Blog Archives
Q: Contemporary art has become very diverse and multidisciplinary in the last few decades. Do you welcome this trend? Is this trend part of your art practice? (Question from artamour)
A: By definition trends in art come and go and I don’t see how any self-respecting artist can or should pay much attention to them. I continue to do my own thing, refining my soft pastel techniques, following wherever my interests, inspiration, and subject matter lead, all the while striving to become a better artist.
Comments are welcome!
Pearls from artists* # 510
* an ongoing series of quotations – mostly from artists to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
This excerpt is from “The Blank Page,” published in Last Tales (1957). An old woman who earns her living by storytelling is speaking:
“With my grandmother,” she said, “I went through a hard school. ‘Be loyal to the story,’ the old woman would say to me, ‘Be eternally and unswervingly loyal to the story.’ ‘Why must I be that, grandmother?’ I asked her. ‘Am I to furnish you with reasons, baggage?’ She cried. ‘And you mean to be a story-teller! Why, you are to become a story-teller, and I shall give you the reasons! Hear then: Where the story-teller is loyal, eternally and unswervingly loyal to the story, there, in the end, silence will speak. Where the story has been betrayed, silence is but emptiness. But we, the faithful, when we have spoken our last word, will hear the voice of silence. Whether a small snotty lass understands it or not.’
“Who then, she continues, “tells a finer tale than any of us? Silence does. And where does one read a deeper tale than upon the most precious book? Upon the blank page. When a royal and gallant pen, in the moment of its highest inspiration, has written down its tale with the rarest ink of all – where, then, may one read a still deeper, sweeter, merrier and more cruel tale than that? Upon the blank page.”
Isak Dinesen in Women at Work: Interviews from the Paris Review
Comments are welcome!
Pearls from artists* # 509
* an ongoing series of quotations – mostly from artists to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Which left me with nothing but a dazzled heart and the sense that I live in a most remarkable world, thick with mysteries. It all called to mind the British physicist Sir Arthur Eddington’s memorable explanation of how the universe works: “Something unknown is doing we don’t know what.“
But the best part is: I don’t need to know what.
I don’t demand a translation of the unknown. I don’t need to understand what it all means, or where ideas are originally conceived, or why creativity plays out as unpredictably as it does. I don’t need to know why we are sometimes able to converse freely with inspiration, when at other times we labor hard in solitude and come up with nothing. I don’t need to know why an idea visited you today and not me. Or why it visited us both. Or why it abandoned us both.
None of us can know such things, for these are among the great enigmas.
All I know for certain is that this is how I want to spend my life – collaborating to the best of my ability with forces of inspiration that I can neither see, nor prove, nor command, nor understand.
It’s a strange line of work, admittedly.
I cannot think of a better way to pass my days.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Pearls from artists* # 506
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Inspiration is allowed to do whatever it wants to, in fact, and it is never obliged to justify its motives to any of us. (As far as I’m concerned, we’re lucky that inspiration talks to us at all; it’s too much to ask that it also explain itself).
In the end, it’s all about violets trying to come to light.
Don’t fret about the irrationality and unpredictability of all this strangeness. Give in to it. Such is the bizarre, unearthly contract of creative living. There is no theft; there is no ownership; there is no tragedy; there is no problem. There is no time or space where inspiration comes from – and also no competition, no ego, no limitations. There is only the stubbornness of the idea itself, refusing to stop searching until it has found an equally stubborn collaborator. (Or multiple collaborators, as the case may be).
Work with that stubbornness.
Work with it as openly and trustingly and diligently as you can.
Work with all your heart, because – I promise – if you show up for your work day after day after day after day, you just might get lucky enough some random morning to burst right into bloom.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Pearls from artists* # 505
*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 myself was once “at the top: – with a book that sat on the bestseller list for more than three years. I can’t tell you how many people said to me during those years, “How are you ever going to top that?” They’d speak of my great good fortune as though it were a curse, not a blessing, and would speculate about how terrified I must feel at the prospect of not being able to reach such phenomenal heights again.
But such thinking assumes there is a “top” – and that reaching that top (and staying there) is the only motive one has to create. Such thinking assumes that the mysteries of inspiration operate on the same scale as we do – on a limited human scale of success and failure, of winning and losing, of comparison and competition, of commerce and reputation, of units sold and influence wielded. Such thinking assumes that you must be constantly victorious – not only against your piers, but also against an earlier version of your own poor self. Most dangerously of all, such thinking assumes if you cannot win, then you must not continue to play.
But what does any of that have to do with vocation? What does any of that have to do with the pursuit of love? What does any of that have to do with the strange communion between the human and the magical? What does any of that have to do with faith? What does any of that have to do with the quiet glory of merely making things, and then sharing those things with an open heart and no expectations?
Elizabeth Gilbert in Big Magic: Creative Living Beyond Borders
Comments are welcome!
