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Pearls from artists* # 56

Utah

Utah

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

Balancing intuition against sensory information, and sensitivity to one’s self against pragmatic knowledge of the world, is not a stance unique to artists.  The specialness of artists is the degree to which these precarious balances are crucial backups for their real endeavor.  Their essential effort is to catapult themselves wholly, without holding back one bit, into a course of action without having any idea where they will end up.  They are like riders who gallop into the night, eagerly leaning on their horse’s neck, peering into a blinding rain.  And they have to do it over and over again.  When they find that they have ridden and ridden – maybe for years, full tilt – in what is for them a mistaken direction, they must unearth within themselves some readiness to turn direction and to gallop off again.  They may spend a little time scraping off the mud, resting the horse, having a hot bath, laughing and sitting in candlelight with friends.  But in the back of their minds they never forget that the dark, driving run is theirs to make again.  They need their balances in order to support their risks.  The more they develop an understanding of all their experience – the more it is at their command – the more they carry with them into the whistling wind.

Anne Truitt in Daybook:  The Journal of an Artist

Pearls from artists* # 7

Barbara's studio

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.

It’s painful to think of the number of paintings that don’t work, not only my own, but also what I see in galleries and museums.  Such failures may be adequately painted but they don’t sing.  They left the studio but they aren’t happy about it.  It’s simple and inevitable:  there’s work we artists do that doesn’t come together.  And for each of us there’s only one solution to this problem.  You just continue to make paintings, and you make more paintings, and then for no particular reason all of a sudden you start to click and all the pieces that you’ve been working with, the direction you’ve been perceiving “as if through a glass darkly” is now open and clear, in all its glory.  We paint and everything falls into place.  That expression of “being in the zone” expresses the experience perfectly.  There is a momentum you’ve built up which was essential to this work.  If you had been waiting for inspiration, waiting for that flow to begin, it would have caught you too flat-footed to notice.  It arrived out of the readiness that all the previous work created in you.  Regardless of how sluggish that process may have seemed at the time, things were lining up in preparation, ideas were formulating.

Ian Roberts, Creative Authenticity: 16 Principles to Deepen Your Artistic Vision

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