Blog Archives
Pearls from artists* # 705
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
There are infinitely many ways to structure art and as many ways to construe it once it exists. One mark of a great poem, novel, symphony, or painting is that innumerable interpretations are generated—different people see it differently from one time to another. The hundredth time I taste an artwork I love, I still find something new in it, because I am different, and because there is some largeness or manyness in the art that can resonate with the changing versions of myself.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 704
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Why do we do art? There may be multiple and serious motivations, such as opening people’s eyes to injustice or saving the world; but if the activity to save the world doesn’t give us joy, what’s the point of having a world, and how will we have the wholeness and energy to carry on? This whole adventure of creativity is about joy and love. We live for the pure joy of being, and out of that joy unfold the ten thousand art forms and all the branches of learning and compassionate activity.
Stephen Nachmanovitch in Free Play: Improvisation in Art and Life
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Pearls from artists* # 640
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
When an artist changes and develops over the years, as is natural to any creative person, such change is met by howls of protest from the marketers. Sometimes an artist (or teacher, scientist, or spiritual guru) starts with something extraordinary, becomes a star, and then their gift is either frozen or perverted.
The growing and risky edge of creative work is devalued, treated as a frill or extracurricular activity decorating the routine of ordinary life. There are few mechanisms available for the artist to construct a self-sustaining way of living and working. “One gathers,” says Virginia Woolf,
“from the enormous modern literature of confession and self-analysis that to write a book of genius is almost always a feat of prodigious difficulty. Everything is against the likelihood that it will come from the writer’s mind whole and entire. Generally, material circumstances are against it. Dogs will bark; people will interrupt; money must be made; health will break down. Further, accentuating all these difficulties and making them harder to bear is the world’s notorious indifference. It does not ask people to write poems and novels and histories; it does not need them. It does not care whether Flaubert finds the right word or whether Carlyle scrupulously verifies this or that fact. Naturally, it will not pay for what it does not want. And so the writer, Keats, Flaubert, Carlyle, suffers, especially in the creative years of youth, every form of distraction and discouragement. A curse, a cry of agony, rises from those books of analysis and confession. “Mighty poems in their misery dead” – that is the burden of their song. If anything comes through in spite of all this, it is a miracle, and probably no book is born entire and uncrippled as it was conceived.”
Stephen Nachmanovitch in Free Play: Improvisation in Art and Life
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Pearls from artists* # 637
St. Malo, Brittany, France
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
After periods during which one has actively tried to solve a problem, but has not succeeded, the sudden right orientation of the situation, and with it the solution, tend to occur at moments of extreme mental passivity… A well-known physicist in Scotland once told me that this kind of thing is generally recognized by physicists in Britain. “We often talk about the Three B’s,” he said, “the Bus, the Bath, and the Bed. That’s where the great discoveries are made in our science.”
In my experience travel helps, too!
Wolfgang Koehler quoted in Free Play: Improvisation in Life and Art by Stephen Nachmanovitch
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Pearls from artists* # 636
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Some artists will rework a piece for half a lifetime before they know it is finished. An improviser may have to practice for years before being able to play a totally spontaneous minute of music in which every detail is right for its own fleeting moment. The great scientists and scholars are not those who publish or perish at any cost, but rather those who are willing to wait until the pieces of the puzzle come together in nature’s own design. The fruits of improvising, composing, writing, inventing, and discovering may flower spontaneously, but they arise from soil that we have prepared, fertilized, and tended in the faith that they will ripen in nature’s own time.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 635
Dinard, Brittany, France
*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 body of writing takes a thousand different forms,
and there is no right way to measure.
Changing, changing at the flick of a hand, its various
forms are difficult to capture.
Words and phrases compete with one another, but the
mind is still master.
Caught between the unborn and the living, the writer
struggles to maintain both depth and surface.
He may depart from the square, he may overstep the
circle, searching for the one true form of his reality.
He would fill the eyes of his readers with splendor, he
would sharpen the mind’s values.
The one whose language is muddled cannot do it;
only when mind is clear can language be noble.
Lu Chi quoted in Free Play: Improvisation in Art and Life by Stephen Nachmanovitch
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Pearls from artists* # 609
At the World Premier of “Barbara Rachko: True Grit” during the Newport Beach Film Festival
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Whether we are creating high art or a meal, we improvise when we move with the flow of time and with our own evolving consciousness, rather than with a preordained script or recipe. In composed or scripted art forms, there are two kinds of time: the moment of inspiration in which a direct intuition of beauty or truth comes to the artist; then the often laborious struggle to hold onto it long enough to get it down on paper or canvas, film or stone. A novelist may have a moment (literally a flash) of insight into which the birth, meaning, and purpose of a new book reveal itself; but it may take years to write it. During this time he must not only keep the thought fresh and clear, he must also eat, live, make money, suffer, enjoy, be a friend, and everything else human beings do. In composed music or theater, moreover, there is yet a third kind of time: besides the moment (or moments) of inspiration and time it takes to write the score, there is the time of the actual performance. Often the music is not even performed until after the composer’s death.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 608
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
There is in all of these forms of expression a unitive experience that is the essence of the creative mystery. The heart of improvisation is the free play of consciousness as it draws, writes, paints, and plays with the raw material emerging from the unconscious. Such play entails a certain degree of risk.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 606
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.
The most ephemeral thoughts and feelings are gradually shaped into hard copy that is worked over, painted over, edited, and refined before the public sees it. This is where the sculptor cuts away and polishes the stone, where the painter covers the beginnings of the image with layer upon layer of enriching re-vision.
The muse presents raw bursts of inspiration, flashes, and improvisatory moments in which the art just flows out. But she also presents the technical, organizational job of taking what we have generated, then filing and fitting and playing with the pieces until they line up. We arrange them, cook them, render them down, digest them. We add, subtract, reframe, shift, break apart, melt together. The play of revision and editing transforms the raw into the cooked. This is a whole art unto itself, of vision and revision, playing with the half-baked products of our prior play.
It is essential to perform that secretarial labor in a way that is not mechanical. Editing must come from the same inspired joy and abandon as free improvisation. Stravinsky tells us, “The idea of work to be done is for me so closely bound up with the idea of the arranging of materials and of the pleasures of the actual doing of the work affords us that, should the impossible happen and my work suddenly be given to me in a perfectly completed form, I should be embarrassed and nonplussed by it, as a hoax.”
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 604
*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 dealing with unconscious mind, we’re dealing with an ocean full of rich, invisible life forms swimming underneath the surface. In creative work we’re trying to catch one of these fish; but we can’t kill the fish, we have to catch it in a way that brings it to life. In a sense we bring it amphibiously to the surface so it can walk around visibly; and people will recognize something familiar because they’ve got their own fish, who are cousins to your fish. Those fish, the unconscious thoughts, are not passively floating “down there;” they are moving, growing, and changing on their own, and our conscious mind is but an observer or interloper. That is why Jung calls the depths of the unconscious the “objective psyche.”
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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