What if...

What if there was a creator god who existed outside of his creation of time and space and matter, the whole universe, including this one planet we call earth.  What if this god, who I will call "Artist," designed creatures to inhabit this earth and put a unique pattern of himself in them, giving them the desire and satisfaction in making things as well? And the little artists could see and respond to clues and evidences of Artists's handiwork all around them? What if some of them were compelled to adore Artist, whom they had never seen or spoken to but somehow knew him by the evidence of the beauty and order of all the created things around them?

What if he really loved his little artists and wanted to communicate his love and desires to them directly? Being outside his creation of time and space and matter and they just tiny finite beings, he sent them tools to use, tools perfectly designed to help them better understand their creator and their fellow beings as well as to make beautiful things? But what if some of the little artists, selfish and greedy for more creative power than Artist, became destructive instead of creative?  Even though the tools were perfect, they misused them or in frustration just tossed them aside, preferring their own tools and methods?

But what if Artist, in his great love, began to send messages to them through special individual artists who could translate and communicate his intentions? Through these messengers, he critiqued their work, giving praise and correction. What if some artists received the messages with gladness but others rejected them outright, their works becoming dark and destructive and disturbing?

What if, in due time, Artist make an appearance among his creatures, limiting his power and becoming, for a short time, a little artist?  What if, while he was among them, he demonstrated perfectly how to use his tools to create beauty and harmony and order and peace? Would you think the little artists would be thrilled to have, as their very own teacher, THE teacher, the ARTIST, to help them make sense of their design, the Creator of all creators? Some fell in love with him and practiced his techniques and methods, using his tools  and sharing the good news all around. Others, however, did not! They resented his instructions and didn't believe he was the Artist come among them no matter how great were the works he demonstrated.

What if these disbelieving artists started talking about Artist to the established art schools and universities, saying that he was teaching improper or contrary methods, even claiming to be the creator of all creators, the Artist of all artists? What if these schools started to talk among themselves, seeking how they could censure him, silence him, forbid him to teach?  What if Artist disregarded their admonishments, knowing that their motives were only to preserve their institutions and self importance?

What if the established artists and institutions became furious at Artist and sought how they might have him arrested?  What if they paid people to swear falsely about him?  Little artists who had never even tried to make one good thing swore that he was doing it all wrong, leading them astray, teaching them to use the wrong tools! What if they did arrest him? In fear, his friends and followers ran away, leaving only the angry mob to testify. Somehow the trial got out of hand and Artist was sentenced to death,  And they killed him.

What if  Artist had known all along that this would happen? What if he loved his little artists so much that he was willing to go through it all with them so that they could know him and understand him and his techniques?  But, what if, being the Artist Creator who created time and space and matter and earth and all the little artists, couldn't stay dead, but came back to life? What if he did just that, and walked around, talked to his friends and followers, ate with them and taught them again for many days until it was time for him to go back to wherever it was that he existed outside of time and space and matter?  What if he told them that he was going away, but that he would come back again sometime in the unknowable future? And that he would send another messenger to help them remember his tools and teachings, to create many more good things and to share them with everyone they know?  What if this messenger was not like the earlier ones, who were only little artists, but actually another part of Artist that he would send in his place to always be there with them?

What if the rest of the story hasn't been written yet?  What if the believing artists are still creating good things, trying to use the tools well with the help of the Messenger? What if the disbelieving artists are still selfish and greedy and still trying to make up their own tools and techniques and only creating disharmony and destruction?  What if the Creator Artist is planning on that day when he returns to earth to make everything beautiful again, to make his artists great and to restore his creation to its original perfection and beauty?

What if this were all absolutely true, what kind of artist should you be?

Measure of Success

I often wonder what film stars experience when they encounter images of themselves in the movies they have made.  I feel a sort of pity when I see them as they appear today compared to their younger selves, frozen in perpetual beauty or virility.  Some become recluses, refusing to be seen in their decrepitude. Others spend fortunes on plastic surgery, refusing to accept the inevitable.  Their lives are lived in reverse.

You don't have to be a famous beauty to get depressed when you look at old photos of yourself. Anyone can feel a sense of loss for their own youth, well spent or otherwise. I feel a definite sort of pity for my younger sister, nine years my junior.  She has this continual reminder before her (me) of how she will be looking in about a decade!  Poor dear!!!  Those of us with Scotch-Irish complexions that have spent years in the sun do NOT age gracefully!!!

