Tag Archives: nature

Quick Patreon Update: New Goodies, New Goal

Hey, folks! I’m going AFK for a few days later this week for a much-postponed backpacking trip, but before I leave I wanted to give you a quick update on my Patreon account! It’s been live for a little over a month, and I already have almost $300 in monthly patronage—thank you to everyone who’s become a patron, spread the word, and otherwise been supportive!

I’ve since added more patron rewards, including one for a monthly totem card reading, and more cabinet of curiosities options. I’ve gotten great feedback from my patrons so far about the goodies I’ve been sending them. And if we can get my monthly patronage up to $500, I will send every single one of my patrons a nifty natural history specimen, anywhere in the world.

Want to help me reach that goal? Head over to http://www.patreon.com/lupagreenwolf to become my patron today 🙂

Announcing My New Solo Art Show: marrow, moss

I am pleased to announce my upcoming solo art show! marrow, moss will feature new assemblage and costume pieces, including works never before displayed online or off. Since 1998 I have been creating art from hides, bones, stones and other natural materials; part funerary art to honor the beings that once wore these remains, and part microcosmic encapsulation of nonhuman nature, my work is an alchemical transformation of abandoned and trivialized materials into creations toward a better world. As with all of my work, a portion of the proceeds from sales of the pieces in this show will be donated to a nonprofit organization that benefits natural places and their inhabitants.

I invite my readers to attend the opening of this show; admission is free, and in addition to my works you may explore the diverse and glorious stock of one of the Pacific Northwest’s premier natural history shops.

Where: Custom Cranium, 1331 Willamette St., Eugene, OR

When: Saturday, September 6, 7pm

My deepest thanks to Darien at Custom Cranium for inviting me to show at her shop.

Her Work Is At An End

This morning I went to my garden to water and weed, just as I do most other summer mornings. It’s early August, and the hot, sunny weather Portland has been getting the past few weeks has caused both my vegetables and the weeds to engage in furious growth. While I hate having left the weeds to get as big as they have while I’ve been gone for festivals, I do have to admit it’s more satisfying to yank up one weed and clear a six inch wide patch of earth than to scrape dozens of tiny weedlings with my trowel and hope their roots don’t regenerate quickly. I’ve managed to make enough space to transplant crowded parsnip and beet seedlings, and these appreciate the cool water that soaks into their new soil.

The other evening when I visited my garden with a friend, we found a dead honey bee still clinging to a calendula bloom gone to seed, entangled in the drying, withered petals. While dead-heading the flowers today, I noticed the little deceased was still there in spite of the human-brought rain from the hose. A few specks of soil clung to her fur, kicked up from watering and weeding. Her wings, slightly torn, stuck out at odd angles. I broke off the flower she lay upon; she looked almost as though she were merely taking a nap, one front leg tucked under her head.

There was no sign of trauma or injury. Perhaps she was a casualty of neonicotinoid pesticides outside of the community garden’s organic boundaries. Or she may have been too old, exhausted on her last flight, a spring hatchling now matured far into summer. She might have just come from her hive after being relieved of a burden of pollen and honey.

Had she died at home, there’d be no bedside elegy; bees are much too efficient for that. Her corpse would have been dragged from where she fell, then dropped unceremoniously into a refuse pile outside the hive. Here, nestled on the edge of a fertile calendula blossom, she was afforded a bit more peace, a few days to lie in repose. Probably no one but I and my friend took note of her passing;  certainly none of her hive-sisters would have noticed she was missing. There is no room in the hive for sentimentality when life is so brief to begin with.

I’ve brought her home with me. For now she’ll rest on my work bench, off to the side. I have ideas on how to honor her with my funerary art, but for the moment she’ll lie in state, a reminder of so many of the reasons why I do what I do–and a warning against working too hard lest I, too, only find peace when my own work is at an end.

Totem Profile: Gray Wolf

(Photo source.)

One of the features I’m offering some of my patrons on Patreon is a monthly totem profile, featuring a different animal, plant or fungus totem each month. I’m still not a big fan of totem dictionaries for a variety of reasons, not the least of which being what a particular totem teaches me may not be what it has to say to you–if anything. So rather than offering up the usual “This totem means this, that totem means that” dictionary entry, my goal is to offer up fuel for your own explorations. It’s a little more specific than the exercises and ideas I offer in my books on working with totems in general; these monthly profiles provide some inspiration for connecting with a particular totem. However, they should NOT be seen as “Lupa says this is what the totem means, so you can just stop trying now”, and you should always keep yourself open to the possibility that the totem has bailiwicks that aren’t mentioned in the profile. And, as always, these profiles are from the perspective of non-indigenous, neopagan totemism, and are colored heavily by my own experiences and interpretations.

