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Q: Why do you always work in series?
A: I don’t really have any choice in the matter. It’s more or less the way I have always worked so it feels natural for my creative output to unfold in series.
Art-making comes from a deep place. It’s a way of making one’s time on earth matter. Working in series mimics the more or less gradual way that our lives happen, the way we slowly evolve and change over the years. Life-altering, “A-Ha” moments happen, certainly, but seldom do we wake up drastically different – in thinking, in behavior, etc. – from what we were the day before.
Working in series feels authentic. It helps me eke out every lesson my pastel paintings have to teach. With each completed piece, my ideas and my creative process are able to progress a step or two further.
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Pearls from artists* # 662
“Harbinger,” 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 main thing is that you follow your work. Follow it as truthfully as you can. You know, even when you get into ditches and stuff like that, rather than holding an idea of what you want it to be, rather than trying to manipulate your life to be a particular way […] let your life just unfold itself.
Kiki Smith quoted in Art From Your Core: A Holistic Guide to Visual Voice by Kate Kretz
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Q: Why do you work in series?
“Bolivianos” paintings in progress and on the walls and floor
A: I don’t really have any choice in the matter. It’s more or less the way I have always worked so it feels natural. Art-making comes from a deep place. In keeping with the aphorism ars longa, vita brevis, it’s a way of making one’s time on earth matter. Working in series mimics the more or less gradual way that our lives unfold, the way we slowly evolve and change over the years. Life-altering events happen, surely, but seldom do we wake up drastically different – in thinking, in behavior, etc. – from what we were the day before. Working in series feels authentic. It helps me eke out every lesson my paintings have to teach. With each completed piece, my ideas progress a step or two further.
I remember going to the Metropolitan Museum to see an exhibition called, “Matisse: In Search of True Painting.” It demonstrated how Matisse worked in series, examining a subject over time and producing multiple paintings of it. Matisse is my favorite artist of any period in history. I never tire of seeing his work and this particular exhibition was very enlightening. As I studied the masterpieces on the wall, I recognized a kindred spirit and thought, “Obviously, working in series was good enough for Matisse!”
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Pearls from artists* # 59
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.
Friends sometimes ask, “Don’t you get lonely sitting by yourself all day?” At first it seemed odd to hear myself say No. Then I realized that I was not alone; I was in the book; I was with the characters. I was with my Self.
Not only do I not feel alone with my characters; they are more vivid and interesting to me than the people in my real life. If you think about it, the case can’t be otherwise. In order for a book (or any project or enterprise) to hold our attention for the length of time it takes to unfold itself, it has to plug into some internal perplexity or passion that is of paramount importance to us. The problem becomes the theme of our work, even if we can’t at the start understand or articulate it. As the characters arise, each embodies infallibly an aspect of that dilemma, that perplexity. These characters might not be interesting to anyone else but they’re absolutely fascinating to us. They are us. Meaner, smarter, sexier versions of ourselves. It’s fun to be with them because they’re wrestling with the same issue that has its hooks into us. They’re our soul mates, our lovers, our best friends. Even the villains. Especially the villains.
Stephen Pressfield in The War of Art
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Pearls from artists* # 42
Balinese dancer
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Things-as-they-are offer such an abundance of material that a photographer must guard against the temptation of trying to do everything. It is essential to cut from the raw material of life – to cut and cut, but to cut with discrimination. While working, a photographer must reach a precise awareness of what he is trying to do. Sometimes you have the feeling that you have already taken the strongest possible picture of a particular situation or scene; nevertheless, you find yourself compulsively shooting, because you cannot be sure in advance exactly how the situation, the scene is going to unfold. You must stay with the scene, just in case elements of the situation shoot off from the core again. At the same time, it’s essential to avoid shooting like a machine-gunner and burdening yourself with useless recordings which clutter your memory and spoil the exactness of the reportage as a whole.
Henri Cartier-Bresson in Images a la sauvette
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