When starting as an artist rather than waiting for a big idea, I took my camera to the city. I took pictures of everything and anything that interested me. I just pressed and released the shutter. When l reviewed my photos, l realised that l was naturally discovering interesting material. My ideas came from living, painting and repeating.
When returning to the city with my camera, l followed my natural curiosity and my ideas deepened and expanded. At times it was hard to choose which way to take my work. It was essential to review and understand what l had. I took many directions but kept returning to taking photos of the city and taking them forward by painting them on canvas. The trick is not to give up Helsinki Bus Theory link.
I realised over time that my original idea was chasing some obscure knowledge through a simple process that I could repeat.
I feel like I have been painting the same painting for ten years as now I realise that my original ideas just got the work started. The original idea is still in my work but it has changed and developed in ways l could never have predicted. My work has grown to portray something unique that help us to understand our life on this earth a little better.
These seeds begin to germinate in many different directions like a plant does when it is attracted to light and water. It has taken many years for my original ideas and intentions to bloom into flowers. Now the interesting thing is not my original ideas or intentions. It is that l have found my way to communicate; my unique voice and inclination. As my work has deepened and expanded, it has lined up with natural talent, unlocking bigger ideas. Bigger ideas that l could never have predicted ten years ago.
The point of this post is that it is impossible to know where your practice as an artist will take you. One of the biggest challenges is learning to trust the decisions you make and to stop doubting yourself. Instead, l have developed confidence in my inner voice even when l can’t see where it is taking me.
My advice is to play, as there is no such thing as a mistake. Anything can lead to a breakthrough. If self-doubt is getting the best of you put your trust in a process and live, paint, repeat.
Over time when you review your work a way forward should reveal itself. Trust yourself and your creative process. Rather than paying attention to your own intentions, pay attention to what the work actually does. When the thinking and doing come together the work becomes more convincing.
Allowing freedom in the studio for creativity exploration is essential. When I work on a plain sheet of paper or in my sketchbook, I seek to have an openness in my drawings that allows and embraces a large number directions and options that can be pursued. A chain of evolution takes place in my pictures over an extended period of time and patience is essential. Working on and towards a finished piece too early can make the outcome contrived and often can leave me frustrated.
This explorative phase is more like problem-creation stage than problem-solving stage. I am looking to generate new ideas to stimulate my visual imagination and leaving space for creativity and ambiguity. I have often found that without this freeness, the development and exploratory of my thoughts are restricted, and the work comes to a dead end.
With creative freedom in my drawings, my insight and intuition give me an inkling of what to do next allowing me to focus on specific issues and open questions. I can then remove certain details and concentrate on the whole by copying and repeating to expand conceptual ideas and structures by following a hunch.
Inspiration is an essential ingredient and can come from chaotic and imprecise work made with an open mind or by viewing another artist’s work or for me, by being inspired by the city. Accidents and chance can lead to seeing embedded ideas in a different way. The freeness leaves space to suggest moods and emotions and enhancing abstract concepts. I often feel the need to revisit unresolved ideas and expanding on them. Sometimes this leads to radical changes and often, exciting new artwork.
It is always important to remember that overworking can remove the essence, spirit, the actual original thoughts, and potential. The outcome is successful when the liberty and pleasure are still visible. After all seemingly effortless art signifies greatness and shows the way forward for an artist who can then capture what is immaterial into the material.
The Helsinki Bus Station: let me describe what happens there.
Some two-dozen platforms are laid out in a square at the heart of the city. At the head of each platform is a sign posting the numbers of the buses that leave from that particular platform. The bus numbers might read as follows: 21, 71, 58, 33, and 19.
Each bus takes the same route out of the city for a least a kilometer stopping at bus stop intervals along the way where the same numbers are again repeated: 21, 71, 58, 33, and 19.
Now let’s say, again metaphorically speaking, that each bus stop represents one year in the life of a photographer, meaning the third bus stop would represent three years of photographic activity.
Ok, so you have been working for three years making platinum studies of nudes. Call it bus #21.
You take those three years of work on the nude to the Museum of Fine Arts Boston and the curator asks if you are familiar with the nudes of Irving Penn. His bus, 71, was on the same line. Or you take them to a gallery in Paris and are reminded to check out Bill Brandt, bus 58, and so on.
Shocked, you realize that what you have been doing for three years others have already done.
So you hop off the bus, grab a cab (because life is short) and head straight back to the bus station looking for another platform.
This time you are going to make 8×10 view camera color snapshots of people lying on the beach from a cherry picker crane.
You spend three years at it and three grand and produce a series of works that illicit the same comment: haven’t you seen the work of Richard Misrach? Or, if they are steamy black and white 8×10 camera view of palm trees swaying off a beachfront, haven’t you seen the work of Sally Mann?
So once again, you get off the bus, grab the cab, race back and find a new platform. This goes on all your creative life, always showing new work, always being compared to others.
What to do?
It’s simple. Stay on the bus. Stay on the f*cking bus.
All comments most welcome!!! Please join in the conversation and make a comment.
Have you used oil bars in your creative practice? Feel free to share your successes below.