If you would like to receive access to these profiles, become my patron at Patreon at a level of $5/month or more. In addition to the profiles you’ll also get access to other patron-only content like work in progress shots of art projects, sneak peeks of completed blog posts before they go public, nature photos that I don’t post elsewhere, and other exclusive goodies.

This Gray Wolf profile is just a sample; I’ll be posting an additional profile on another totem for my patrons for August.

***************************

Name: Gray Wolf
Scientific Classification: Animalia Chordata Mammalia Carnivora Canidae Caninae Canini Canis lupus
Range: Almost all of the Northern Hemisphere historically, now reduced to less human-populated wilderness areas of Europe, Asia and North America

Physical Characteristics: The largest existing wild canine, the gray wolf is a lean, powerfully built hunter made for long-distance chases and ranging over cast territories. Wolves are typically about twenty-six to thirty-four inches high at the shoulder and may be up to six feet in length. Average weight for wolves is seventy to eighty pounds, with females being slightly smaller. Wolves in northern areas are generally larger than their southern cousins. The wolf’s double-layered pelt can be a variety of colors ranging from silvery-gray to brown, red, yellow, and even pure white; black wolves, which often have paler gray hairs mixed in, are derived from lineages that crossbred with domestic dogs in the distant past. In the wild, the wolf’s average lifespan is six to eight years, though wild wolves have been known to survive up to thirteen years, and captive wolves a few years beyond that. Wolves are primarily carnivores, and will hunt prey ranging from field mice to moose and other deer depending on availability. However, they may also consume a smaller portion of high-calorie vegetable matter such as berries and fruit.

Evolutionary History: Some of the earliest known ancestors of today’s wolf were the creodonts, Cretaceous-era carnivorous mammals that were dwarfed by their dinosaur neighbors over 100 million years ago. About fifty million years later one branch of creodonts became the carnassials, which had evolved better jaws for meat-eating and began to resemble today’s canines. Miacis is the specific member of this group that we think gave rise to canines and related modern carnivores like bears and weasels. Miacis gave rise to Cynodictis around 35 million years ago, which then later evolved into Tomarctus at about 20 million years ago. We don’t start seeing truly wolf-like creatures until about three million years ago, and the gray wolf proper first appeared about a million years ago in what is now Eurasia, later moving into North America. Today around forty subspecies of wolf (including a few now extinct) are recognized, including the domestic dog and the Australian dingo.

Behavior: Gray wolves are among the most social of canines, living in packs generally composed of a mating pair and their pups from previous years; a litter averages four to eight pups. This social lifestyle offers the wolves the opportunity to hunt larger prey as a group than they would as individuals. Wolves hunt their prey by chasing it down, first getting as close as they can to the prey, then running after it to separate it from its herd and tire it out. Wolves have been known to chase prey in shifts, with new wolves replacing those that are tired out, much like passing a baton in a relay race. A wolf can eat up to twenty pounds of meat or more at one sitting, after which a long nap is generally warranted. Hunting is only a small part of a wolf’s life, though. They are quite playful creatures, both with their pups and with fellow adult packmates. They enthusiastically greet each other when they reunite after separation, and use a variety of sounds to communicate both close by and at a distance. The pack is highly territorial and will defend their territory from other packs with some ferocity. While most pack disputes are settled without violence, on occasions fights may occur, leading to injury or even death. Contrary to popular myth, wolves are generally shy creatures when it comes to humans, and usually take great pains to avoid us. It is only a very starved or very sick wolf that will attempt to attack a human being, though wolves close to human settlements have been known to hunt loose dogs and cats and, on occasion, livestock.

Cultural Impact: The gray wolf is one of the most recognizable wild animals in the Northern Hemisphere, and has had a significant contribution to the symbolism of various cultures throughout the land. The wolf’s ferocity in hunting and defending its territory have earned it a reputation as a powerful being, sometimes revered and sometimes feared–and often both. The Big Bad Wolf of fairy tales is just one of several iterations of the wolf as a terrifying monster, and is derived in part from the villainous wolf of Aesop’s fables and the Brothers Grimm. The Navajo in the southwest United States tell of the yee naldlooshi (popularly known as a skinwalker), a human witch who transforms into a wolf (or other animal) to attack and terrorize people. And Fenrir (or Fenris), a monstrous wolf of Norse mythology, is said to be the killer of the god Odin when the end of the world, Ragnarok, arrives. But the wolf is often seen in a positive light as well. Romulus and Remus, the founders of Rome, were said to have been raised by a female wolf, and a similar lupine kinship has been adopted by cultures worldwide, from the Chechen people of Eastern Europe to the Mongols of Asia to several Native American cultures. The strength of wolves also makes them a common symbol of warriors and warrior culture, and their prowess in hunting has been emulated by humans for millenia. Today, the wolf is a common representative of the wilderness and the need to protect it, and several environmental groups use it as their emblem.

