LYNN CREIGHTON’S BIOGRAPHICAL SKETCH
Lynn Creighton’s development as an artist has paralleled her personal growth as an active participant in Native American philosophies and ceremonies. She apprenticed with a medicine man and, under his direction, pursued a deeper and deeper connection to a divine creative source and came to a deeper knowledge and understanding of herself and her place in the universe. It is her continued transformational practices (leading purification lodges, vision-quests, and other ceremonies) that inform her work.
A request to lead lodges for people recovering from abuse brought awareness of abuse as an issue. Following extensive investigation, Ms. Creighton became convinced that cultural healing from abuse and other distresses depends on women’s ability to awaken to the truth of who they are, to hear the authentic voice of the feminine from within and all around themselves, and to establish balance and harmony with masculine energy. Her exuberant bronze figures represent this reality and offer an invitation to all women to celebrate themselves in their own lives.
Journeys to places of power have provided catalytic moments that prepared the path for discovery of her forms. In Palenque of Mexico’s Yucatan Ms. Creighton heard a call to pursue the awakening of women to full knowledge of the truth of who they are, uncontaminated by the constraints of culture. In Greece she learned that the worship of a female deity preceded Zeus’s domination and that knowledge of Her was purposefully concealed. In Bali the merging of two rivers in Ubud called for the fully active and aware female to join and merge with the fully active and aware masculine. Ms. Creighton’s spiritual path has led to her trust of these callings.
Lynn Creighton was called to clay by the yellow bowl Mrs. White helped her complete on the potter’s wheel in fourth grade. After the birth of her daughter in 1966 and with two sons already in school, Ms. Creighton learned to throw on the potter’s wheel. A return to the university for further study in ceramics as an undergraduate for the second time and a graduate degree led to a strong connection to clay and the possibilities inherent in its plasticity. While visiting the studios of Shoji Hamada in Japan, she was inspired by his intense involvement with the form emerging from his touch and his paddles. Upon her return she began to explore with paddles of her own. Her love of clay and its plasticity inspires dedication to the possibilities for form emerging as the paddle engages with the clay with the force generated by Creighton’s desire to find the form of women in celebration of life. Hidden in her earlier work of huge monoliths representing the life-force of the Taoists emerging from the slime, was the implication that the feminine is the vehicle through which life emerges in the continuation of life’s cycles. Finally, the real nature of her work was revealed and she adjusted her focus to an ongoing process of discovery revealing through the female form the possibility of entry into the sacred by celebrating life.
The series, Love, What’s it to Ya, represented in this exhibit by Deceit at the Core of the Shared Dream grows out of her certainty that love is the basic ingredient of life worth living.
She has transmitted her passion for investigation as an artist to her students at Moorpark College and California Lutheran University for over thirty years.
The intention of making her ideas apparent through image has been accomplished through exhibitions throughout the United States, in France, South Africa and in Japan. She exhibited sculpture in Nice, France in 2006, Hyere, France in 2010 and Luxembourg in 2011. For many years Ms. Creighton traveled with her work to gatherings celebrating feminine spirituality in New Hampshire, Pennsylvania, Ohio, and Minnesota. She continues showing her work and teaching about the sacredness of women’s core energy. Her book, Orgasm: A Sacrament, is ready for publication.
I have studied and participated in and led Native American transformational ceremonies for forty years. They have informed my life and my sculpture. As a tribute to the awakening of sexually traumatized women in the transformational ceremonies I have formed in clay (then bronze) the antidote: women in celebration of their own inner perfection and joy. That sculptural work developed into a full study and as book about the sacredness and power of women's sexuality, what happened to it, and how it might be recovered. More recently, I have worked on a series representing the ways in which our culture enacts love, positively and negatively: "Love, What's it to Ya?" Lately, I have been working on a ceramic series: "Where is Love?"
My work has been exhibited across the United States, in France, in Italy, in Luxemburg, Japan, and South Africa. It has been awarded many prizes. The Museum of Art in Ventura hosted a retrospective in 2019.
One of a series of ecstatic female figures expressing the idea that a full sexual experience unlocks he capacity to celebrate life fully.
Additional example of the feminine remembering to celebrate itself.
Angelina is engaging in the height of her own energy as a celebration of her life.