Blog Archives
Pearls from artists* # 700
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Let’s talk about courage now.
If you already have the courage to bring forth the jewels that are hidden within you, terrific. You’re probably already doing really interesting things with your life, and don’t need this book. Rock on.
But if you don’t have the courage, let’s try to get you some. To use creative living is a path for the brave. We all know this. And we all know when courage dies, creativity dies with it. We all know that fear is a desolate boneyard where our dreams go to desiccate in the hot sun. This is common knowledge; sometimes we just don’t know what to do about it.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
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Pearls from artists* # 669
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Pure creativity is magnificent expressly because it is the opposite of everything else in life that’s essential or inescapable (food, shelter, medicine, rule of law, social order, community and familial responsibility, sickness, loss, death, taxes, etc.). Pure creativity is something better than a necessity; it’s a gift. It’s the frosting. Our creativity is a wild and unexpected bonus from the universe. It’s as if all our gods and angels gathered together and said, “It’s tough down there as a human being, we know. Here – have some delights.”
It doesn’t discourage me in the least, in other words, to know that my life’s work is arguably useless.
All it does is make me want to play.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
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Pearls from artists* # 665
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We are wordlessly persuaded and taught outright to hide so much of what we have unearthed in our lives. But artists throughout the centuries have described the power of using anguish as a catalyst to fuel their creativity. In Greek epic poetry, ‘Kleos’ refers to immortal renown. Unlike present-day fame, this term referred exclusively to heroes who had surmounted a great obstacle or persevered through tremendous difficulties. There is a certain authority that comes from those who have endured hardship. They have earned the depth of their work.
Darkness contains a great deal of energy. We can use it for destruction or creativity. Only those who tolerate it are able to illuminate the shadowy corners, revealing the nefariousness that hopes to stay hidden. We cannot change our past, or any hell that we have been through. But art provides the means to exorcise the pain that has taken up residence in our body and fashion it into a form outside ourselves, in an infinitely affirmative gesture. The darkness we have passed through was not endured in vain if we mold it into a vision that lights the way out… for us, and for all the other souls who undoubtedly need it.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 664
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Throughout history, geniuses have attributed their breakthroughs to the time they spent alone, deep in thought. Frank Kafka assures us,
‘You need not leave your room. Remain sitting at your table and listen. You need not even listen, simply wait. You need not even wait, just learn to become quiet, and still, and solitary. The world will freely offer itself to you to be unmasked. It has no choice; it will roll in ecstasy at your feet.’
Artists have a special relationship with the passing hours. Our work is tangible evidence of how we mark and give value to time. We have a finite, unknown number of hours on Earth, so we will only leave behind so many pieces. Our artistic legacy is literally tied to our ability to steal time and maintain silence.
And yet, we exist in a time and place with a tremendous aversion to peace. We must fight both ourselves and others to acquire it. No one asked us if this is the kind of environment we want to inhabit. Corporations inundate every square inch of space with uninvited visual and auditory interference, designed to light up the addiction pleasure centers in our brains. Our ancestors would have found this environment assaulting and maddening. It is certainly causing damage to our mental health, happiness, and creativity. But, it is so ubiquitous that there is pressure to simply accept the anxiety-producing ‘new normal’: we have collectively surrendered our brain space to the colonization.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 624
View from New York City
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Van Gogh’s drawings show a truly remarkable improvement over the course of the two years he set aside to intensely practice drawing. At the start of that period his sketches look clumsy and amateurish. With great ardor, thoughtfulness, and effort – by manifesting his creativity, in short – at the end of those two years Van Gogh was producing drawings that showed not only that he had mastered elements of technique but also that he had educated himself in ways that moved him far ahead of his classically trained peers.
Van Gogh’s progress excites the artist. It seems to hold the clear implication that by acting creatively the artist may significantly increase his talents or make manifest significant talent he didn’t know he possessed. Maybe a brilliant novel is within his grasp. Maybe he can achieve a breakthrough in the visual arts. Maybe he can play his instrument like a god.
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Q: Do you have any rituals that you do before beginning a day’s work in the studio?
The Studio!
A: When I arrive at the studio in the morning it’s rare for me to immediately start working. Usually I read something art-related – books written by artists, about creativity, etc. At the moment I’m reading The Artist’s Reality: Philosophies of Art by Mark Rothko. As usual I am struggling to understand aspects of the art business and figure out what I need to do next to get my work seen and collected by a wider audience. The Artist’s Reality reminds me why I decided to make art in the first place. It helps reconnect with temporarily forgotten parts of myself and is a much-needed reminder of what I love about being an artist, especially in light of the business side that is becoming so complex and demanding of attention now.
Balancing the creative and business aspects of being an artist is a continual struggle. Both are so important. An artist needs an appreciative audience – very few artists devote their lives to art-making so that the work will remain in a closet – but I also believe this (from a note I wrote years ago and tacked to the studio wall): “Just make the work. None of the rest matters.”
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Pearls from artists* # 602
Barbara’s 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.
Anyone who studies an instrument, sport, or other art form must deal with practice, experiment, and training. We learn only by doing. There is a gigantic difference between the projects we imagine doing or plan to do and the ones we actually do. It is like the difference between a fantasied romance and one in which we really encounter another human being with all his or her complexities. Everyone knows this, yet we are inevitably taken aback by the effort and patience needed in the realization. A person may have great creative proclivities, glorious inspirations, and exalted feelings, but there is no creativity unless creations actually come into existence.
Stephen Nachmanovitch in Free Play: Improvisation in Art and Life
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Pearls from artists* # 598
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
For art to appear, we have to disappear. This may sound strange, but in fact it is a common appearance. The elementary case, for most people, is when our eye or ear is “caught” by something: a tree, a rock, a cloud, a beautiful person, a baby’s gurgling, spatters of sunlight reflected off some wet mud in the forest, the sound of a guitar wafting unexpectedly out of a window. Mind and sense are arrested for a moment, fully in the experience. Nothing else exists. When we “disappear” in this way, everything around us becomes a surprise, new and fresh. Self and environment unite. Attention and intention fuse. We see things just as we and they are, yet we are able to guide and direct them to be one just the way we want them. This lively and vigorous state of mind is the most favorable to the germination of original work of any kind. It has its roots in child’s play, and its ultimate flowering in full-blown artistic creativity.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 591
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Like lîla, or divine creativity, art is a gift, coming from a place of joy, self-discovery, inner knowing. Play, intrinsically rewarding, doesn’t cost anything. As soon as you put a price on it, it becomes, to some extent, not play. Somewhere, therefore, we each have to map out for ourselves the tricky questions of money and the artist. This is a difficult issue because artists have to eat, equip themselves, and subsidize years of professional training. Yet the marketplace shifts our art at least to some degree out of the state of free play, and may in some cases contaminate it totally. Professional athletes face the same issues. Certainly they play to a great extent for love of their sport, but issues of money, prestige, and fame introduce a lot of non play as well.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 585
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Improvisation, composition, writing, painting, theater, invention, all creative acts are forms of play, the starting place of creativity in the human growth cycle, and one of the great primal life functions. Without play, learning and evolution are impossible. Play is the taproot from which original art springs; it is the raw stuff that the artist channels and organizes with all his learning and technique. Technique itself springs from play, because we can acquire technique only by the practice of practice, by persistently experimenting and playing with our tools and testing their limits and resistances. Creative work is play; it is free speculation using the materials of one’s chosen form. The creative mind plays with the objects it loves. Artists play with color and space. Musicians play with sound and silence. Eros plays with lovers. Gods play with the universe. Children play with everything they can get their hands on.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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