Totemic Inspiration: It is difficult for me to write about Gray Wolf sometimes because he has been such a significant part of my life from a very early age and has taught me so much of who I am today–persistence, drive, the ability to connect, but also a sharp tooth and not always at the appropriate times. Gray Wolf’s cosmopolitan children and high cultural profile makes her one of the most popular totems and almost sort of a “gateway totem”. This is not necessarily a bad thing, as he is often associated with teaching and guidance in neopagan totemism, and in my experience tends to be pretty patient (think of a wolf being gently mauled by a litter of playful pups!) Because wolves are persistent long-distance hunters, Gray Wolf may be called upon for help with staying the course in long-term projects and endeavors, though with an eye toward adapting one’s tactics to be more effective, much as a wolf must change course when prey darts off in another direction, or when a new prey animal becomes evident in chasing a herd. This adaptability is reflected in the wolf’s incredibly large range and ability to live in habitats ranging from deserts to tundra to forests, and for myself I’ve learned quite a bit about making the most of the resources available to me from Gray Wolf. Wolf is not without her shortcomings, though; while territoriality can be helpful when resources are limited and need to be protected fiercely, humanity in general has a lot to learn about generosity, particularly in cultures where there are many resources, but those resources are treated as though they are scarce. It’s not that wolves can’t be cooperative or benefit other beings; they frequently partner with ravens in finding food and in play, and a wolf’s kill can feed dozens of other animals. But Gray Wolf’s loyalty is to his own first and foremost, and this may need to be offset with a conscious reminder that as humans we do not need to restrict our intentional loyalty only to our nearest and dearest. Finally, as mentioned earlier, Gray Wolf and her children have become emblematic of ecological protection efforts because of the wolf’s place as a keystone species, and my co-blogger Rua Lupa and I discussed this earlier this year over at Paths Through the Forests. Please note that these are my interpretations of my experiences with Gray Wolf, and they should not be seen as “totem meanings”. Your mileage with Gray Wolf may vary quite a bit, so get to know him on your own terms if she’d like to work with you.

Sources/Further Reading:

River of No Return: Gray Wolf Fact Sheet
Wild Earth Guardians: Livestock Losses
Basic Facts About Gray Wolves
What Makes a Wolf a Wolf?
Wolf Origins
Lopez, Barry Holstun (1979). Of Wolves and Men. Scribner, 320 pages.

Monstera Obliqua/Swiss Cheese Vine as Plant Totem

Last summer, when I was working a day job in addition to keeping the Green Wolf as a business going (yes, it was a busy time) I was fortunate enough to be able to walk to work every day. Along my walk there was an office building where someone had some house plants they decided they no longer wanted to care for. So within my first week of work, I had adopted several new plants from the curb. All of them were dehydrated and in too-small containers, and most of them I wasn’t even sure what they were.

One in particular stood out to me. It looked something like a philodendron, but with odd natural holes in the leaves. With a little research, I discovered I had a specimen of Monstera obliqua, the Swiss cheese vine. It’s the little cousin of the better-known Swiss cheese plant, Monstera deliciosa; its proper Latin name is actually Monstera adansonii, but both I and the totem rather prefer Monstera obliqua between the two of us. The plant does grow like a philodendron, and like its lookalike it can be propagated with cuttings.

There weren’t going to be any cuttings off this sad little vine, though, at least not for a while. She had one single vine, barely six inches long, with just a few shriveled leaves on it, and was still potted in its original nursery planter, a tiny plastic box-like thing about three inches cubed, with bone-dry soil. I gave the poor thing some water as soon as I got to the office, and then carried her home with me that evening for repotting. After that, it was a waiting game to see if she and her companions would pull through.

I am pleased to say that not only did they make it, but they flourished! The Monstera has been the most successful; a year later, that one little vine is now the better part of ten feet long, and there are others of varying lengths. (I think of her as my tropical Rapunzel, albeit an inedible one!) I recently repotted her again, and had the chance to have a long conversation with her totem, Monstera Obliqua.