Painters have reminders of their past everywhere in their works hanging on the wall. Are the paintings which I did in my younger years better than what I am doing now?  Certainly if I use the ruler of financial success, I see myself as failing.  I used to sell a lot more than I do now.  If I rate my growth through the mastery of draftsmanship or technical skills, it might be a draw.  But, if I measure my success as an artist by the ability to paint from life, instead of photography, I think I'm miles ahead.  If I count the ability to paint a la prima, directly, without elaborate under painting, I am pleased with that. If I take into consideration my increasing ability to capture life-like skin tones, that is also progress.

I am not certain if I am a better painter but I am pleased with little steps of success.  Being a self-taught artist,  I haven't gone through the exercises that most artists have been schooled in.  So when I diverge from painting people to paint a landscape or a still life, I am thrilled!  Because I learned to paint people first and apples later, that is progress to me.

Now I'm doing "genre" paintings.  My brother has been bugging me for years to combine his expertise in western horsemanship, tack and lifestyle with my love of horses into creating some authentic Western Art. I have painted my first ever cow portrait!  Actually, it's a young bull (see earlier blog.)  I am just thrilled with the way it turned out.  The piece I am working on right now is three riders in an Arizona landscape.  I've done a careful under-painting so that I could get all the legs in perspective, looking believable.  As I model the forms in paint, my knowledge of horses come slowly rising out of the deep recesses of my brain, like a remembered language, long unused.  

Artists have it all out there, exposed and laid bare for people to see, much like movie stars.  How will you judge me?  Do you see me pushing against formula?  Am I gaining or just treading in place?  Can you see my struggles with personal expression and artistic integrity? Is my work relevant or passe'?

I consider this lovely little study (above) a success... Alie posed in costume as the Girl with a Pearl Earring.  I started it in the live session Tuesday night and finished it from a photo in a few hours Wednesday. It's not my "best" but it really works for me.  Hope I'm living my life forward, not in reverse!

Breakthrough

I've been working on this portrait of Eric for awhile.  I don't have a lot of time at one sitting but I have managed to put in about about 20 hours already.  The thing I loved about this sitting was the warm lighting on his face and the cool tones on his chest.... his skin looked almost translucent.  I wanted to find a way to replicate that.

The live sitting was a nice study (see earlier blog.) But the photo that I took of the session was beautiful and moody and dark and really inspired me to do another painting working from the photo.  I uploaded the images from my camera, tweaked them in PS, and then printed a couple out.  I'm ALWAYS disappointed in the results of the printer.  But I thought that with the original study and the images together I could get close to what I wanted. 

Then I got a brilliant idea.  I got my hands on our old PC and hooked it up on the table beside my easel with the monitor sitting on top of it and began paint off the monitor.  What a delight!  I opened a couple of photos from the session and now I can push and pull the values, zoom in and out as much as I want, and tweak the hue if needed.  Wish I had done this before.  It is fabulous.

Over the last year I have really gotten bold with mixing the skin tones.  Today I woke up from a nap with the idea of mixing raw ochre with dioxyzine purple for the skin tones.  That really started adding some life likeness to the build up. Also I have been using Liquin as a medium and absolutely learning to love it.  It makes the paints really move a lot but dries overnight so I build layers quickly. 

I'm also really happy to be learning how to paint at the drop of a hat.  I really don't have a lot of concentrated time to paint and the most time consuming part of oil painting is laying out the palette and cleaning it up.  And I don't care what system is advertised: they don't keep paints wet for long.  So I've got a nice little cigar box with a tight fit and a brass clasp that I fitted a pane of glass for.  I lay out my paints in there but mix them on a bigger pallette.  But when I'm ready to paint I pop open my homemade pochade and paint as little or as long as I like and then snap it shut when I'm done.  I still have to scrape down my bigger palette but that's not a problem.  Like a plein air painter, ready to go at the moment's notice.  Hope you like it.  More soon.

Creative Energy

I've been on hiatus. I decided to express my feelings of frustration and anger and even rage by painting them rather than writing in this journal. Perhaps it's because these emotions were unspeakably dark and I was afraid. Or maybe I just didn't want to dilute the passion by pouring it into too many vessels. I chose to paint.

