Blog Archives

Pearls from artists* # 488

New York Harbor

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

To be astonished is to be caught unawares by the revelation of realities denied or repressed in the everyday. Astonishment has an intellectual as well as an emotional component – in it, the brain and the heart come together. Far from distracting us from the strange and the uncanny in life, the astonishment evoked by great artistic works puts them square in our sights. The work demands that we feel and think the mystery of our passage through this body, on this earth, in this universe. We realize afterward that the world is not what we thought it was: something hidden, impossible to communicate though clearly expressed in the work has risen into the light of awareness, and the share of the Real to which we are privy is proportionately expanded.

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

Comments are welcome!

Pearls from artists* # 483

Behind the scenes of our documentary. Photo: David De Hannay

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

The editor has a unique relationship with the actors. I never try to go on to the set to see the actors out of costume or out of character – and also just not to see the set. I only want to see what there is on screen. Ultimately, that’s all the audience is ever going to see. Everyone else working on the film at that stage is party to everything going on around the filmed scene: how cold it was when that scene was shot; who was mad at whom; who is in love with whom; how quickly something was done; what was standing just to the left of the frame. An editor particularly has to be careful that those things don’t exert a hidden influence on the way the film is constructed, can (and should in my view) remain ignorant of all that stuff – in order to find value where others might not see value, and on the other hand, to diminish the value of certain things that other people see as too important. It’s one o the crucial functions of the editor. To take, as far as it is possible, the view of the audience, who is seeing the film without any knowledge of all the things that went into its construction.

On Editing Actors, by Walter Murch in The Conversations: Walter Murch and the Art of Editing Film, by Michael Ondaatje

Comments are welcome!

Q: What’s on the easel today?

Work in progress
“Shamanic,” soft pastel on sandpaper, 35” x 28.5” framed

A: I just started a large 58″ x 38″ pastel painting based on the same reference photograph I used for “Shamanic,” 26″ x 20.” Sometimes ideas for new projects arrive in prosaic ways. I saw a mockup of “Shamanic” on my New Delhi gallery’s Instagram page. The mockup depicted my pastel painting as considerably larger than it actually is. I became intrigued with this unexpected format and decided to create a new one in a larger size.

For now I have turned Shamanic” to the wall so that it does not inadvertently influence my color choices. The two pastel paintings are already looking quite different.

Comments are welcome!

Pearls from artists* #447

Barbara’s studio
Barbara’s studio

Cameron Crowe: I think this collection is a powerful gift, especially to young artists. It’s a portrait of you at a certain time in your life when you were having success. You could have plateaued at this stage for an entire career. Many did. But I listen to this and think the hidden message is don’t stop growing. Don’t stop heading to those deeper waters… challenge yourself… look where it may take you.

Joni Mitchell: That’s what the Van Gogh exhibition was to me. When I went to see the Van Gogh exhibition they had all his paintings arranged chronologically, and you’d watch the growth as you walk along. That was so inspiring to me, and I started to paint again. If it serves that purpose, that would be great. Really, that would make me very happy. It shows that from this… because the latter work is much richer and deeper and smarter, and the arrangements are interesting, too. Musically I grow, and I grow as a lyricist, so there’s a lot of growth taking place. The early stuff – I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and… it was beautiful. It made me forgive my beginnings. And I had this realization…

CC: What was it?

Joni: Oh God! (Laughs) I was a folksinger!

In A Conversation with Joni Mitchell by Cameron Crowe from Joni Mitchell Archives Volume I: The Early Years (1963-1967) 5 CD set

Comments are welcome!

Pearls from artists* # 352

"Provocateur," soft pastel on sandpaper, 26" x 20"

“Provocateur,” soft pastel on sandpaper, 26″ x 20″

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

The jester was certainly a key player in medieval court politics.  His power, however, was commensurate with his acknowledged irrelevance to the state apparatus.  As the eternal outsider, ridiculed or at best ignored by the elite unless he was actually entertaining them, he acquired the right to speak truths that others would speak at their peril.  Yet if the imprudent king simply saw the Fool as a source of amusement, the wise king saw in his antics and wordplay the pattern of the past, present, and future.  In the same way, art is the joker in the hand that was dealt to humanity.  Nothing is easier than dismissing it as a frivolity, and yet those who meet it on its own ground gain access to the hidden facets of their situation.  It is by virtue of its very separateness, its position outside the realm of the useful and the practical, that art reveals the Real.  Paradoxically, art has political value only when appraised outside of any political framework.       

