Q: How does art help you explore and understand other cultures? (Question from Arte Realizzata)
A: Art helps me explore and understand other cultures by revealing our shared humanity across space and time. For me art and travel are intertwined; there is no better education! My art-making has led me to visit fascinating places in search of source material, ideas, and inspiration: to Mexico, Guatemala, Brazil, Argentina, Uruguay, France, England, Italy, Bali, Java, Sri Lanka, and India. I have seen firsthand that people all over the world are the same.
Art has led me to undertake in-depth studies of intriguing subjects: drawing, color, composition, art, art history, the art business, film, film history, photography, mythology, literature, music, jazz, jazz history, and archaeology, particularly that of ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, and Maya), and South America (the Inca and their ancestors).
This rich mixture of creative influences continually grows. For anyone wanting to spend their time on earth studying, learning, and meeting new challenges, there is hardly anything more fascinating than to be a well-travelled, perpetually curious artist!
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Pearls from artists* # 490
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Wherever apathy reigns supreme, the “strong” are those who can boast that nothing affects them. Numbness and dumbness become positive qualities, and any passionate engagement with life becomes a cause for embarrassment. How many hipsters out there consider passionate commitment of any kind to be a sign that one has been duped? Fortunately this attitude can only go so far, because everything in actual experience suggests to the contrary that passion and sensibility are necessary for anything meaningful to happen to anyone. They are the vital signs that make the difference between an existence that is truly lived out and one that is merely observed from a stifling security of a castellated self that falsely imagines that it can remain detached from the rest of the universe.
JF Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Travel photo of the month*
* Favorite travel photos that have not yet appeared in this blog
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Pearls from artists* # 489
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Murch: …The only time one is able to exercise control over the film is in the editing. The images themselves are not sufficient. They’re very important, but they’re only images. What’s essential is the duration of each image: the whole eloquence of cinema is that it’s achieved in the editing room.
In The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje
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Q: What’s on the easel today?
A: I’m working on a 58” x 38” pastel painting that is number 20 in the ”Bolivianos” series. It does not yet have a title. The mask depicted is a Supay. From Wikipedia:
In the Quechua, Aymara, and Inca mythologies, Supay was both the god of death and ruler of the Ukha, Pacha, and the Incan underworld, as well as a race of demons. Supay is associated with miners’ rituals.
With the Spanish colonization of the Americas, Christian priests used the name “Supay” to refer to the Christian Devil. However, unlike Europeans in relation to the Christian Devil, the indigenous people did not repudiate Supay but, being scared of him, they invoked him and begged him not to harm them.
Supay acquired a syncretic symbolism, becoming a main character of the diabladas of Bolivia (seen in the Carnival of Oruro), Peru and other Andean countries. The name Supay is now roughly translated into diablo (Spanish for devil) in most Southern American countries. In some of them, for example the northern region of Argentina, the underworld where Supay rules, is called “Salamanca”.
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Pearls from artists* # 488
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
To be astonished is to be caught unawares by the revelation of realities denied or repressed in the everyday. Astonishment has an intellectual as well as an emotional component – in it, the brain and the heart come together. Far from distracting us from the strange and the uncanny in life, the astonishment evoked by great artistic works puts them square in our sights. The work demands that we feel and think the mystery of our passage through this body, on this earth, in this universe. We realize afterward that the world is not what we thought it was: something hidden, impossible to communicate though clearly expressed in the work has risen into the light of awareness, and the share of the Real to which we are privy is proportionately expanded.
JF Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* # 487
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
The sheer variety of aesthetic theories may be the best evidence we have that art cannot be boiled down to a single use, and even that it eludes usefulness altogether. In fact, one of the reasons art affects us so deeply is that it calls us out of the means-and-ends thinking that has us reducing everything to a function. Oscar Wilde’s infamous statement, “All art is quite useless,” was more than a pithy remark aimed at ruffling Victorian feathers; as far as he was concerned, it was a plain statement of fact. For the Aesthetic Movement of which Wilde was a leading exponent, art stood in absolute defiance of utility. Which is to say that the Aesthetes saw works of art as things whose only purpose is it be perceived – and this may be as close to a catch-all definition as we are likely to get.
JF Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* # 486
Walter Murch: Somebody once asked WH Auden, is it true that you can write only what you know?” And he said, “Yes it is. But you don’t know what you know until you write it.” Writing is a process of discovery of what you really do know. You can’t limit yourself in advance to what you know, because you don’t know everything you know.
The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje
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