I'm constrained after all, by the fact that my family and friends read this. Of course, I could write in secret, lock it with a key, "Dear Diary", and all that. However, constraints are not necessarily bad. They provide a framework, a metered verse, a haiku, into which I must form an economy of ideas and words.

But more than this, I needed to push away from the safety of the shoreline in my painting. Looking over the progression of my work this year I see growth, change and some success. But mostly I detect a change in direction from the painting of safe, pretty pictures to bolder statements of vulnerability and exposure. For that I needed to mine raw emotional materials that had not been codifed and cauterized through writing.

Of course, I am aware that I've just written about not writing and... I'm still writing... and I hope this hasn't siphoned off the energy needed for my next painting.

Artist's Block

I can't do anything. It feels like not being able to feed myself or forgetting how to walk. It's awful. I laid out my pallet, loaded up a brush with paint and brought it to the canvas and nothing happened. No shading, no contour, no values: just paint. I manipulated clay and it never became an arm or a nose or anything other than mud. My hands have betrayed me, my eyes do not see. I am bereft.

I question everything. Why do I bother? What does it all matter? Who cares if I make art? My art doesn't measure up anyway. I think I'll throw my paintings in the garbage or burn them. Smash my sculpture and stomp on it.

It fills me with despair. I blame myself, my husband, my bank account, my students, everything. What is wrong?

Am I tired? Am I empty? Have I given all and left nothing for myself? Have I failed to nourish my body, my spirit, my mind? Do I need to sleep? Walk? Play with the dogs? Swing on the hammock?

I'm going home now. I'm going to take a nap and sip a beer and swing on the swing and call my momma and play with the dogs and wish Isaac a happy birthday and watch a Woody Allen movie and sleep late in the morning and go to church and spend the rest of the weekend praising God for all his many many gifts. And maybe next week try it again.

Labor or Love?

Did I mention that painting is hard work? Learning to paint is like learning another language. Most people don't learn a new language overnight; it takes struggle and practice and lots of repetition. And if you ever think you've reached a level of competence but fail to use that newly acquired skill, it'll fall away quicker than you ever thought possible. You don't want to lose your fluency.

Each painting presents new challenges and opportunities for problem solving. I've been painting and repainting this one painting for a year. I almost scrapped it for the second time to start over but I decided to just put it aside for awhile and keep on struggling to get better and when I get better I'll return to it and figure it out.

When you look at the price of an original piece of art, you're not seeing the sum of an hourly rate but the accumulation of years of work. No amount of hard work is going to make some pieces become "art" and conversely, "art" is never achieved without a great deal of perspiration and perseverance. I will leave for another day the rant about "what is 'art'." For today's purposes, "'art' is work," albeit a labor of love.

Bags of Wind

The plastic bag is still tangled in the branches of the plum tree outside the kitchen window. It just flaps all day long, stuck on a bare, winter twig. A bit of man-made detritus skewered on a dead tree tip. It reminds me of the film shown at the art center last year. It consisted solely of a similar bag stuck in a similar tree top. Nothing happened. It just flapped in the wind endlessly, the film looping continuously. No beginning or ending. Futile. Barren. Ugly.

My bag will never be able to untangle itself. I'll have to get the ladder and clip it off. It affronts my sensibilities. I can't leave it there until it dries and tatters and eventually becomes concealed by the leaves.

Makes me wonder why I care. "What does it matter?" Is this a metaphor for the ugliness that has a tangle-hold on the world, that will never free itself, but must be cut out? Who defines what is beautiful or ugly? Or does it just offend my sense of orderliness and control over my immediate environment?

Maybe it is just my way of trying to bring order into the chaos of the cosmos, something I strive to do everyday with my art. I don't think bags blowing in the wind is art, nor do I think bags of wind can define what is art. (Yes, I do mean the double entendre.)

I'll get out there pretty soon and cut it down.

The Quiet

Decided to download John Michael Talbot's The Quiet. Just finished teaching a class; munching on crackers and peanut butter, trying to get my head and heart into the mode to create. It's really difficult to transition from one medium to another (clay to paint) as well as from the verbal (teaching) to the non-verbal (painting.)

One doesn't command creativity. It can sometimes be summoned by clearing your head of the trivial and dipping into the quiet. Diligently doing the hard work, the home work, sometimes precedes the flashes of inspiration, the muse, the divine.

Time to do the work.