Monthly Archives: May 2022

Q: What’s on the easel today?

Work in progress

A: “Overlord,” soft pastel on sandpaper, 58” x 38” awaits some finishing touches.

Comments are welcome!

Pearls from artists* # 508

Books!

* 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 I’ve lived my room and soon

the entire house is filled with books;

poems, stories, histories, prayers of

all kinds stand up gracefully or are

heaped on shelves, on the floor, on

the bed. Strangers old and new offering

their words bountifully and thoughtfully,

lifting my heart.

But wait! I’ve made a mistake! How

could these makers of so many books

that have given so much to my life –

how could they possibly be strangers?

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Q: Foreign travel has long been a significant aspect of your work. What are your views on cultural appropriation?

On Lake Titicaca, Bolivia

A: For more than three decades my inspiration and subject matter have come mainly from international travel to remote parts of the globe. I daresay there is no better education than travel. The result is that I possess a deep love and reverence for people and cultures all over the world. We are all connected by our shared humanity.

I wholeheartedly agree with what Henry Louis Gates eloquently expressed in the NY Times Book Review of October 12, 2021. Additions are mine.

Any teacher, any student, any writer, [any artist] sufficiently attentive and motivated, must be able to engage freely with subjects of their choice. That is not only the essence of learning; it’s the essence of being human.

And

What I owe to my teachers – and to my students – is a shared sense of wonder and awe as we contemplate works of the human imagination across space and time, works created by people who don’t look like us and who, in so many cases, would be astonished that we know their work and their names. Social identities can connect us in multiple and overlapping ways; they are not protected but betrayed when we turn them into silos with sentries. The freedom to write [and make art] can thrive only if we protect the freedom to read – and to learn. And perhaps the first thing to learn, in these storm-battered days, is that we could all do with more humility, and more humanity.

Comments are welcome!

Pearls from artists* # 507

Working on “Raconteur”
Working on “Raconteur”

* an ongoing series of quotations – mostly from artists to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Intellectual work sometimes, spiritual work certainly, artistic work always – these are forces that fall within its [uncertainty and the unknown] grasp, forces that must travel beyond the realm of the hour and the restraint of the habit. Nor can the actual work be well separated from the entire life. Like the Knights of the Middle Ages, there is little the creatively inclined person can do but prepare himself, body and spirit, for the labor to come – for his adventures are all unknown. And no artist could go about his work, or would want to, with less than extraordinary energy and concentration. The extraordinary is what art is about.

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Start/Finish of “Entity,” soft pastel on sandpaper, 26” x 20” image, 35” x 28.5” framed

Start
Finish

Comments are welcome!

Pearls from artists* # 506

Museum of Ethnography and Folklore, La Paz, Bolivia
Museum of Ethnography and Folklore, La Paz, Bolivia

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Inspiration is allowed to do whatever it wants to, in fact, and it is never obliged to justify its motives to any of us. (As far as I’m concerned, we’re lucky that inspiration talks to us at all; it’s too much to ask that it also explain itself).

In the end, it’s all about violets trying to come to light.

Don’t fret about the irrationality and unpredictability of all this strangeness. Give in to it. Such is the bizarre, unearthly contract of creative living. There is no theft; there is no ownership; there is no tragedy; there is no problem. There is no time or space where inspiration comes from – and also no competition, no ego, no limitations. There is only the stubbornness of the idea itself, refusing to stop searching until it has found an equally stubborn collaborator. (Or multiple collaborators, as the case may be).

Work with that stubbornness.

Work with it as openly and trustingly and diligently as you can.

Work with all your heart, because – I promise – if you show up for your work day after day after day after day, you just might get lucky enough some random morning to burst right into bloom.

Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear

Comments are welcome!

Travel photo of the month*

Walking on Robert Smithson’s Spiral Jetty, Great Salt Lake, UT; September 14, 2011

*Favorite travel photos that have not yet appeared in this blog

Comments are welcome!

Pearls from artists* # 505

With ”Impresario,” soft pastel on sandpaper, 70” x 50” framed

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

… I myself was once “at the top: – with a book that sat on the bestseller list for more than three years. I can’t tell you how many people said to me during those years, “How are you ever going to top that?” They’d speak of my great good fortune as though it were a curse, not a blessing, and would speculate about how terrified I must feel at the prospect of not being able to reach such phenomenal heights again.

But such thinking assumes there is a “top” – and that reaching that top (and staying there) is the only motive one has to create. Such thinking assumes that the mysteries of inspiration operate on the same scale as we do – on a limited human scale of success and failure, of winning and losing, of comparison and competition, of commerce and reputation, of units sold and influence wielded. Such thinking assumes that you must be constantly victorious – not only against your piers, but also against an earlier version of your own poor self. Most dangerously of all, such thinking assumes if you cannot win, then you must not continue to play.

But what does any of that have to do with vocation? What does any of that have to do with the pursuit of love? What does any of that have to do with the strange communion between the human and the magical? What does any of that have to do with faith? What does any of that have to do with the quiet glory of merely making things, and then sharing those things with an open heart and no expectations?

Elizabeth Gilbert in Big Magic: Creative Living Beyond Borders

Comments are welcome!

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