Blog Archives
Pearls from artists* # 677
Barbara’s Studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… in Japan, in the native Shinto religion of the land, where the rites are extremely stately, musical, and imposing, no attempt has been made to reduce their “affect images” to words. They have been left to speak for themselves – as rites, as works of art – through the eyes to the listening heart. And that, I would say, is what we, in our own religious rites, had best be doing, too. Ask an artist what his picture “means,” and you will not soon ask such a question again. Significant images render insights beyond speech, beyond the kinds of meaning speech defines. And if they do not speak to you, that is because you are not ready for them, and words will only serve to make you think you have understood, thus cutting you off altogether. You don’t ask what a dance means, you enjoy it. You don’t ask what the world means, you enjoy it. You don’t ask what you mean, you enjoy yourself; or at least, so you do when you are up to snuff.
Joseph Campbell in Myths to Live By
Comments are welcome!
Pearls from artists* #561
*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 most powerful symbols draw profound reactions from us. The symbolic images in great art attract and fascinate us; they stir our souls and move us beyond what can be easily expressed; ‘their pregnant language cries out to us that they mean more than they say.’
The unconscious produces symbols as part of a natural process within us. These images emerge out of the context of our lived experience… Jung saw the meaning-making process as one that not only requires attendance to the real context of our lives and history, but also involves profound inner listening. It asks us to use our rational capacities, but also our feeling and imaginal ones.
Symbolic images redirect our psychic energy, bringing together conscious and unconscious material and producing the lessening of conflict. In this way, they activate a transcendent function within the psyche. We experience this as the discovery of personal meaning and healing. This transformation is not the result of formulaic operations, but rather is a dynamic process that requires our authentic and vulnerable participation. The process challenges the whole of who we are and requires deep moral effort. That the unconscious would produce moving, powerful compensatory symbols inside us at all points to a fact that our culture may not have fully grasped – that there is a force working within us which is always driving us towards healing growth and greater consciousness… Despite our suffering, the psyche is always ultimately seeking both a healthy homeostatic balance and our ever-unfolding growth and unique development.
Gary Bobroff in Carl Jung: Knowledge in a Nutshell
Comments are welcome!
Q: What’s on the easel today?
A: I continue working on “Enigma,” soft pastel on sandpaper, 20” x 26.” The title for this piece suggested itself as I was driving to my house in Alexandria, VA. I was listening to Lady Gaga’s current album, “Chromatica.” Her song “Enigma” came on and I thought, “That’s a great title for my painting because some areas of the ‘face’ are my own personal enigma!” They’re rather dark in my reference photo so I don’t yet understand what is happening there visually. But I will figure it out. I always do!
This is the second time I have titled a pastel painting based on a Lady Gaga song. It was “Poker Face,” from her debut album “The Fame.” My painting, “Poker Face,” was completed in 2012 and is number 24/45 in the “Black Paintings” series.
Comments are welcome!
Pearls from artists* # 135
Chalcatzingo (Mexico)
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[Meredith Monk on beginning a new piece and whether it gets easier over time].
I always say that the fear is overwhelming at the beginning. It’s like jumping off a cliff. You have absolutely no idea what is going on. It is like being a detective. You try to follow every clue that comes up. Some of them are McGuffins, but I think that is what the process is. It starts out with fear, and I think that’s a good thing. If you know what you are doing already, what is the point in doing it? It is always like hanging out and tolerating pain and the fear of the unknown. Then usually what happens is that a little something will come up. If I am sitting at the piano – and I remember sitting at the piano and almost shaking at the beginning of this piece – one little phrase will come up. And then you get a little interested in that one little phrase. Or I say to myself, “Step by step.” Another thing I say to myself, “Remember playfulness, Meredith?”
What happens at a certain point is that the thing itself starts coming in and you realize that you are more interested than you are afraid. You are in this thing, whatever it is, and fear is useless at a certain point. But at the beginning, it is not bad. It is saying that you are risking. I think that taking the chance on risking is something that keeps you young. I’ll tell you, what you are saying about my skills – I don’t find it easier. It is just as hard as it ever was. I don’t think, “Now I have these skills.” I don’t think in those terms at all.
… When you are making something new, you aren’t going to be able to use the same technique that you used on something else. Maybe other people think it is easier as they go along. I think part of the challenge is not to rely on things that you know, and to keep on listening. It is really a process of listening to what something needs. What’s right for it.
Conversations with Meredith Monk by Bonnie Marranca
Comments are welcome!
Q: In the “Black Paintings” you create a deep intellectual interaction and communicate a wide variety of states of mind. I admit that certain “Black Paintings” unsettle me a bit. I see in this series an effective mix between anguish and happiness. Rather than simply describing something, these paintings pose a question and force us to contemplation. Can you talk about this aspect of your work?
“The Storyteller,” soft pastel on sandpaper, 20″ x 26″
A: I’m sure you and other viewers will see all kinds of states of mind, like anguish, happiness, and everything in between. I think that’s wonderful because it means my work is communicating a message to you. Sometimes people have told me that my images are unsettling and that’s fine, too. I would never presume to tell anyone what to think about my work. As one reviewer put it, “What you bring to my work you get back in spades!”
Some of this is intentional, but some is not. My day-to-day experiences – what I’m thinking about, what I’m feeling, what I’m reading, the music I’m listening to, etc. – get embedded into the work. I don’t understand exactly how that happens, but I am glad it happens. This work does come from a deep place, much deeper than I am able to explain even to myself. After nearly three decades as an artist, the intricacies of my creative process are still a mystery. Personally, I am very fond of mysteries and don’t need to understand it all.
Comments are welcome!
barbararachkoscoloreddust.com 