Creative Practice as Spiritual Practice: Reflections from a Craftsman

Over the last 50 years I have turned up almost every day to my workshop where I design and make furniture to commission . As I look back, I can see an unfolding path of creative discovery and spiritual insights that has sustained, guided and shaped my work. Craftsmanship is love made visible. I believe that craftsmanship is the soul expressing its innate desire to create; as such it can be a form of spiritual practice when the intention is motivated for the greater good. When we think of spiritual practice we might think of prayer and meditation, attending a church, a temple or a mosque – where we leave behind our worldly preoccupations and enter a sanctified space dedicated to the Divine Creator, or what Buddhism refers to as the Uncreated. “In accordance with the Divine Teachings, the acquisition of sciences and the perfection of arts is considered as acts of worship. If a person engages with all their power in the acquisition of a science or in the perfection of an art, it is as if they have been worshipping God in the churches and temples…” 1 A workshop, to me, has similar characteristics to a temple. It is where I cultivate and curate the conditions that are conducive to the pursuit of developing my craft and to the striving of excellence. I don’t just turn up. Each day is a rededication to my craft– even the journey to my workshop is a liminal experience when I mentally prepare for the day’s tasks. It’s a daily micro-pilgrimage . The mundane routine of sweeping floors and tidying feels more like an act of purifying my intentions. The very necessary task of sharpening chisels can also seem to sharpen the mind. Yet despite a curated working space the reality of a workshop is that things go wrong and then I face my own limitations! Learning to recognise my limitations is part of my creative journey and this requires me to learn about myself as well as my craft. Transformation The materials I use are an intrinsic part of my creative practice. There are both ethical and spiritual aspects in this regard. The Baha’i Teachings mention the responsibility of the artist and craftsperson to transform the material they use to its highest level of refinement. According to these teachings every natural thing created aspires to its paradise, its Nirvana, and this can be achieved through the artist and craftsperson endeavouring to apply their respective skills and creativity to the utmost of their ability. In our Western economy natural resources are exploited and commodified for profit. A sacred approach could transform our relationship with the environment; we could become stewards not exploiters of our planet. This could also transform ourselves. Baha’u’llah says: “Every man of discernment, while walking upon the earth, feeleth indeed abashed, inasmuch as he is fully aware that the thing which is the source of his prosperity, his wealth, his might, his exaltation, his advancement and power is, as ordained by God, the very earth which is trodden beneath the feet of all men. There can be no doubt that whoever is cognizant of this truth, is cleansed and sanctified from all pride, arrogance, and vainglory.” 2 My creative and spiritual practice have evolved interdependently over many decades. Following the Earth Summit in 1992, I began to source non-commercial timber from local woodlands and convert and dry it at my workshop for my own use. This changed my understanding and relationship with the material I use and where it comes from. I discovered the rich diversity of the timbers, their character and qualities, and the individuality of each tree. Each log has a story and each plank has its own unique character. When I view them in my timber shed, I feel as though they are expectantly waiting for the opportunity to be made into a piece of furniture; I become part of an unfolding interconnected spiritual and physical cyclical process. “Man is organic with the world. His inner life moulds the environment and is itself also deeply affected by it. The one acts upon the other and every abiding change in the life of man is the result of these mutual reactions.” 3 The Middle Way: Commissions A big part of my creative journey has been learning how to balance being a craftsperson with making an ethical living. I think this is one version of the middle way, the path of moderation. My solution since the late 1970s has been to develop my own “signature” designs, which gradually became the basis for my commissions. Each commission is a variation of one of these designs. Through this approach I am able to follow my creative direction and still charge clients a fair price. I’ve been able to make a modest living since 1975 without compromising my spiritual values of fairness and transparency. I believe that if we view our practice as a form of spiritual service these problems become surmountable. “The purpose of learning should be the promotion of the welfare of the people, and this can be achieved through crafts […] the true worth of artists and craftsmen should be appreciated, for they advance the affairs of mankind.” 4 A Gift I also believe that the act of making to the best of my ability is its own reward. But it is also, as I’ve suggested, a spiritual-mystical journey of self-discovery. This knowledge is knowledge of the soul. The soul is like a mirror; it will reflect what it is directed at and be informed by that reality. When the soul is directed towards the source of spiritual light it can potentially reflect that light through the lens of the artist or craftsperson, manifesting things according to the skill of the artisan. However, worldly attachment is like dross on the mirror, obscuring the light. The mirror has to be polished before it can manifest beauty to the highest degree. When my intentions are altruistic and my craftsmanship is refined, I feel as though I am offering a gift, a source of betterment and beautification in the world. “In this Day the sun of craftsmanship shineth above the horizon of the occident and the river of arts is flowing out of the sea of that region.” 5 “There will be a new art, a new architecture, fused of all the beauty of the past, but new.” 6 Abdu’l-Baha, Selections from the Writings of Abdu’l-Baha Baha’u’llah, Epistle to the Son of the Wolf Social Action compilation , From a letter dated 17 February 1933 written on behalf of Shoghi Effendi to an individual believer Baha’u’llah, Arts and Crafts compilation Baha’u’llah, Tablets of Baha’u’llah Abdu’l-Baha, Star of the West