Category Archives: Creative Process
Q: Why do you always work in series?
A: I don’t really have any choice in the matter. It’s more or less the way I have always worked so it feels natural for my creative output to unfold in series.
Art-making comes from a deep place. It’s a way of making one’s time on earth matter. Working in series mimics the more or less gradual way that our lives happen, the way we slowly evolve and change over the years. Life-altering, “A-Ha” moments happen, certainly, but seldom do we wake up drastically different – in thinking, in behavior, etc. – from what we were the day before.
Working in series feels authentic. It helps me eke out every lesson my pastel paintings have to teach. With each completed piece, my ideas and my creative process are able to progress a step or two further.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue working on “Strongman,” soft pastel on sandpaper, 58” x 38.” This is the second “Bolivianos” painting I am creating based on photos from my February trip to Bolivia to research Carnival.
Comments are welcome!
Pearls from artists* # 722
Barbara attending Carnival in Oruro, 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
One of the most insidious kinds of pressure to which an artist can succumb is the pressure to be accessible. Well-meaning advisors may tell you that x is acceptable, marketable, popular and wealthy. But if you alter your work to be more x-ish, people will spot it as inauthentic; it will not be heartfelt because it does not originate in your own being. By all means develop and revise your work to communicate more and more clearly; but if you alter one word in order to please some imagined market “out there,” the integrity and originality of everything you do is at risk. You get off the sure base of what you really know and are. Whereas if you create your own material in your own way, developing art work that is more and more authentically yours, people will spot it as genuine. In resisting the temptation to accessibility, you are creating a genuine space and living in it.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Q: What’s on the easel today?
Pastel painting in progress
A: I’m slowly working on an untitled, large, 58” x 38,” “Bolivianos” pastel painting based on a reference photo taken in La Paz in February. This one is number thirty-six in the series.
Comments are welcome!
Pearls from artists* # 714
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
A moment comes when we realize that we have fallen in love with our instrument, our sculptor’s tools, our dance floor, our computer. We are in love with music, art, literature, cooking, physics. We feel love of beauty, love of the craft well done, love of the material, of the instruments. We feel the sensuality of playing, and of listening, reading, seeing, learning. The desire to learn and to play, if we have it at all, the motive power of creation, is part of our innate makeup, that craving to reach beyond ourselves.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Q: What’s on the easel today?
Work in progress
A: I continue slowly working on “Metamorph.” 26” x 20,” soft pastel on sandpaper.
Comments are welcome!
Pearls from artists* # 713
Dropping off “Magisterial” at the framer
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
One of the great traps at times of blockage is that we may accuse ourselves of a deficit of concentration and focus, a deficit of discipline. We then take a paternal or militaristic attitude toward ourselves. We will force ourselves to work, we will go on a schedule, we will take vows. The most dangerous trap is to get into a contest of strength between “will power” and “won’t power.” Discipline is crucial, but we do not attain it by stiffening up. We attain it by sitting still and penetrating the emptiness within, making of that emptiness a friend rather than an adversary or bogeyman.
When you are stuck, meditate, free associate, do automatic writing, talk to yourself and answer yourself. Play with the blocks. Stay in the temenos of the workplace. Relax, surrender to the bafflement; don’t leave the temenos, and the solution will come. Persevere gently. Use intelleto, the visionary faculty. Stay close to the zero mark; indulge neither in great highs or great lows.
The depths are obscured in us when we try to force feelings; we clarify them by giving them adequate time and space and letting them come. What we experienced yesterday as the pride of creativity or the self-deprecating feeling of incapacity we see today as the signal to surrender.
Like the rules of the universe, the whole matter of personal creativity is baffling and paradoxical. To try to control yourself, to try to create, to try to break free of the knots you yourself have tied is to set yourself up at a distance from that which you already are. It is like looking around this way and that for your own head.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 712
Finished: “Magisterial,” soft pastel on sandpaper, 58” x 38”
*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 get to the idea of our relation to the creative impulses that flow through us, we can look at the way we respond to our own finished work. I have two responses. First, I’m done with the image in terms of my attachment to it. Whether the painting has succeeded or failed, I’m pretty much done with it.
But paradoxically, I also have an almost objective fascination with the marks and traces of my work when it is successful. I look at it and am fascinated by it, because I don’t know how I did it. It’s as if I’m looking at someone else’s work. I am more astonished by the result than anyone else might be. I know that I have been in the service of spirit, a channel for the divine.
Ian Robert’s in Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision
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Q: What’s on the easel today?
Charcoal drawing
A: This preliminary charcoal drawing is my first tentative move towards the next “Bolivianos” pastel painting. I took the reference photo in February during my Bolivia trip to research and experience Carnival in Oruro.
Comments are welcome!
Pearls from artists* # 707
The Studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
Intuition often serves as a diving rod that guides us to our secret language. ‘Listening to your gut’ is actually a rapid process of previous experience and cumulative knowledge that results in a seemingly sudden ‘educated guess.’ You may not be able to consciously access all the memories and information that led to your ‘hunch,’ but they are there, nevertheless. Many of us have a keenly developed sense of intuition, but do not trust it. But often, when we are deliberating a problem, we lay our head on our pillow, all the rational ‘pros and cons’ drop away, and we know the answer to our question. We simply need to cultivate and have faith in that knowing.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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