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Pearls from artists* # 495

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Murch: …There’s a wonderful quotation from Goethe – he must have been frustrated at some point about the difficulty of communication. He said, “Utterly futile to try to change, by writing, someone’s fixed inclination. You will only succeed in confirming him in his opinion, or, if he has none, drenching him in yours.”

Ondaatje: There’s a poet in Vancouver who said, “I’ll see it when I believe it.”

M: Exactly. I’m sure Goethe didn’t think that way most of the time, otherwise he wouldn’t have kept on writing. He was talking in black-and-white terms: Agree with me or not! The richest zone of communication is the grey area… where the reader is somewhat receptive to what the author writes but also brings along his own images, and ideas, which in a creative way do violence to the author’s vision and ideas. A synergy results from what the writer presents and what the reader brings. That communication, initially present in neither the sender nor the receiver, is greater than the message of the writer alone or the thoughts of the reader alone.

It’s similar to what happens with human sight. Your left eye sees one thing and your right eye sees something else, a slightly different perspective. They’re so close and yet different enough that when the mind tries to see both simultaneously, to resolve their contradictions, the only way it can do so is to create a third concept, an arena in which both perspectives can exist: three-dimensional space. This “space” doesn’t exist in either of the images – each eye alone sees a flat, two-dimensional view of the world – but space, as we perceive it, is created in the mind’s attempt to resolve the different images it is receiving from the left and the right eye.

In The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje

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Pearls from artists* # 467

Udaipur, India

*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 students confronted with images of India through film and photography, we are challenged to begin to be self-conscious of who we are as “seers.” Part of the difficulty of entering the world of another culture, especially one with as intricate and elaborate a visual articulation as India’s, is that, for many of us, there are no “manageable models.” There are no self-evident ways of recognizing the shapes and forms of art, iconography, ritual life and daily life that we see. Who is Śiva, dancing wildly in a ring of fire? What is happening when the priest pours honey and yogurt over the image of Viṣṇu? Why does the woman touch the feet of the ascetic beggar? For those who enter the visible world of India through the medium of film, the onslaught of strange images raises a multitude of questions. These very questions should be the starting point for our learning. Without such self-conscious questions, we cannot begin to “think” with what we see and simply dismiss it as strange. Or worse, we are bound to misinterpret what we see by placing it solely within the context of what we already know from our own world of experience.

Diana L. Eck in Darsan: Seeing the Divine Image in India

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Pearls from artists* # 453

Carnival Masks at the Museum of Ethnography and Folklore in La Paz
Carnival Masks at the Museum of Ethnography and Folklore in La Paz, 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.

Art begins in the struggle for equilibrium. One cannot create from a balanced state. Being off balance produces a predicament that is always interesting on stage. In the moment of unbalance, our animal instincts prompt us to struggle towards equilibrium and this struggle is endlessly engaging and fruitful. When you welcome imbalance in your work, you will find yourself instantly face to face with your own inclination towards habit. Habit is an artist’s opponent. In art, the unconscious repetition of familiar territory is never vital or exciting. We must try to remain awake and alive in the face of our inclinations towards habit. Finding yourself off balance provides you with an invitation to disorientation and difficulty. It is not a comfortable prospect. You are suddenly out of your element and out of control. And it is here the adventure begins. When you welcome imbalance, you will instantly enter new and unchartered territory in which you feel small and inadequate in relation to the task at hand. But the fruits of this engagement abound.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre

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Pearls from artists* # 28

Flower sellers in Chichicastenango, Guatemala

Flower sellers in Chichicastenango, Guatemala

* 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 have talked a good deal about our duty, and how we could attain the right goal, and we came to the conclusion that in the first place our aim must be to find a steady position and a profession to which we can entirely devote ourselves.  It is wise to do so, for life is but short and time passes quickly; if one is master of one thing and understands one thing well, one has at the same time insight into and understanding of many things.

One must especially have the end in mind, and the victory one would gain after a whole life of work and effort is better than one that is gained earlier.  Whoever lives sincerely and encounters much trouble and disappointment, but is not bowed down by them, is worth more than one who has always sailed before the wind and has only relative prosperity.  One must never trust the occasion when one is without difficulties.  

Irving Stone with Jean Stone, editors, Dear Theo:  The Autobiography of Vincent Van Gogh

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