About Me – A creative life

SAMSUNG CSCMy first writing memory dates back to when I was around 8 years old and feverishly re-writing the Nancy Drew novel I’d just read.  Once I began writing, I didn’t stop.  I wrote stories, the beginnings of novels, journals.  Writing was a compulsion, something I felt I had to do.  That all changed ten years ago when my mother became terminally ill and for four years, I couldn’t write a word.  Nor could I read.  Words just left me.  So I began to paint, recapturing the love of drawing that also began when I was a child.  But when my mother died, I slowly began to write again.  Now I’m writing more than I’ve ever written before and I still paint, in acrylics.

In the past seven years, I’ve had some success in writing competitions, had short stories published in books and magazines and began to blog.  I’ve never felt more inspired creatively.  I’ve written two magical realism novels for adults: The Skin of a Selkie and The Wintering Place and am seeking an agent to represent me.

I find inspiration in nature, the coastline and the turn of the seasons.  For many years I have been a witch in the solitary tradition, sometimes moving away from that path but always returning to it and its focus on the sacredness of nature.  You’ll find writing about all of those things and creativity in general here.

I hope you enjoy reading my posts and I’d love to hear what you have to say about your own creative life.

Andrea Stephenson

 

118 thoughts on “About Me – A creative life

  1. mythology played a central theme in the ideological fundamentals of Aboriginal tribal belief. These Mythologies, sacred sites, and tribal laws were based on their tribal lands and many topographical features and prominences therein, even encompassing vegetation and living creatures as well. Their land was part of their being and lifestyle. It had a deep ingrained meaning.

    I realise my revitalised interest in the landscape imagery does mark a subconscious return to some of the happy experiences in my childhood, the time when I used to roam throughout the forest. Despite of having directed my focus towards the present landscape, I subconsciously experienced images of my childhood landscapes and its mythology again! The landscape stands here as the signifier and my childhood as the signified. I have been intrigued how these subconscious influences did interact with my conscious planning of the project. After a long time I had been to my country of birth rediscovering some of my memories. After my return I recognised the characteristics of the local landscape more distinctively. Also the relationships with its forms are now felt more intimate. I have been comparing the imagery, the ‘here and there’, dissecting and again combining the residues of my mythological memories. The conclusion? We perceive landscapes not just as a sensation apart from us but we are effected daily by it and a constituent in it.

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