First, the totem thanked me for caring for its offspring and rescuing it that day. Then it asked me about my experience caring for the plant for the past year. I talked about how fulfilling and exciting it was to see her thrive and grow, rebounding from poor care. I had enjoyed learning more about how to take care of her and my other house plants, especially since my experience had mostly been with temperate vegetables, not tropical vines! And I appreciated the beauty of this unusual plant, brightening first my office, and then my home when my temporary summer job ended.

Then Monstera Obliqua said “In the wild, my offspring must climb the taller trees in order to get enough sunlight to live. They have to climb off the forest floor to keep from being trampled and destroyed. There is nothing wrong with relying on those around you for help. My children do not harm the trees they climb; there is no competition, only opportunity. The tree can get what it needs regardless; the vine simply benefits from its strength.

“In the same way, this little vine has relied on your strength. She is not in her home tropics, but in a place of more varied temperatures, at the mercy of whoever brings her water and food and soil. You have offered her somewhere to grow and be, and attended to her needs. The only thing she might hope for is a little more space to stretch her vines along, letting her instinct to climb be realized. But you see how she flourishes; she appreciates you and makes the most of what you give her.

“Can you say the same of those who give to you?”

And that gave me reason to pause. For many years now I’ve ended my day with a thank you prayer for all those who have given of themselves to keep me alive and well in this world, and I try my best to show my gratitude to those who help me each and every day. Sometimes I have to struggle a bit; even the toughest experiences are still lessons to be learned and stories to be made, and I do my best to live with no regrets, only perspective. But every moment I breathe is a gift, and I thought of all the times when I was the vine climbing a tree, and all the times I was a tree with vines climbing me for support. It wasn’t competition, just everyone doing what they needed to to survive.

And now I look at my not-so-little Monstera vine with a little more meaning and a little more understanding of the complex ecosystems and webs I am a part of. There’s no shame in needing others, and there’s no arrogance in being strong. Not every vine has to be a strangler fig, killing its host over time, and not every person who draws on one’s resources is going to take too much. A healthy balance is a good thing to aspire to, and the totem Monstera Obliqua reminded me of that.

If you liked this post, please consider purchasing a copy of my newest book, Plant and Fungus Totems: Connecting With Spirits of Field, Forest and Garden. Your support is greatly appreciated!

monstra1

How I Spent My Summer Solstice

(Honey bee on mullein flower, community garden, Portland, OR. Image by Lupa, 2014.)

Ever since I moved to Portland in 2007, I’ve spent every summer solstice at Sunfest, a local pagan festival west of Portland. I’ve collected many fond memories of the event, and last year I led the opening, closing, and main rituals, an incredible experience with an incredible group of people on beautiful land. This year, though, I opted to stay home, not because I don’t look forward to Sunfest, but because every so often it’s good to take a break, and I intend to go back next year refreshed and rejuvenated. (I heard people had a great time, there, too!)

So what did I do instead? Well, I’d been out of town the previous week, and while I was away it rained much of the time. This meant that upon my arrival back home, my community garden spot had a healthy crop of weeds popping up amid the more intentional plants. So a good bit of my weekend was spent with my hands in the dirt, digging up crabgrass and Russian thistles and a host of other unwanted invaders. I ended up with scraped fingers and sore shoulders, but by the time I was done things were looking a lot better (if not perfect).

I also took the time to plant out my little balcony container garden, which I admit I’ve been neglecting some as I’ve wrangled with the weeds down the street at the larger plot. But my herbs were all doing just fine, and the volunteer marigolds and petunias that sprouted from last year’s dropped seeds all ended up gathered together in one long planter box. Soil was freshened up, fluffed, and fertilized, and I planted out beans and arugula and other seeds. I also made my yearly pilgrimage to Fred Meyer’s clearance aisles in the garden section, where I brought home eight tomatoes and two unlabeled squash in sad condition which I’ll be attempting to resurrect with some TLC. Along with these I bought a very marked-down hanging pot of petunias; I thought the hummingbirds might like it.