Pearls from artists* # 504
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… if a project doesn’t work out, you can always think of it as having been a worthwhile and constructive experiment. You can resist the seductions of grandiosity, blame, and shame. You can support other people in their creative efforts, acknowledge the truth that there’s plenty of room for everyone. You can measure your worth by your dedication to your path, not by your successes or failure. You can battle your demons (through therapy, recovery, prayer, or humility) instead of battling your gifts – in part by realizing that your demons were never the ones doing the work, anyhow. You can believe that you are neither a slave to inspiration nor its master, but something far more interesting – its partner – and that the two of you are working together toward something intriguing and worthwhile. You can live a long life, moving and doing really cool things the entire time. You might earn a living with your pursuits or you might not, but you can recognize that this is not really the point. And at the end of your days, you can thank creativity for having blessed you with a charmed, interesting, passionate existence.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Q: How does art help you explore and understand other cultures? (Question from Arte Realizzata)
A: Art helps me explore and understand other cultures by revealing our shared humanity across space and time. For me art and travel are intertwined; there is no better education! My art-making has led me to visit fascinating places in search of source material, ideas, and inspiration: to Mexico, Guatemala, Brazil, Argentina, Uruguay, France, England, Italy, Bali, Java, Sri Lanka, and India. I have seen firsthand that people all over the world are the same.
Art has led me to undertake in-depth studies of intriguing subjects: drawing, color, composition, art, art history, the art business, film, film history, photography, mythology, literature, music, jazz, jazz history, and archaeology, particularly that of ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, and Maya), and South America (the Inca and their ancestors).
This rich mixture of creative influences continually grows. For anyone wanting to spend their time on earth studying, learning, and meeting new challenges, there is hardly anything more fascinating than to be a well-travelled, perpetually curious artist!
Comments are welcome!
Pearls from artists* # 479
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… a gift is a thing we cannot get by our own efforts. We cannot buy it; we cannot acquire it through an act of will. It is bestowed upon us. Thus we rightly speak of talent as a “gift,” for although a talent can be performed through an effort of the will, no effort in the world can cause its initial appearance. Mozart, composing on the harpsicord at the age of four, had a gift.
We also rightly speak of intuition or inspiration as a gift. As the artist works, some portion of his creation is bestowed upon him. An idea pops into his head, a tune begins to play, a phrase comes to mind, a color falls into place on the canvas. Usually, in fact, the artist does not find himself engaged or exhilarated by the work, nor does it seem authentic, until this gratuitous element has appeared so that along with any true creation comes the uncanny sense that “I,” the artist, did not make the work. “Not I, not I, but the wind that blows through me,” says D.H. Lawrence. Not all artists emphasize the gift phase of their creations to the degree Lawrence does, but all artists feel it.
Lewis Hyde in The Gift: Imagination and the Erotic Life of Property
Comments are welcome!
Q: Who is your core audience for your blog? What do you want people to know about your art that you have not created visually? (Question from “Arte Realizzata”)
A: As I understand it, my core audience here (currently 77,000+ and growing!) is an international group of artists and art aficionados looking for hope, inspiration, and probably, motivation to keep making art. Unfortunately, ours is a world that too often misunderstands and under-appreciates the difficult, essential, and sometimes lonely work undertaken by artists. Hopefully, my blog makes readers think, “If Barbara can keep making art under these conditions and continue to thrive after what she’s been through, maybe I can, too!”
Comments are welcome!
Pearls from artists* # 425
Gladstone, NJ
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
And yet books were faithful companions for Vincent, an important source of sustenance during his times of melancholy: he periodically re-read his favourites, finding new meaning in the text and illustrations each time. Van Gogh read in at least two ways: first “breathlessly,’ and then ‘by careful exploration.’ But we could add a third and a fourth way: thirdly as an artist, and fourthly from the perspective of the writer he perhaps knew himself to be. To Vincent, reading books meant above all to ‘seek in them the artist who made them,’ as he wrote to his sister Willemien. He sought to open an internal dialogue with other writers as artists, and meditated on their words, stopping to consider and reconsider a phrase to make it resonate within him He did this in more than one language – internalizing words, ruminating, bending them to his will, and finally assigning them to a fate of his choosing, over the years. Remarkably several Prefaces by French Naturalist novelists such as Zola, De Goncourts or Maupassant (today considered genuine manifestos) were among the pages that truly challenged and engaged his mind. In them he found the freedom that he was seeking in painting – the ‘confirmation’ of his own ideas, inspiration and encouragement. The work of the illustrators of his favorite books and magazines equally attracted him and had a lingering effect on him, on which he paused to reflect repeatedly, extracting inspiration indirectly.
Mariella Guzzoni in Vincent’s Books: Van Gogh and the Writers Who Inspired Him
Comments are welcome!
barbararachkoscoloreddust.com 