Blog Archives

Pearls from artists* # 672

From Barbara’s website

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

Let me now, therefore, turn directly to the question of the European individual and, for a start, cite the observations of the Swiss psychologist, Carl G. Jung, throughout whose works the term “individuation” is used to indicate the psychological process of achieving individual wholeness. Jung makes the point that in the living of our lives every one is us is required by his society to play some specific social role. In order to function in the world we are all continually enacting parts Jung calls personnae, from the Latin persona, meaning “mask, false face,” the mask worn by an actor on the Roman stage, through which he “sounded” (per-sonare, “to sound through). One has to appear in some mask or other if one is to function socially at all; and even those who choose to reject such masks can only put on others, representing rejection, “Hell no!” or something of this sort. Many of the masks are playful, opportunistic, superficial; others, however, go deep, very deep, much deeper than we know. Just as every body consists of a head, two arms, a trunk, two legs, etc., so does every living person consist, among other features, of a personality, a deeply imprinted persona through which he is made known no less to himself than to others, and without which he would not be. It is silly, therefore, to say, for example, “Let’s take off our masks and be natural!” And yet – there are masks and masks. There are the masks of youth, the masks of age, the masks of the various social roles, and the masks also that we project upon others spontaneously, which obscure them, and to which we then react.

Joseph Campbell in Myths to Live By

Comments are welcome!

Pearls from artists* # 644

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.

Making the work you were born to make is a radical act of resistance in the current social climate. It refuses to hold money or power as its highest value. It takes as much time as it needs. It demands quiet and stillness. It involves deep reflection and reverence. It prioritizes uncool traits of curiosity, wonder, and earnestness. It shuns the superficial, contorting to reach far beyond it for the significant. It answers to no one but itself and has not been diluted by corporate committee. It doesn’t pander. It can tell stories that make people uncomfortable. And, despite all attempts to frame it as such, unlike most other activities, art is not a competitive sport.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Pearls from artists* # 605

“The Mentalist,” Soft Pastel on Sandpaper, 26” x 20” Image, 35” x 28.5” Framed
“The Mentalist,” Soft Pastel on Sandpaper, 26” x 20” Image, 35” x 28.5” Framed

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

At first the concept of the unconscious was limited to denoting the state of repressed or forgotten contents. Even with Freud, who makes the unconscious – at least metaphorically – take the stage as the acting subject, it is really nothing but the gathering place of forgotten and repressed contents, and has a functional significance thanks only to these. For Freud, accordingly, the unconscious is of an exclusively personal nature, although he was aware of its archaic and mythological thought forms.

A more or less superficial layer of the unconscious is undoubtedly personal. I call it the personal unconscious. But this personal unconscious rests upon a deeper layer, which does not derive from personal experience and is not a personal acquisition but is inborn. This deeper layer I call the collective unconscious. I have chosen the term “collective” because this part of the unconscious is not individual but universal; in contrast to the personal psyche, it has contents and modes of behavior that are more or less the same everywhere and in all individuals. It is, in other words, identical in all men and thus constitutes a common psychic substrate of a suprapersonal nature which is present in every one of us.

Carl Jung in The Archetypes and the Collective Unconscious, translated by RFC Hull

Comments are welcome!


Pearls from artists* # 493

Our documentary film crew

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

Professional opportunities in the art world almost always come out of personal connections, and community – almost by definition – is the way to make them. That’s not a prescription for superficial networking or obnoxious self-promotion, neither of which will get you anywhere. It means realizing that the chance to get a piece into a group show or meet a gallerist will probably come through someone you know and rspect, who knows and respects you.

Depending on your temperament, building community can feel daunting, artificial, or fun. There’s no need to subject yourself to awkward conversation at stuffy cocktail parties. Just keep in touch with your friends and professors from art school, attend local openings, and be open to meeting new people at events. If you’re shy, bring a friend along. It’s easier to break your way into conversation when you have a sidekick, and then you can talk about each other’s work instead of your own.

In Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber

Comments are welcome!

Pearls from artists* # 282

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” soft pastel on sandpaper, 26″ x 20″

*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 longstanding, at one time almost universal, dismissal of one of the greatest artists of the twentieth century as essentially decorative and superficial is based, at any rate in part, on a simplistic response to the poise, clarity and radiant colour of Matisse’s work that fails to take account of the apprehensive and at times anguished emotional sensibility from which it sprang.

Hilary Spurling in Matisse the Master, A Life of Henri Matisse:  The Conquest of Colour, 1909 – 1954  

Comments are welcome!