Perception Shift

Perception Shift - 22 x 30 mixed media on mounted paper

 

The poet Rhina Espaillant says, “Writing is the process of listening internally - to understand what it is the poem wants to be.”  The process is the same for me, except that as a painter, I look more than I listen.

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The first poem (Common Threads 2015) that grabbed my attention, and caused that familiar tug of recognition was “Prospective Immigrants Please Note” by Adrienne Rich. I know nothing of what it is to be an immigrant, but I do know that there are many life altering doorways of transformation that each of us experience in the course of a lifetime, some that are of our own choosing, and some that unexpectedly slam behind us.

It is at those times that our perception shifts, priorities change and beliefs are challenged. Rich alludes to this perception shift in her poem, “Things look at you doubly / and you must look back / and let them happen." In my work I contemplate these shifts but ask what, if anything endures, or what does it take in order to persevere?

For several years I have focused on two motifs that serve as my metaphors to explore these questions. One example from nature – the tree, another man made – the house. Both of these endure the hostility of the ever-changing environment. Both serve as shelter. Both are equipped with different methods of coping and both ultimately decay. They bear witness to times constant wearing away on any notion of permanence, while I watch.

While watching, I seek brief moments of clarity, little glimpses of grace, the times when my eyes are focused so intently on seeing what is behind that damn veil of unknowing that I finally begin to see the hazy outline of something. I strive to give form to that something. I am filled with hope when I see a shape that remains the same no matter where I stand, and sustained by the knowledge of its existence even when it is hidden. I watch bare tree limbs reach unashamed and unprotected into the winter sky. I feel the fearlessness, the unwavering faith in the potential buds they carry while blissfully ignorant of what storms lay ahead. Again the poem, “to maintain your attitudes / to hold your position / to die bravely.”

Like a poet, I seek to extract some sort of meaning from these observations and find a way to share the encounter through shapes and colors on a flat surface. As Stephen Dobyns has so articulately written in his book "Best Words, Best Order", “A work of art gives testimony as to what it is to be human."  It is an exchange between one human being and another in an attempt to communicate and offer some existential relief in the recognition of our shared experience. As a painter, I am a wordless poet.

There will be an opening reception, September 20th from 1-3 pm surrounding Mass Poetry's "Common Threads", at Highfield Hall in Falmouth, MA that will include various pieces of art by myself and 7 other artists that have studio space in the Old Schoolhouse Studios in Barnstable Village, MA.  There will be poetry readings at 2:30 by three of the poets represented in this years selection. The show will be on view Sept 10 - Oct 31.

Watching vs. Doing

Relinquish 30" x 30" mixed media

An artist friend that just watched my video commented that she wanted to see me paint more in it. I chuckled at that.  Everyone wants to see how the magic happens, but I’ve come to think that it can become a diversion to someone else’s process to spend too much time watching mine.  I mean, I paint the way I paint because of the myriad of experiences I’ve encountered. The fact that I studied etching and printmaking as an undergrad, my struggles with crossing from black and white to color, my stint as a computer programmer, my somewhat melancholic outlook on life, my struggle to understand the purpose of it all. All these things influence the way I place a mark on the canvas. I don’t drip a line just because I can; I drip it because something cries out in me that can only be expressed by that drip.  For someone else to see that and think, hey, that dripping is cool and then to drip just to drip would be to miss the point.

 I think I mentioned before the book “No More Secondhand Art” by Peter London.  One of my favorite quotes is “It is better to rise to the questions Monet did then to mimic his responses”.  I think that watching other artists paint seduces us into wanting to mimic their responses, and we are such good imitators! It is so much easier to try on and experiment with someone else’s innovations and discoveries that to face the blank canvas and find our own voice and mark that evokes it.

I believe that Art is about more than technique, and technique is about more than a toolbox of tricks. In order to discover who we are as unique individuals with something personal to say through our art, we have to find our own way of ordering marks and colors. That is why I feel my best service, as a teacher, is to help each artist put together a toolbox of skills that they can then use to go out and innovate with. They must discover all the marks that only they can make, all the colors that they can mix, first hand, by doing!

My process has developed over a lifetime of moving marks and paint around on the canvas.  It also doesn't follow the same approach every time. How can I demonstrate that? I try to remain open to discovery and chance each time I face the canvas, because I feel that is what life is about.  Here is an example of the above painting in process, and I think watching it evolve over the course of several weeks shows how open I am to letting the painting take it's own direction. Go out and paint, stop worrying about how to do it, stop watching how everyone else is doing it, take a tip from Nike and "Just do it"!

To become a better artist?

I began this years teaching by asking my students what their goals were. A common response was "I want to become a better artist". Hmmmm. So, I have been given the arduous task of asking them to define what "better" means to them. Do they mean technically better? Drawing more accurately, seeing more accurately, finding color notes better? What do they believe getting better will achieve? More sales? Respect from other artists? Personal joy? All of the above? Unfortunately, the sad truth is, the better we become as artists, the more critical we become and the more it takes to wow us, so "better" is a goal that keeps on moving further and further away. I used to be able to go to an art show and come away inspired, now I often come away disappointed. It is hard to find anything of merit other than technical prowess and more of the same. The more of a connoisseur we become in anything, the harder it is to find things that satisfy our sophisticated palette. Think of wine and cheese. The same is true in art. The more I know about painting, the more I want to see artists find new ways of solving old problems. As a painting teacher, I feel I am not teaching them a craft that is to be proliferated redundantly, I want them to create work that comes from their individuality. Individuality often means non-conforming so it doesn't always translate into popularity as the majority of people will admire and praise the familiar.

One of my favorite authors on this subject is Peter London. In one of his books he cautions that anyone can be taught how to paint like Monet, stroke for stroke, but although the external result may look the same, the internal process is totally different. It is like jumping to the end of the story and only reading the last page. Every choice Monet made in refining his technique came from personal discovery. He didn't begin as an impressionist painter he evolved and discovered a new way of seeing that was uniquely his own. A way that was vehemently rejected by traditional art norms of the day.

So for me, becoming a "better" artist, is to become an artist that continues to search and remain open to the discoveries that are revealed along the way. "Better" doesn't guarantee "satisfied", to continue to grow, we must never be stalled by anyone's satisfaction, even our own!