Invisibility or Visible Ageing?

The author (67), April 2026
The author (67), April 2026

There is an increasingly clamorous cultural narrative about the invisibility of women over fifty. Whilst it is important to challenge any form of marginalization, I think it is also valuable to embrace our own personal stories. And I don’t believe that these have to be dominated by a negative sense of invisibility. We have choices.

The narrative is not entirely false. In my late sixties, I have sat at the edge of a younger group in a large gathering and dared to say something only to be blanked as if I am not really there.

But, honestly, often I now feel more visible in ways that matter to me than I did as a younger woman.

The visible self

I think that a part of that perception of visibility or invisibility rests in our sense of ourselves. It takes time and effort to understand who we are as we move into a life stage so much less defined by career and appearance. But unless we are able to vision who we are becoming, then to some extent we are not fully visible to ourselves.

Coming to Canada at fifty-one, I made a very conscious choice to live as authentically as possible. What needs I may have had for approval, to be ‘liked’, had significantly diminished by then. To my surprise, I found an immediacy of deep connection with others as never before, people I call ‘heart-kin’.

I had become interested in developing an understanding of what elderhood might look like in contemporary society in my forties when I worked in dementia care. I now began to delve deeper into this (see Sage in training – modern elderhood – Passage To Joy) and what it might mean to me to embrace Crone qualities (see The season of the Crone – Passage To Joy). It didn’t happen overnight, but I have gradually come to a clear sense of who I am and want to be moving forward, as well as of those things I want (and need) to let go of.

I am perhaps more fully visible to myself than ever before, able to see what feeds my soul and what depletes it. There is an incredible energy and sense of freedom in this.

Sitting in meditation one day, I had a delightfully ‘silly moment’ when the thought that popped into my head was I want to be a lighthouse when I grow up’. This became the basis of the Sankalpa, affirmation, that I use in Yoga Nidra and other contexts:

‘I am radiant with health, love, joy and abundance’.

Choosing to be seen

I don’t know if or how this transmits to others, though at some level it seems to. It would certainly be my wish to carry with me some sense of light.

I am still surprised when young women comment ‘I love your dress, your earrings’. That kind of visibility feels unexpected at my age. Sometimes it comes out of nowhere, but more often it emerges from a deeper conversation.

I was definitely startled by the young man in a coffee shop who opened what turned into a deep conversation with ‘are you a very spiritual person?’ He claimed to see my aura and looked to me for insights.

There was the group of much younger colleagues at a conference who, when I commented on our relative age, paid Paul and myself the loveliest compliment: ‘yes, but you have young energy!’ I wear my wrinkles as a badge of honour. But I hope to carry forward joy, zest and an ability to embrace life to the full for as many years as I am granted.

Most recently there was a wonderful conversation in the AGO (Art Gallery of Ontario) with a young man who had just graduated and was considering his next steps. As we contemplated a beautiful print by Newfoundland artist David Blackwood, an extraordinarily deep if fleeting connection seemed to form. Some twenty minutes later, he was seeking my guidance on thoughts that might be important in shaping a good life.

My daughter teases me for my willingness to talk to anyone and for my openness. But the depth of these brief encounters with much younger people is often startling, rich, joyous and humbling. I experience them as a delightful and heartwarming gift. I am also honoured to be allowed to see into the lives of these young strangers. It is not that ‘being seen’ is particularly important to me in itself. But it seems to open up a connection that is genuine and meaningful.

So I choose to be seen and rarely feel invisible.

The cloak of invisibility

For many women, though, there is a relief in casting off a requirement to pander to social expectations of appearances and roles and donning a cloak of invisibility. They revel in saying what they want and knowing that they can get away with it. They go their own way uncensured, unnoticed, with freedom to observe, think and act, and find it profoundly liberating, a secret super-power. The release from the demands and needs of others may be experienced as a quiet joy rather than a loss.

Liberty

“The truth is, it’s only when you stop worrying about becoming ‘invisible’ that you are able to see yourself. Then you are free. Free to decide what matters to you and what never will, whose opinions you value and whose you can disregard, and what exactly is worth your precious hours on this earth and what is a waste of damn time. And really, what could be more beautiful than that?”

