a fresh one?
In
any case you can anticipate a new play, a new adventure to throw
yourself into.
(*This
'journey' has been inspired by my own experience of the
'Play-of-Painting'.)
Nana Mikolajczak
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