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Q: What more would you wish to bring to your work?

Tile worker in South India

Tile worker in South India

A:  I tend to follow wherever the work leads, rather than directing it.  I have never been able to predict where it will lead or what more might be added.

Travel is essential for inspiration.  Besides many Mexican sojourns, I have been to Bali, Sri Lanka, South India, Guatemala, Honduras, Brazil, Peru, Argentina, Paraguay, and other places.  A second trip to India is upcoming, to Gujarat and Rajistan this time.  

Last year I had the opportunity to go to Bolivia. In La Paz I visited the Museum of Ethnography and Folklore, where a stunning mask exhibition was taking place.  As soon as I saw it, I knew this would be the inspiration for my next series, “Bolivianos.”  So far I have completed six “Bolivianos” pastel paintings with two more in progress now.  This work is getting a lot of press and several critics have declared it to be my strongest series yet.

Comments are welcome!

Pearls from artists* # 310

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

“Danzante,” 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.

As Immanuel Kant explained, aesthetic rapture is a peculiar kind of subjective phenomenon, since it presents itself as anything but subjective.  It asks to be shared with others in hopes that they too might experience this thing that has had such a profound effect upon us.  Naturally, the desire to share our astonishment is bound to be frustrated as we meet people who respond to our beloved work with indifference or even revulsion.  We then remember that the affective power of works of art varies from person to person, and even from moment to moment within the same person’s life, a fact we usually put down to personal taste, though little consideration is given to what that term might mean.  People have their own inclinations, and given that the aesthetic is held, not just by Kant but also by common wisdom, to be a private affair, its variability across the broad spectrum of human personalities can only seem inevitable.   

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

Comments are welcome!

Start/Finish of “Danzante,” soft pastel on sandpaper, 38″ x 58″

Start

Start

Finish

Finish

Comments are welcome!

Pearls from artists* # 289

“Danzante,” soft pastel on sandpaper, 38” x 58”, in progress

“Danzante,” soft pastel on sandpaper, 38” x 58”, in progress

*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 do not think it the business of a poet to become a guru.  It is his business to write poetry, and to do that he must remain open and vulnerable.  We grow through relationships of every kind, but most of all through a relationship that takes the whole person.  And it would be pompous and artificial to make an arbitrary decision to shut the door.

The problem is to keep a balance, not to fall to pieces.  In keeping her balance in her last years Louise Bogan stopped writing poems, or nearly.  It was partly, I feel sure, that the detachment demanded of the critic (and especially his absorption in analyzing the work of others) is diametrically opposed to the kind of detachment demanded of the poet in relationship to his own work.  We are permitted to become detached only after the shock of an experience has been taken in, allowed to “happen” in the deepest sense.  Detachment comes with examining the experience by means of writing the poem.      

May Sarton in Journal of a Solitude: The intimate diary of a year in the life of a creative woman

Comments are welcome!