Blog Archives
Pearls from artists* # 408
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Classics have nothing to do with aesthetic sophistication. They use the aesthetic as a springboard to something else. The creation of a classic will often require the artist to deviate from prevailing standards in order to push the ordinary vision through. If there is one prerequisite for producing a classic, it is the willingness to follow the vision wherever it leads, even if it demands a breach of convention, technique, or popular taste. (It may not even be a question of if or when, for how can one produce a truly singular work without reinventing the medium to some extent?) We often hear that the master artist is “in love” with her material: that the sculptor loves the marble, the dancer loves the body, the musician loves his instrument. For the maker of classics, however, the medium always seems to be an obstacle; love is never without a tinge of spite. William S. Burroughs was so contemptuous of language that he took to describing it as a disease. He conceived his work as an attempt to confront language in hopes to cure the mind of the “word virus.” Indeed, if the goal of art is to take us beyond the ordinary preoccupations to reach the heart of the Real, it would seem essential that there be a fight, a struggle to wrest from the medium something to which Consensus dictates it is not naturally inclined.
F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* # 389
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Color vision must be universal. The human eye and brain work the same way for nearly all people as a property of their being human – determining that we all see blue. But the color lexicon, meaning not merely the particular words but also the specific chromatic space they are said to mark, clearly has been shaped by the particularities of culture. Since the spectrum of visible colors is a seamless continuum, where one color is thought to stop and another begun is arbitrary. The lexical discrimination of particular segments is conventional rather than natural. Physiology determines what we see; culture determines how we name, describe, and understand it. The sensation of color is physical; the perception of color is cultural.
David Scott Kastan in On Color
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Q: What significance do the folk art figures that you collect during your travels have for you?
A: I am drawn to each figure because it possesses a powerful presence that resonates with me. I am not sure exactly how or why, but I know each piece I collect has lessons to teach.
Who made this thing? How? Why? Where? When? I feel connected to each object’s creator and curiosity leads me to become a detective and an archaeologist to find out more about them and to figure out how to best use them in my work.
The best way I can describe it: after nearly three decades of seeking out, collecting, and using these folk art figures as symbols in my work, the entire process has become a rich personal journey towards gaining greater knowledge and wisdom.
Comments are welcome!
Q: How do you decide how much realism and how much imagination to put into a pastel painting?
A: I wouldn’t say “decide” is the right word because creating a painting is not strictly the result of conscious decisions. I think of my reference photograph, my preliminary sketch, and the actual folk art objects I depict as starting points. Over the months that it takes to make a pastel painting, the resulting interpretive development pushes the painting far beyond this source material. When all goes well, the original material disappears and characters that belong to the painting and nowhere else emerge.
It is a mysterious process that I am still struggling to understand. This is the best way I can describe what it feels like from the inside, as the maker.
Comments are welcome!
Pearls from artists* # 133
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
O writer, with what words will you describe the entire configuration of objects with the perfection that the drawing gives? If you are unable to draw, you will describe everything confusedly and convey little knowledge of the true form of objects; and you will deceive yourself in imagining that you can satisfy your hearer when you speak of the configuration of any corporeal object bounded by surfaces.
– Leonardo da Vinci
Quoted in Leonardo’s Brain: Understanding da Vinci’s Creative Genius by Leonard Shlain
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Pearls from artists* # 111
It is very difficult to describe the creative experience in such a way that it would cover all cases. One of the essentials is the variety with which one approaches any kind of artistic creation. It doesn’t start in any one particular way and it is not always easy to say what gets you going.
I’ve sometimes made the analogy with eating. Why do you eat? You’re hungry. You are sort of in the mood to eat, and if you are in the mood to eat, the food tastes better; you’re more interested in what you’re eating. The whole experience is more “creative.” It’s the hunger that stimulates you to eat. It’s the same thing in art; except that, in art, the hunger is the need for self-expression.
How does it come about that you feel hungry? You don’t know, you just feel hungry. The juices are working, and suddenly you are aware of the fact that you want a piece of bread and butter. It’s about the same in art. If you pass your life in creating works of art in one field or another, you recognize the “hunger” signs and you are quick to take advantage of them, if they’re accompanied by ideas. Sometimes, you have the hunger and you don’t have any ideas; there’s no bread in the house. It’s as simple as that.
AAron Copland in The Creative Experience: Why and How Do We Create?, Stanley Rosner and Lawrence E. Abt, editors
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Q: Can you describe your entire body of work in six words or less?
A: Only if I forget what it took to get me to this point! I remember all too well the long periods of study, hard work, self-doubt, self-nurturing, disappointments, setbacks, risks, focus, drive, discipline, joy, detours, fallow periods, rejections, perseverance, etc. that have gone into sustaining an art career for nearly thirty years. There are no blueprints and few role models for a successful artist’s life. (Even the meaning of “success” as an artist is difficult to define). I invite others, who surely can be more objective, to attempt a summation of my entire body of work in a few words.
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