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

Comments are welcome!

Pearls from artists* # 327

Great Falls, VA

Great Falls, 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.

Do you have the courage to bring forth the treasures that are hidden within you?

surely something wonderful is sheltered inside you.  I say this with all confidence, because I happen to believe we are all walking repositories of buried treasure.  I believe this is one of the oldest and most generous tricks the universe plays on us human beings, both for its own amusement and ours.  The universe buried strange jewels deep within us all, and then stands back to see if we can find them.

The hunt to uncover those jewels – that’s creative living.

The courage to go on that hunt in the first place – that’s what separates a mundane existence from a more enchanted one.

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!

Q: I’m convinced that some information and ideas are hidden, or even encrypted in the environment we live in, so we need a way to decipher them. Maybe one of the roles of an artist is to reveal unexpected sides of Nature, especially of our inner Nature. What’s your opinion about this?

Barbara's studio

Barbara’s studio

A:  I agree. Artists in general are more sensitive to these sorts of hidden ideas, feelings, emotions, etc. in ways that most non-artists are not. It’s a cliche but it’s true.

Comments are welcome!

Pearls from artists* # 65

Museum of Modern Art, NYC

Museum of Modern Art, NYC

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

To create demands a certain undergoing:  surrender to a subconscious process that can yield surprising results.  And yet, despite the intuitive nature of the artistic process, it is of utmost importance to be aware of the reason you create.  Be conscious about what you are attempting or tempting.  Know why you are doing it.  Understand what you expect in return.

The intentions that motivate an act are contained within the action itself.  You will never escape this.  Even though the “why” of any work can be disguised or hidden, it is always present in its essential DNA.  The creation ultimately always betrays the intentions of the artist.  James Joyce called this invisible motivation behind a work of art “the secret cause.”  This cause secretly informs the process and then becomes integral to the outcome.  This secret cause determines the distance that you will journey in the process and finally, the quality of what is wrought in the heat of the making.    

Anne Bogart in and then, you act:  making art in an unpredictable world 

 

 

Q: Have you ever worked outside?

Reproductions of "Cardinal Rule" (top) and "Blue Ego," originals are soft pastel on sandpaper, 30" x 38"

Reproductions of “Cardinal Rule” (top) and “Blue Ego,” originals are soft pastel on sandpaper, 30″ x 38″

A:  As a pastel artist I’ve never worked outside – with so many pastels, it’s just not practical – but early on in the “Domestic Threats” series, I created two outdoor setups.  Works in the series derived from elaborate scenes that I arranged and then photographed.  

I used to take long walks along the Potomac River in Alexandria, VA, and there was a tree stump that was fascinating.  It was mostly twisted roots, knotty branches, dark hidden spaces, etc. (top painting in photo).  One morning I took several hand puppets and stuffed animals (my subject matter at the time) and carefully arranged them on the tree.  Around me people were busy exercising their dogs.  Soon I attracted quite a bit of attention – a tall blonde woman playing with puppets on a tree stump!  Dogs came over to sniff.  Their owners came over, too, and I was pressed into explaining, again and again, that I was an artist, that I was photographing this scene so I could paint it, etc.  The interruptions were very annoying.

The second time I tried an outdoor setup was again along the Potomac River, but this time I selected a secluded strip of beach where I was undisturbed.  I had forgotten to consider the light and inadvertently chose a cloudy day.  I remember being disappointed that the light was flat and lacking shadows.  The painting (bottom in photo) turned out to be one of my least favorites. 

I resolved from then on to focus on interiors.  Alfred Hitchcock famously used rear projection so that he could work in a studio rather than on location.  One reason, he said, was that in a studio he had total control.  I know what he meant.  When I set up an interior scene and position the lights to make interesting shadows, indeed, I have control over the whole look.  No aspect is left to chance.   The accidents – improvements! – happen later when I work on the painting.  

Comments are welcome!    

%d bloggers like this: