Link to a review of Christo, The London Mastaba
“The first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.” Chuck Palahniuk, American novelist and journalist
“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.” John F Kennedy
Related blog post; how I see art contributing to society
A way forward without being jealous of other artist’s work
Links related to Jealousy of other artist’s work
I now give myself artistic permission to be myself and make what I want. It is important to be acknowledged for my individuality and I have different strengths to my peers. I look at what makes me unique, and push it forward in my work.
Now when I need inspiration, I look in lots of places. I may look at other artist’s work to learn their processes but I don’t compare my output with their output. Instead, I feed off the creative ideas, take what l want and develop my own perspective and viewpoint. I avoid jealousy of other artist’s work because my own ideas are developing and growing.
Posts related to Jealousy of other artist’s work
|The benefits of adversity|
I wish I could paint every day…
Related post to Every day I paint;
Related links and posts to every day I paint
A related post to the places to go for inspiration
Related links to the places to go for inspiration
- “Instead of having a career plan, make a list of everything you want to do and just do the next thing on the list.”
- “Goals are like mountains in the distance.” Set them and be clear what they are.
- “Do things that feel like an adventure. Learn to write by writing. [For a painter, learn to paint by painting]. Stop when it feels like work.”
- “A life in the arts, is sometimes like putting messages in bottles on a desert island, and hoping that someone will find one of your bottles, open it and read it, and put something back in a bottle that will wash its way back to you: appreciation, or a commission, or money, or love. But you have to accept that you may put out a hundred things for every bottle that winds up coming back to you.”
- “Nothing I did where the only reason for doing it was the money, was ever worth it.” If you do things you’re proud of and if you don’t get paid, at least you will be proud of your work.
- “The problems of success. They’re real, and with luck, you’ll experience them all. The point where you stop saying yes to everything is because now the bottles you threw in the ocean are all coming back, and you have to learn to say no.”
- “Write fewer emails, write [and paint] more.”
- “Get out there and make mistakes.”
- After you have finished copying things remember, “The moment that you feel that, just possibly, you’re walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That’s the moment you may be starting to get it right.”
- “Do the stuff only you can do.”
- “You should enjoy it, let go and enjoy the ride. Don’t worry about the next deadline or the next idea.”
- “Make up your own rules.”
- “Pretend that you’re someone who is already successful… and pretend to be wise.”
- “Make good art!”
- “And now go, and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break the rules. Leave the world more interesting for your being here. Make good art.”
Here is the full speech:
If you would like to learn more about Neil please click this link below.
Allowing freedom in the studio for creative 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 of 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 a problem-creation stage than a 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.
Related blog posts:
Beginning an artwork
“In musical compositions, so long as we hear merely single tones, we do not hear the music. Hearing music depends on the recognition of the in-between of the tones, of their placing and their spacing.”
“visual equivalent of a tenor reaching a high note.”
The Helsinki Bus Station theory:
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.