Benedetta Barzini, quoted in Wit & Wisdom from 14 Age-Defying Women in British Vogue

If we stop fearing aging and recognize it as the gift it is, we are much more able to see into the heart of ourselves, our true beauty. And once we are visible to ourselves, the choice is ours as to how we shape the narrative of our visibility.

White Night (2)

“But I haven’t seen any art!”

A snatch of conversation overheard more than once during Toronto’s Nuit Blanche.

I think one of the best things about this annual all-nighter is that it reminds one of how artificial boundaries are.

What captivated us was the sense of a city street party for over a million people, the reconnection with childlike joy and wonder, and, in the better installations, a sense of seeing the world through fresh eyes. Maybe not high art, but fulfilling at least something of artistic purpose as I define it.

I think joy, in this context, is rooted in the excitement of the unexpected, in wonder and, perhaps most of all, in conectedness.

Highlights?

  • Small installations by the Artists Cooperative of Canada at Spadina Museum, a garden walk reminiscent of magical prep-school ghost walks (with the bonus of Casa Loma and the view across the night city)
  • The hypnotic calm of a forest of lights and white, feather-fronds in the Atrium of the Royal Conservatory, itself a glorious blend of old and new (Philip Beesley’s Aurora) – video coming soon!  I already know and love the Conservatory’s fabulous Koerner Hall, where a solitary ghostly pianist took to the stage . . .
  • Monument to Smile – unexpectedly heart-warming, smiling Torontonian faces projected across the facade of Holt Renfrew, accompanied by Charlie Chaplin’s song of the same name
  • Spotlights (of unknown origin) picking up night clouds as if in some giant night-club as we stood in one of many line-ups (queues)
  • Flaming Pine Cone sculptures outside Campbell house – simple, mesmerizing, beautiful (I want one!)
  • The surprising delicacy of Auto Lamp, a white van punctured by brilliant light, shimmering light-flakes across the buildings at Yonge and Queen
  • CRUZE Remix, a definition defying combination of car show room, multiple projections screens, driving track through moving patterns of intelligent light inspiring live mixing of music  and video, a hand-painted car – this more than anything else made me question my need for definitions and boundaries as commercial promotion and spectacle intertwined!

It is easy to be cynical and dismissive – there are always critics. But, as well as enjoying the spectacle, we relished the unwaveringly amiable crowd (even when crushed tighter than sardines on the subway at 3 a.m.) Our evening was  not darkened by drunkenness or anti-social behaviour; I have read that, with bars unusually open until 4am, eventually a point is reached, but, in the seven hours or so we were on the streets, we saw almost none.

If culture is the glue that holds a society together, then without doubt Nuit Blanche is a significant cultural event – I felt truly part of an amazing city in a way I have not experienced anywhere else. It may or may not be ‘art’; but its weird and wonderful happenings do possess a positive power to bring people together, to inspire and illuminate. Toronto would be the poorer without its White Night.

White Night . . .

Our first Nuit Blanche in Toronto is almost here! With a joyous synchronicity, one of the many installations this year is a piece by Philip Beesley, Aurora, described as a ‘responsive forest of light’.

Hopefully Saturday night will be short on sleep but rich in weird, wonder and joy! Can’t wait!

At its core, Nuit Blanche is a 12-hour event with a mandate to make contemporary art accessible to large audiences, while inspiring dialogue and engaging the public to examine its significance and impact on public space. Nuit Blanche is both a “high art” event and a free populous event that encourages celebration and community engagement. From sunset to sunrise city spaces and neighbourhoods are transformed into temporary exhibitions. Unusual or forbidden spaces become sites of contemporary art open for all-night discovery and rediscovery. Cultural institutions, from museums to galleries to artist run centres, open their doors and offer free access to contemporary art. The everyday is suspended as the city’s landscape is changed to welcome a variety of artistic experiences.

The Corporate Soul Movement

For most of my life, the words ‘corporate’ and ‘soul‘ have seemed light years apart. How wonderful, then, to happen on the beginnings of a movement to put soul at the heart of corporate life.

The article that underpins this movement cites research indicating that

only 20% of employees are truly engaged “heart and soul” in their work.

and

blames the almighty corporate mission, vision and goals that lack “cosmic good” and drain the life blood from the heart and soul.

Continue reading “The Corporate Soul Movement”