Review
Attention
Culture
5 min read

Seeing slowly takes time

In a culture of immediacy there’s a lesson to be found in the art of Georgia O’Keeffe. Alex Hughes reviews a recent exhibition of her work.

Alex Hughes is Archdeacon of Cambridge in the Diocese of Ely.

A corner of an art gallery displays three pictures to one side and one to the other.
The Museum of Modern Art New York's Georgia O'Keeffe exhibition.
MoMA.

Over the past few months, the Museum of Modern Art in New York hosted a gorgeous exhibition devoted to the work of Georgia O’Keeffe (1887-1986). The exhibition’s title, “To see takes time,” comes from an account O’Keeffe gave of her creative impulse: 

‘Nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time. If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. … So I said to myself — I’ll paint what I see — what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it.’ 

Despite O’Keeffe’s hopes, studies have shown that the average attention visitors give to gallery exhibits is between 15 and 30 seconds. Veteran art dealer Michael Findlay laments this attention deficit and urges the discipline of ‘seeing slowly’. Findlay argues that the best way to look at art is to strip away much of what we think we know or have been taught to think about it, and then give time to our eyes to search and absorb what they can see, and to our hearts and minds to experience and assimilate its effect. This parallels O’Keeffe’s process of patient looking, returning to the same subject again and again, to discern and refine whatever qualities seem most significant and worthy of depiction. 

It isn’t necessary to enumerate the contemporary contextual pressures and tendencies that militate against seeing slowly; suffice to say that we are immersed in a culture of immediacy, which expects the payoff from any investment to be quick and obvious. Not only does this affect our ability to appreciate art, but it also goes against much spiritual wisdom from the world’s religious traditions. Certainly, the Christian tradition of prayer would agree that to see spiritually takes time, like to have a friend in God takes time.  

All seeing is a matter of relationship, as John Berger wrote in a groundbreaking study of visual art:  

‘We never look at just one thing; we are always looking at the relation between things and ourselves.’  

Berger was particularly concerned about the way in which the ‘male gaze’ views the female form - an insight of enduring, urgent importance, which can be broadened to highlight the different characters of relational looking. In this regard, Martin Buber made a helpful distinction between an ‘I-It' mode of seeing, in which individuals treat others as objects, reducing them to mere things or instruments for their own purposes, and an ‘I-Thou’ mode, wherein people engage with each other as unique and sacred beings, recognizing the other’s inherent worth and treating them with reverence and respect. 

Simone Weil offered an allied perspective on the dignifying quality of a certain kind of seeing - ‘Attention is the rarest and purest form of generosity’ - and went even further: 

‘Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. … Absolutely unmixed attention is prayer.’  

Weil’s writing is rich and seminal but also somewhat gnomic. What are the faith and love implied by attention, and how do they link to prayer? She doesn’t spell this out, but we might take a cue from Berger’s observation that,  

‘We only see what we look at. To look is an act of choice.’  

Choosing to look at one thing rather than another is part of the generosity of attention. Of course, people may choose to look at anything, for any number of reasons; but the kind of slow seeing advised by O’Keeffe and Findlay seems to presuppose a valorisation - a decision or intuition that the subject in view is worth giving time to. There is a determination in this kind of seeing to seek the kind of presence that gives space for a true and authentic encounter: an ‘I-Thou’ connection. The fulfilment of this hope cannot be known in advance, so it is like an act of faith, and the impulse seems much like the desire of a lover. 

In a discussion of the detailed painting of some flowers, which are a very minor element in a much larger canvas, Alain de Botton remarks on the artist’s great care and devotion to the depiction of every detail, as if he has asked each flower, ‘What is your unique character? I want to know you as you really are.’ For de Botton, ‘This attitude towards a flower is moving because it rehearses, in a minor but vivid way, the kind of attention that we long to receive from, and which we hope to be able to give to, another human being.’ 

Though de Botton is avowedly not religious, his account of a human longing for attention, which others have elucidated in terms of a dignifying and deeply satisfying form of connection, resonates with what is often said by people of prayer. 

There are different forms of Christian prayer. Patterns of speaking to God in words of praise, confession, petition and thanksgiving are fairly well known, but there are also practices that respond to the biblical summons: ‘Wait for the lord … and he shall comfort your heart’; ‘Be still and know that I am God’. These Christian practices overlap with the meditative and contemplative traditions of other religions, and also feed into the emerging areligious exercise of mindfulness. It would be false to say that the aims and ends of different traditions are identical, but they offer a collective invitation to try a different way of seeing – a way of seeing that can help us to transcend the ‘I-It’ perspective, characterised by a sense of detachment and a focus on utility, and to move towards the cultivation of meaningful, mutual connections and a sense of interconnectedness with the world and other people … and perhaps with God too. 

 

References 

Elizabeth Turner and Marjorie P. Balge-Crozier in Georgia O’Keefe: The Poetry of Things (1999) 

Michael Findlay, Seeing Slowly: Looking at Modern Art (2017) 

Peter Berger, Ways of Seeing (1972) 

Martin Buber, I and Thou (English translation, 1937) 

Simon Weil, First and Last Notebooks (English translation, 1970) and Gravity and Grace (English translation, 1952) 

Alain de Botton, Art as Therapy (2013) 

Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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