I started this painting on the afternoon of January 6th, while unbeknownst to me violence was unfolding in the U.S. Capitol. I “finished” it the next morning, moving it out of a much uglier stage. Although I’m not sure I’ve moved it far enough out of “ugliness,” I also know it’s good to sit with it all, that the truth of a moment doesn’t always appear beautiful in the ways we’ve known. And also, that ugliness and beauty are mostly ideas and relative to their context. Art is not always visually appealing; movement doesn’t always feel good. My paintings don’t usually name themselves when they aren’t finished, but this one did, so maybe it is.
I finished this small 10×10 painting the day after the winter solstice. I love that painting can transport me to another season and hope the outcome will provide a little extra warmth for you too.
“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)
My friend Diana Peach, a talented and generous writer, offered me a gift the other day. The gift came in the form of an exchange about creativity that added a layer of color to the evolving picture of my creative journey, my purpose for making art. I wanted to share it with you all in case the conversation, along with my associated thoughts, has any relevance for you. Also, you may want to follow Diana’s blog and make her your friend too!
In response to Diana’s comment on my most recent blog post about painting, I offered this:
I don’t often know why I feel compelled to write about something in particular. My ‘muse’ often seems to have an agenda beyond my ego’s comprehension. Through painting (and writing too), I often see where I am limited and where there is greater capacity than I recognize (or realize). I’m always looking to connect with others who are thoughtful about the creative journey, which surpasses any particular work of art (painted, written, or otherwise). Sometimes I think I care more about how we create than what is created. But that may simply be a stage in my creative journey. I wonder about yours. How you came to allow yourself to access the stories that live in you. Whether it was effortful (or perhaps still is?) or more like breathing (effortful moments nestled in automaticity/flow).
“Sometimes I think I care more about how we create than what is created.” A lovely musing and one I can relate to. I never tire of learning about the creative impulse and process of other artists. It’s utterly mesmerizing. I still seek that fluid balance of effortless inspiration and effortful craft.
Until Diana quoted me back to myself, I’m not sure I fully appreciated the extent to which process has been more important to me than outcome. My attention to process was the reason I started this blog, but in the making of things I’d almost forgotten that.
I’m not the best painter or writer, nor do I expect myself to be. I am most interested in growth and evolution – my own and others’. I get better when I attend more fully to process, to understand where I am not allowing flow. I wonder how true that may be for others besides Diana and me.
We communicate imperfectly. We make offerings to each other without any certainty about how they will be received, without any sense of what we may get in return. Still, we try. We write. We paint. We share in whatever mediums and by whatever means we have. And I believe it is in the trying and sharing – the willingness to engage in common space – that we get closer to clarity. Sometimes we even get answers to questions we didn’t know we were asking!
By sharing, we allow ourselves the possibility of fresh air, which by definition is a kind of inspiration. In breath, the energy exchange with others, we may find a clearer path to creative flow in the midst of our effortful crafting. If any of this resonates, I’d love to hear from you!
For those of you who aren’t painters, I want to tell you this secret. To be a painter – even an amateur one like me – you also have to be a gambler. Painters have to be willing to lose, repeatedly, until a painting is finished.
Every time I make a painting, I reach a point where I must put everything on the line, bet it all on the next brushmark. And many times, I lose.
Now, I’m not a gambler in any other way. The only slot machines I ever remember playing were the ones I visited at the Las Vegas airport en route to the Grand Canyon. I didn’t win. Lottery tickets tempt me sometimes. But the potential jackpot is less compelling than the greater likelihood of losing. I’ve never considered myself particularly lucky.
Instead, I prefer a sure thing if I can get it. I am a creature of routine and sameness for this reason. I know what I like and try to maximize my chances. Maybe I just like control. Don’t most of us?
But painting is never a sure thing. It’s a practice of uncertainty and risk. Painting is always a gamble.
The first brush strokes come with low stakes. There’s a lot less to lose when so little has been invested. But as a painting progresses, so increase the moments of possible ruin. With each new brush stroke, the razor’s edge becomes thinner.
Yes, mistakes can be corrected and even Bob Ross style happy accidents may add life to a painting. But I can tell you it’s not as easy to fix a painting as you might think, especially not if you want to preserve some precious part you’ve attached to. Changing one thing often creates a domino effect of other needed adjustments. This is doable. In fact, better paintings often result. But there is almost always something lost. And it is a gamble. The losses may never be recouped by the final bet.
When you look at a painting, there is typically no hint of the artist’s sweat, or that razor’s edge in view. You decide if you like it or not, and move on. You don’t see the paintings that have been tossed, scraped down, or sanded away, sometimes after countless hours of attention. But the artist remembers. The artist can’t separate the painting from the process of making it.
Maybe there are painters out there who don’t identify with what I’m saying at all. I’d love to know YOUR secret! And I’m aware there are ways of painting that make outcome more predictable. Still, I recently heard that Anne Packard once threw one of her paintings into the ocean. I know the struggle is real, even for great painters!
And I know the paintings I’ve wanted to throw into the ocean are often the ones I become most attached to. I don’t throw away the ones I don’t like. Instead, I let them rest where they taunt me until I have the courage to go back and try again. These are the ones I suspect others won’t value the same way I do; these are the ones that contain a bigger piece of my heart.
I don’t really like gambling. I hate to lose, especially in a contest with myself. I’ve had enough loss in my life already. But I am a painter, which requires me to be a gambler. I keep painting. Because sometimes I win. And only because I am willing to try again.
And sometimes I even understand: What is meant to be kept, can never truly be lost.
And sometimes I even know: we only find out what is truly possible, when we are willing to surrender everything we have attached to.
Are you a gambler? Are you willing to release the things that hold you back for the possibility of something greater?
Here are a few recent paintings that were saved from the trash.