Still little. Still lovely. My balcony garden <3 Still little. Still lovely. My balcony garden <3[/caption]Wait. Hummingbirds? Okay. For those of you familiar with my work, you may have noticed that I've historically been against feeding wildlife, birds included. Putting out food where raccoons and possums can get it, for example, encourages them to be less afraid of humans and causes them to be more of a nuisance (we see this writ large in the black bears at Yellowstone). However, I was researching something on the Audubon Society website, and discovered that some of the things I had learned about feeding birds, to include the risk of interrupting migration and causing them to neglect natural food sources, were actually incorrect. I figure if the Audubon Society says it’s okay to feed birds, then there’s probably something to it. So I’ve had a bird feeder on the porch for the past couple of weeks and have entertained several scrub jays, crows, and house sparrows at it. (I figure two native species out of three isn’t bad, especially in this urban a setting.) It’s located where I can look right out at it while I’m working at my computer, and it’s been beneficial for both me and the birds. They get food with minimal effort and no threat of predation, and I get to watch their daily tiny-dinosaur dramas play out at the feeders (will the sparrows get a full meal before the scrub jays chase them off? Can the crows cope with the fierce competition for sunflower seeds?)

This, then, was my ritual. I haven’t formally celebrated the Sabbats in years, but if I were to call this summer solstice anything, it would be a harvest festival. I’d been picking beet greens all month for salads and pulled up and stored my spinach, which was threatening to bolt, just before I left town. But this weekend’s haul was even better–a nice big handful of bush peas, ten nice-sized (but not too big) red beets, and a bright bouquet of calendula for both eating and prettying up the apartment a bit. This is my first year really getting to use my garden, and I don’t think I could have envisioned how lovely the harvest would be back in February when I first sowed the seeds. (The beet roots roasted beautifully, by the way, and the leaves and the rest went into a glorious salad.)

All in all, it was a good time to renew my bond with the land through this direct contact. I try to spend at least a little time with my garden almost every day, but the timing worked out that a lot of effort needed to be put into it right now, and instead of being a chore all the weeding and harvesting and replanting was a celebration of gratitude. I’m grateful for my little gardens and the life they support, including my own. I’m grateful that I have the time and schedule flexibility to be able to devote to them. I’m grateful I can invest a bit of money in seeds, starts and other short-term needs in order to get a long-term payout. I’m grateful the weather has cooperated (mostly), and that my plants have survived spring hailstorms and hot days to thrive. Most importantly, I’m grateful for the lessons my gardens have taught me, not just about necessary care and potentials for change and growth, but about what draws me so near to the land here. We give to each other, and I vow once again to be a good caretaker of my tiny corner of the world.

Food As a Pagan Value

Somehow Pagan Values Month crept up on me this year. Luckily, it caught me at a time when a good topic was percolating in my head: food.

Food may not seem much like a value, so much as a necessity. Unable to photosynthesize sunlight into energy, we animals must consume other living beings to get our nutrients, whether in the form of other animals or the photosynthesizers (plants) themselves. And despite efforts to create a one-size-fits-all convenience substitute for food (like this dreadful looking stuff here), we’re still largely reliant on the direct products of the Earth for our daily sustenance.

But we are human, and one of the things that (as far as we know) makes us unique is the control we have over our environments through our intelligence, resourcefulness, and nifty opposable thumbs. One of the many ways in which we exercise this is through our conscious choice of food. Particularly as we developed agriculture and gained more independence on our food supply, we’ve been able to decide whether or not to eat a particular thing, rather than eating whatever happened to be available at the time. And cooking is even older than agriculture, with the earliest evidence arising 250,000 or so years ago.

With cooking came even more diversity in flavors, and with that a greater appreciation for the aesthetics, rather than just the functionality, of food. We can enjoy food, not just because a particular taste lets us know it has good things in it, but because we are conscious of our enjoyment. We are capable of choosing the flavors we like best, combining them in unusual and surprising manners. And in that act of creation, we appreciate and celebrate the food and its goodness.

http://bit.ly/1lrhVuW
http://bit.ly/1lrhVuW
But we don’t celebrate the land itself. Outside of a dedicated cadre of foodies and some wine enthusiasts, most people couldn’t tell you where the thing they’re consuming came from, never mind how the soil it was grown or fed on affects its taste. We may know vaguely that our loaf of bagged white bread was probably made from wheat somewhere in the Midwest–maybe–but that’s about it. For the most part, unless we grew or raised it ourselves, or bought it directly from the farmer, we just can’t say where our food came from. Food is an expression of the place it came from, and our bodies are made of that soil. We carry bits of countless fields and farms within our very flesh, yet few of us could identify every single one that’s provided us with our food.

This goes for most pagans, too. When we have our “harvest” celebrations in late summer and fall, Lammas and Mabon and Samhain, most of us aren’t offering up food that we ourselves grew or raised. Instead, everyone brings things we bought from the store, the farmers and farms themselves left anonymous and forgotten. We come together because someone’s ancestors way back when celebrated the harvest around this time–or because some book explained the eight Sabbats and that’s what we figure we’re supposed to do. There’s an almost complete disconnect between the empty words we speak out of some book of shadows, and the people who actually raised and harvested the food we consume once the circle’s closed.

