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Pearls from artists* # 484

Behind the scenes of our documentary. Photo: David De Hannay

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

[Walter] Murch: We hope we become better editors with experience! Yet you have to have an intuition about the craft to begin with: for me, it begins with, Where is the audience looking? What are they thinking? As much as possible, you try to be the audience. At the point of transition from one shot to another, you have to be pretty sure where the audience’s eye is looking, where the focus of attention is. That will either make the cut work or not.

[Michael] Ondaatje: So before you make the cut, if you feel the audience is looking towards point X, then you cut to another angle where the focus of attention is somewhere around that point X.

The Conversation: Walter Murch and the Art of Editing Film by Michael Ondaatje

This passage in Ondaatje’s book resonates because I work similarly to refine and construct each pastel painting. My goal is to move the viewer’s eye around in an engaging and interesting way. This part of my process is subtle so I suspect that most of my audience neither appreciates nor even suspects that I have done it.

Comments are welcome!

Pearls from Artists* # 313

Barbara and Tomas in Panajachel, Guatemala

Barbara and Tomas in Panajachel, Guatemala

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

Proclaiming that the object in Surrealism was fundamental, [Andre] Breton suggests a radical transition in surrealist creation, one that liberated the poet-artist from all constraints in the making of the artistic object.  Breton’s text calls for a “revolution of the object,” suggesting that in the placing of an object into a new context, and thus attributing it with a new meaning – also called a “detournement” – which takes precedence.  Drawing in his interpretation of Hegelian subject-object relations, Breton describes the “object” as a work of art that relies on a philosophical procedure, affirming the surrealist process as one that is realized in the experience of apprehending the object through a dialectical method.  Citing the work of Marcel Duchamp and Max Ernst, Breton explains that an object may become a product of surrealist creation through the simple “manipulation” of it.  Here ”manipulation“ is defined as a procedure which reveals the object in its original and new state at the same time.  If taking an object out of its original context and placing it in a new space creates the potential for a creative act, then this text seems to validate the surrealist practice of collecting.  As the collector acquired objects and unites them in a gallery or a home, they assume new significance contingent upon their physical juxtaposition to other objects.

Moon Dancers:  Yup’ik Masks and the Surrealists, edited by Jennifer Field, Introduction by Christina Rudofsky

Comments are welcome!

Pearls from artists* # 311

On the road in Bolivia

On the road in Bolivia

*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 nature, light and shadow create ephemeral moments of beauty.  To experience the transition from sunset to night we must await and cherish each fleeting moment and not just the finale.  We must be attentive to beauty revealing all its moods.

Amy Tan in In Character: Opera Portraiture, John F. Martin, Foreword by Amy Tan, Preface by David Gockley.

Comments are welcome!

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