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Pearls from artists* # 392

A place to read, Alexandria, VA

A place to read, Alexandria, VA

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

Dear Person,

Why read?

Because you only have one life but reading gives you many lives.  Because you only have one personality but when you read a book you can be inside another mind and heart.  Because experiencing elegance of language is one of the greatest pleasures of consciousness.  Reading lets you be quiet in a chaotic world and commune with amazing people who may happen to be dead now, so not too easy to connect with otherwise.  Reading startles you.  Reading upsets you.  Reading takes apart your world and expectations and rearranges them.  Imagine the last few years without the books you have loved – it would be a much flatter, sadder experience of living.  We read as a form of faith.

Naomi Wolf

A Velocity of Being:  Letters to a Young Reader edited by Maria Popova and Claudia Bedrick

Comments are welcome!

Pearls from artists* # 4

At work on "False Friends"; photo by Diana Feit

At work on “False Friends”; photo by Diana Feit

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

Given a small kernel of reality and any measure of optimism, nebulous expectations whisper to you that the work will soar, that it will become easy, that it will make itself. And verily, now and then the sky opens and the work does make itself.  Unreal expectations are easy to come by, both from emotional needs and from the hope or memory of periods of wonder.  Unfortunately, expectations based on illusion lead almost always to disillusionment.

Conversely,  expectations based on the work itself are the most useful tool the artist possesses.  What you need to know about the next piece is contained in the last piece.  The place to learn about your materials is in the last use of your materials.  The place to learn about your execution is in your execution.  The best information about what you love is in your last contact with what you love.  Put simply, your work is your guide:  a complete, comprehensive, limitless reference book on your work.  There is no other  such book, and it is yours alone.  It functions this way for no one else.  Your fingerprints are all over your work, and you alone know how you got there.  Your work tells you about your working methods, your discipline, your strengths and weaknesses, your habitual gestures, your willingness to embrace.

The lessons you are meant to learn are in your work.  To see them, you need only look at the work clearly – without judgment, without need or fear, without wishes or hopes.  Without emotional expectations.  Ask your work what it needs, not what you need.  Then set aside your fears and listen, the way a good parent listens to a child.  

David Bayles and Ted Orland, Art & Fear

Comments are welcome.

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