It is not enough to celebrate “Yay, food!” with bland words of “Thank you to the Earth, blah, blah, blah”. What does that really mean? Thank you, entire planet? Thank you, unidentified spot where this apple was grown? Thank you, soil where a migrant worker stepped as they picked this handful of peas?

For those pagans whose spirituality centers on nature, this is a potential area for a deeper connection to the land. We need to go beyond rote harvest celebrations. Just like a Christian doesn’t stop being Christian after the hour-long Sunday service is done, we don’t stop being nature pagans after everyone goes home from the Sabbat (or whatever your chosen celebration is). To really honor the land we get our food from, we have to know it. We have to remove the anonymity as best as we can. And we have to acknowledge the sources and systems that bring us our food every day, to include the harm they can bring to the environment and ourselves, and mitigate the damage as best as we can. If we’re going to claim to honor nature, it’s imperative that we go beyond the generic “thank you”.

This isn’t always as easy as it sounds. Gardening seems like the easiest and most immediate solution to the anonymous food and land problem; I’ve been growing vegetables since I moved to the Northwest in 2006. But it takes money and resources; there are times when all I had was a few pots on the porch, and some people don’t even have access to that. Few of us have enough land to grow enough food for the household year-round; my community garden plot is 10′ x 20′, and it’s a good week if I can pull a few salads for two from it.

http://bit.ly/TPt0f6
http://bit.ly/TPt0f6
We could look to other food growers, of course. I’m spoiled here in Portland because there’s a strong emphasis on local agriculture, from farmer’s markets most days of the week to restaurants and shops specializing in locally grown and raised food. So it’s really easy to get to know the farmer here. It’s tougher to know the land that grew your food when all you have access to is a chain grocery store with plastic-wrapped meat from one of Tyson’s many factory farms and spinach shipped in from somewhere in Mexico. You may have to do some research to find more local resources–and “local” may be relative, if you don’t have viable farmland within a hundred miles, or if all the farmland is owned by huge agribusinesses.

Cost becomes a factor, too, when trying to buy more personal food. Big agriculture gets a ton of government subsidies which allow their products to be sold more cheaply; often the independent farmers can’t compete because they have to sell their food at real cost. This, unfortunately, can price it out of the reach of some people, especially those on lower incomes. This isn’t always universal; in the middle of summer I can go to the farmer’s market down the road and get a giant bundle of carrots for two bucks, but then pay $20/pound for grass-fed buffalo sirloin. (In which case, we just eat more carrots and only a little meat.)

The good news is that there’s no single right way to treat food as a pagan value. Just having more awareness of your food and where it comes from is a great starting point for breaking out of the generic “thank you, Earth!” form of food and land appreciation. As one example, even if all you know about the chickens your eggs came from is that they lived in tiny battery cages somewhere and existed only to lay as many eggs as possible, then at least you know who to really thank for your food at harvest time! And your awareness can lead to more conscious choices in the future, too. You might have access to free range eggs, whether through the grocery store or a farmer’s market. Even if you can’t buy the free range eggs every single shopping trip because they cost a few more dollars a dozen or because you’d have to travel farther for them, you might consider buying them once a month if you’re able, and that’s better than not buying them at all.

I’ll be talking more about issues surrounding food, sustainability, and their connection to spirituality in future posts–in fact, stay tuned for my next post where I’ll be reviewing a really good book that I’ve found incredibly inspirational in my quest to be a more responsible consumer of comestibles.

On Not Being a One-Trick Artist

This past weekend, I listed the first big bunch of animal hide headdresses that I’ve posted in about a year over on my Etsy shop. Traditionally, headdresses have been a mainstay of my artwork; I made my first one in 2002, and have continued with it ever since. They’ve become one of my signature offerings, and I’ve made hundreds of them in the past decade and change, both on spec and as custom orders.

Last year, during the summer when I was doing temp work full-time at my old internship site, I was also struggling to keep the Green Wolf going as a business. I knew the day job was only going to be a few months, and I needed something to come back to once it was done. It was really exhausting, as you might well imagine, and during the latter weeks of this experience I found myself feeling quite pent-up creatively. I only had the time to keep making the most bare-bones fundamentals of my shop and booth, and there wasn’t a lot of time for what I call “me art time”, which is where I get to experiment with creativity, try new techniques and materials, and so forth. It felt pretty stifling.

