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Pearls from artists* # 404

"Broken," soft pastel on sandpaper, 38" x 58" image, 50" x 70" framed

“Broken,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ 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.

Before we can even think of ecological rescue, global disarmament, or economic reform, we must find a way back to what science fiction writers call our homeworld.  The term encompasses more than the biosphere; it also includes our homes, our places of work, our  communities, families, friends, and lovers.  It includes our technologies and tools, the physical body, the sensible soul, and the unconscious psyche.  We need a faith to restore our capacity to feel, to affect and be affected with the same passionate intensity as our forebears, whose powers of feeling astound us so in the records and art of the past.  The death of affect, to borrow a phrase from JG Ballard, is the true catastrophe of our spectral age, our spiritual Hiroshima.  It makes questions such as whether life’s riddles are answered at the Vatican, in Tibet, or by the Large Hadron Collider utterly meaningless, since it removes the ground we need to pose such questions in the first place.  Neither religion nor science can give us back the ground.  Only the imagination can.  Only art can mend the rupture of the soul and the world, the body and the earth.       

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

Comments are welcome!

Pearls from artists # 146

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” 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.

I try to remember that painting at its best is a form of communication, that it is constantly reaching out to find response from an ideal and sympathetic audience.  This I know is not accomplished by pictorial rhetoric nor by the manipulation of seductive paint surfaces.  Nor is a good picture concocted out of theatrical props, beautiful subjects, or memories of other paintings.  All these might astound but they will never communicate the emotional content or exaltation of life, which I believe an artist, by definition, has to accept as his task.

Julian Levi:  Before Paris and After in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!

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