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Pearls from artists* # 283

Wintry day in DC

Wintry day in DC

*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 live alone, perhaps for no good reason, for the reason that I am an impossible creature, set apart by a temperament I have never learned to use as it could be used, thrown off by a word, a glance, a rainy day, or one drink too many.  My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there.  I go up to Heaven and down to Hell in an hour, and keep alive only by imposing upon myself inexorable routines.  I write too many letters and too few poems.  It may be outwardly silent here but in the back of my mind is a clamor of human voices, too many needs, hopes, fears.  I hardly ever sit still without being haunted by the “undone” and the “unsent.”  I often feel exhausted, but it is not my work that tires (work is a rest); it is the effort of pushing away the lives and needs of others before I can come to work with any freshness and zest.

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

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.