So by the time October rolled around and I was free to be self-employed again, I found myself being completely unwilling to go back to my old rotation of “Today I’ll make this sort of thing, and tomorrow I’ll make these, and the next I’ll get some more of those going…” I wanted to shake things up a bit (while also making sure I kept paying my bills!) So I dove into some new artistic territory, doing more assemblage pieces and other experiments.

One of my newest pieces, "Deer Fern".
One of my newest pieces, “Deer Fern”.
Along the way, a few of my old stand-bys fell to the wayside for a bit. Some of this was sheerly circumstantial; I just didn’t make the time. But the headdresses were deliberately shelved. I’d spent so many years making them, and they were such big, impressive pieces, that the rest of my work often got overlooked and I felt like maybe I was just becoming “Lupa the headdress artist”. It’s not that I didn’t love the ones that I made; I’ve always enjoyed creating them, and dancing with my own. But I needed a break from them.

So other than a few headdresses for my vending booth and whatever custom orders came in, I stopped making them a regular part of my art. I kept experimenting with new media, and pushed myself out of my comfort zone. I began feeling that I didn’t just want to not be known only as “Lupa the headdress artist”–I also felt corralled into the label of “Lupa the hide and bone artist”. So I spent much of the winter trying to reinvent myself and my artwork, not throwing out the good things, but adding on more good things, if that makes sense.

I really needed it, too. One of the things about being an artist for a living, rather than as a hobby, or having someone else financially supporting you while you make art, is that there are certain popular pieces that will replace your day job as your primary form of income. It’s easy to get stuck in a rut with them, too, and I realized that art had stopped being as much fun because of it. I needed to be able to get back to my roots as a creative person, that busy, somewhat crazed immersion in possibilities melded with opportunities serving as brief snapshots of where I was with regards to skill and inspiration.

And I think I felt I needed to prove something to myself and to others–that I wasn’t just a one-trick artist, that I didn’t just make headdresses (and a few other things). Moreover, at some point making headdresses became trendy, and more and more people started trying to cash in. I didn’t want to get lost in the masses, but I didn’t want to define myself by just making yet another variation on the headdress.

A blank book I made with shells and handmade paper.
A blank book I made with shells and handmade paper.
So that’s where a lot of my experimentation came from. And it worked. I felt a lot less stifled creatively, and more motivated to make both my old stand-bys and shiny new things, too. I got good response from people with my newer pieces as well as the classics. I got the rejuvenation I needed, and became a better artist as a result.

It wasn’t until this month, though, that I felt ready to go back to the headdresses. I missed them, really, and while I really enjoy making custom pieces for other people, it’s not the same as getting to create them on my own time, with no restrictions. So I pulled out a few hides I had stored away and spent a couple of weeks stitching up tears and holes, reshaping ears and faces, adding straps, and getting them ready to wear.

And then I went out with my friend Julie to Laurelhurst Park where she graciously modeled the new headdresses for me while I took photos. As I did, I felt my old enthusiasm for the headdresses coming back. Watching another person take on these spirits, even for a few minutes, and enjoy connecting with them reminded me why I started making them in the first place. I wanted to see them go to new homes where they could have that kind of attention more often, and teach someone new how to dance and shift and return to their animal selves. I wanted them to have the same opportunities my own headdresses had, and make those new relationships happen.

It led to a sense of completion, like the last piece fell into place–for the moment, anyway. No doubt I’ll want to shake things up again before too long. But for the moment, I think it’s going to be a good summer for headdresses.

You can see some of my headdresses, present and past, in my portfolio and my Etsy shop. I am also available for custom work; feel free to contact me with your ideas and requests.

horse3

Hello, Old Paint

Today is an art day. I’m bouncing between a few custom orders and what I call “cleaning through art”. That latter is where I realize the back bedroom where I keep my art supplies is a complete mess, and instead of cleaning everything up like a normal person, I pick up the nearest project idea that’s cluttering up the floor and work on it til it’s done. Sure, it only makes the room a little less messy, but at the end I have a completed project and slightly more space!

One of the projects I’m working on is a dance costume made from a tanned horse’s mane and tail that I got from a Washington taxidermist who collects deceased animals from local farms (among other sources). The tail’s going to be on a belt, as I normally do with my horse tails, and I’m adding a pair of decorated belt pouches; the leather’s all from a deerskin coat I got at the Goodwill Bins a while back. You can see one of the pouches as a work-in-progress in the picture above.

