18×18, acrylic on cradled panel
18×18, acrylic on cradled panel
“Here, where I am surrounded by an enormous landscape, which the winds move across as they come from the seas, here I feel that there is no one anywhere who can answer for you those questions and feelings which, in their depths, have a life of their own; for even the most articulate people are unable to help, since what words point to is so very delicate, is almost unsayable. But even so, I think that you will not have to remain without a solution if you trust in Things that are like the ones my eyes are now resting upon. If you trust in Nature, in the small Things that hardly anyone sees and that can so suddenly become huge, immeasurable; if you have this love for what is humble and try very simply, as someone who serves, to win the confidence of what seems poor: then everything will become easier for you, more coherent and somehow more reconciling, not in your conscious mind perhaps, which stays behind, astonished, but in your innermost awareness, awakeness, and knowledge.”– Ranier Maria Rilke (Letters to a Young Poet)
The alchemists have a saying: ‘Tertium non datur.’ The third is not given. That is, the transformation from one element to another, from waste matter into best gold is a mystery, not a formula. No one can predict what will form out of the tensions of opposites and effect a healing change between them. And so it is with the mind that moves from its prison to a free and vast plain without any movement at all. Something new has entered the process. We can only guess.– Jeanette Winterson
This painting has been on and off my easel since February. And although I wouldn’t call it gold, I can say that the process of making it had an alchemical quality. Put another way: I have no idea what I’m doing or why, but always have transformation foremost in my mind.
I came to painting unconventionally, with no memories of childhood painting aptitude and little painting experience outside of my elementary school art classes. I’ve always liked to draw, but my ability to render what I saw was never remarkable. Playing sports and being a good student were more my things.
There is some photographic evidence that hints of my early interest in painting, but being an artist was never part of my identity. I’m not sure what it would mean to claim that identity at age 50. Nor do I really feel I must do so, at least not any more than I’ve defined myself in other ways. Am I a painter? Someone who likes to paint? Is there really a difference?
I don’t know. I’m just curious about these sorts of things, most especially how each of us develops and claims aspects of ourselves that have been unknown or previously dormant.Continue reading
The biggest challenge to progress is our resistance to move beyond the known.
I’ve grown comfortable with blues and greens, a color palette that soothes me. But mixes of red tones have found their way into a couple of recent paintings, perhaps inspired by the spectacular sunsets of late.
Although there are things I like about the paintings, a subtle tension becomes evident when I look at them, an experience that reminds me how difficult it is to gaze upon the unfamiliar.
The painting shown above is one example.
Of course, it could also be that the painting doesn’t work well in some way, the reason I feel a bit off center when I look at it. But I also know that our perception about what “works” is largely determined by what we’ve learned that means.
How do we know what we could like if we never try anything new?
I make this post – open to feedback about the painting, as always – but also as a conversation starter about moving beyond the known.
Where do you find it most challenging to sit with the unknown in your life?
I’m struggling to come up with a title and need your help. Any ideas?
What does the image evoke for you?
Thanks in advance for anything you’d like to share – critique, encouragement, title suggestion, or a combination thereof 💚
Beyond the known lies©️ Amanda Reilly Sayer
A blank canvas for your dreams
Paint outside the lines