My last Bins trip also netted me the paints next to it. Shopping there is less like a regular excursion where you have a list of things you want, and more like a giant yard sale that happens every day and there’s more brought out every fifteen minutes and you really don’t know what you’re going to go home with. In recent trips I’ve hauled out a pillowcase full of pine cones, a vintage Black and White scotch bottle (empty, of course), an empty antique projector case, and a bag full of several dozen partially full tubes of acrylic paints. I wasn’t able to open up the tubes prior to purchase, so I knew it was a gamble, but it paid off–only one was all dried up, and the rest were primarily in the earthy colors I use a lot. Although acrylics are a better paint green-wise than oils, with fewer toxins and a water base, they’re still a guilty convenience purchase (I mean really, I could just be mixing my own paints from egg and pigments, right?) So I was more than happy to keep these out of the waste stream and keep myself from having to buy new paints for a while, too.

We All Fall DownHowever, just because they weren’t dried up didn’t mean all the paints were in prime condition. Most of them just needed to be stirred to get the pigment to mix back in with the solvent, but some responded better than others. I hate to waste anything, and so I’ve turned working with imperfect paints into an art all its own. If some of the pigment has solidified and the paint that’s left is thin, it makes a good wash or faux-watercolor. Too thick, but still brushable? Look, it’s a texturing medium! They need to be treated a little differently than when they were new, but they’re far from useless. Even the dried out clumps of pigment can be carved into interesting shapes for assemblage work, or made into flakes to glue in as colored details.

Some artists are really particular about their media; they can’t get the exact effect they want if the chemistry’s a little off, or the texture is wrong. I, on the other hand, love all the wrongness. There’s a certain joy I get as an artist out of using things that were discarded by others, whether it’s old hide scraps or bits of plastic or damaged household items. I love the challenge of making the imperfect beautiful, of watching it transform from refused into rejuvenated.

And I think, as a society, we might do better to fall in love with imperfection a little more. I know people who won’t shop at a thrift store because “That’s where the poor people go”. The classism of that statement is a whole other rant in and of itself, but I will point out now that this attitude ties right in with what I was talking about a few weeks back about saving only the best for ourselves. We waste so many resources, artistic and otherwise, because we turn out noses up at the imperfections, the challenges in making something work.

But that’s why I’m a Hyena Artist following the Way of the Scavenger. Their loss is my gain, and few things thrill me more than digging into the Bins and seeing what goodies I come up with to make stuff out of. And now I’m going to go back to painting with my old paints, on the secondhand leather pouch, because it’s going to be awesome when it’s done.

*By the way, the assemblage piece a few paragraphs up is made with one of those aforementioned pine cones, along with other reclaimed materials. You can find out more about it here.

Books, Blogs, and the Monterey Bay Aquarium

Lupa news round-up! Here’s what I’ve got for you dear readers:

–My newest book is out! Plant and Fungus Totems: Connect With Spirits of Field, Forest and Garden is a continuation of my spiritual explorations the past several years. In it I focus on what fungus and plant totems are and how they’re unique from their animal counterparts (and each other!), different ways of working with them, and how to give back to them and their ecosystems, among other topics of interest. As with all my books, this is no mere dictionary stuffed with page-fillers, but instead a versatile toolkit to apply to your practice. You can read more about it and buy a copy here.

–In a similar vein, I just today discovered that the shopping cart feature on my website has not been working since I switched it over in March. The back end showed that a few people tried to buy books, but I got absolutely no information other than a date and time, and no money was received here. If you were one of those people (or if you still want to order books from here instead of at my Etsy shop), I have reverted back to the old Buy Now buttons which, while not a pretty, are proven to be effective. My sincerest apologies for the inconvenience.

–If you’d like to sample even more of my writing for absolutely free, one of my co-writers at the now-defunct No Unsacred Place, Rua Lupa, has teamed up with me to offer you all a new blog at Patheos, Paths Through the Forests. We’ll be continuing our thoughts and conversations on nature, bioregionalism, spirituality, and more. While I’ll occasionally post a link round-up here, you can get more frequent updates on Twitter, Facebook, and Google Plus. Rua Lupa’s already posted there, and my first official post is due out Thursday of this week.

–Finally, thanks to sales at Faire in the Grove this past weekend, I was able to make a donation to the Monterey Bay Aquarium! They are a world leader in research on marine biology and ocean health, as well as the developers of the Seafood Watch pamphlet, website feature and phone app, which allow you to look up which seafood choices are sustainable, and which to avoid. Plus they always have an amazing array of sea creatures on display at the aquarium itself, well-cared-for and healthy, and accompanied by plenty of information. You can find out more about the Monterey Bay Aquarium and their work at www.montereybayaquarium.org/