creativity
Artist and Medium Work Together to Create Art
Thursday, May 14, 1998
I have decided at least on some of the antlers, if not all, that I’m going to trust my inner vision and abandon the use of images by others, save in the execution of commissioned works.
I spent about two hours last night beginning to design what was going to be a carving called 'Running Wolf' on one of the antlers that I received from Patrick Maloney. It will now be called 'Triangles' (later, 'Candle Ice') and will consist of a series of triangle shapes that interlock and inter-lap.
I feel much freer and happier, at peace now with the design process. The design now can reflect the architecture of the antler rather than placing that innate architecture at the mercy of an external image.
Rather than the artist and the medium being subject to an externally generated image, artist and medium can now work together on each other to create art.
I spent about two hours last night beginning to design what was going to be a carving called 'Running Wolf' on one of the antlers that I received from Patrick Maloney. It will now be called 'Triangles' (later, 'Candle Ice') and will consist of a series of triangle shapes that interlock and inter-lap.
I feel much freer and happier, at peace now with the design process. The design now can reflect the architecture of the antler rather than placing that innate architecture at the mercy of an external image.
Rather than the artist and the medium being subject to an externally generated image, artist and medium can now work together on each other to create art.
Art, Time and The Idea
Thursday, January 09, 1997
Further thoughts about art - I have had more ideas for animal groups, with tangle blocks, lines, circles et cetera for background, or as part of the surface texture of the animals.
I’ll start tracking the time I spend on each piece.
It occurred to me yesterday that the creative process is central to an artist. Technique is secondary, secondary because it can be worked on and improved, whereas the 'idea' is that from which all else flows.
I’ll start tracking the time I spend on each piece.
It occurred to me yesterday that the creative process is central to an artist. Technique is secondary, secondary because it can be worked on and improved, whereas the 'idea' is that from which all else flows.
Creativity or Conformity?
Saturday, July 06, 1996
Much of what we learn in youth depends on conformity: language, behaviour, goals, hopes, dreams et cetera. We are trained to “fit.”
Creative thinking is almost always met with resistance but is transforming once people see the power of a new way.
Creative thinking is almost always met with resistance but is transforming once people see the power of a new way.
Celebration of Creativity
Saturday, April 13, 1996
A celebration of creativity, from carving and sculpture to writing, free-flowing and from the soul. This will be my contribution to this world. Joy, celebration, life, death, suffering, pain, love, hate, the range of human emotional and spiritual life and the beauty and power of creation itself are what I wish to express through what I will do.
Patrick Royle on Production Pottery and Fine Art
Friday, March 29, 1996
(Patrick Royle is a potter living in Whitehorse, Yukon, Canada, best known for his production pottery, Fireweed Series)
I talked with Patrick Royle last night about "production" pottery. I was curious to learn if he would rather work at a "regular job" and work on his "fine art" pottery in his spare time. This, instead of barely making ends meet with the product line he swore he'd never do.
His answer to taking a job was an unqualified no. He said that he loved his medium and was happy to work in it all the time. He has decided to do both and to give one full day a week (or more, before a show) to his fine art clay.
What a great attitude, one which I will emulate. The appreciation for the fact that I'll be working in antler, horn and ivory alone will be enough to carry me through the "production" pieces and fire my creative energies for larger pieces. Actually, I may be lucky in that every piece I do is an original, which enables me to take creative freedoms with each piece.
I talked with Patrick Royle last night about "production" pottery. I was curious to learn if he would rather work at a "regular job" and work on his "fine art" pottery in his spare time. This, instead of barely making ends meet with the product line he swore he'd never do.
His answer to taking a job was an unqualified no. He said that he loved his medium and was happy to work in it all the time. He has decided to do both and to give one full day a week (or more, before a show) to his fine art clay.
What a great attitude, one which I will emulate. The appreciation for the fact that I'll be working in antler, horn and ivory alone will be enough to carry me through the "production" pieces and fire my creative energies for larger pieces. Actually, I may be lucky in that every piece I do is an original, which enables me to take creative freedoms with each piece.
Two Hours To Creative Freedom?
Thursday, February 29, 1996
After the video, I slipped into the workshop and began. Two hours later, I emerged. Midnight. It felt so good.
I can see the end of the horn carving now. It does not seem to be a medium that will hold detail exceptionally well because of the hair structure of the horn.
When in the process of creating, I could work forever. It is indeed timeless. However I notice that after two hours, I tend to get a little careless. Yet this is the point when I begin to make cuts and shapes freely. Perhaps this is the time barrier to creative freedom?
After carving, I watched another library video on working in metal and stone. There are yet many great carvers in the world. I too can be one. I too am one.
There is more than enough room for all art in the world, even my own.
I can see the end of the horn carving now. It does not seem to be a medium that will hold detail exceptionally well because of the hair structure of the horn.
When in the process of creating, I could work forever. It is indeed timeless. However I notice that after two hours, I tend to get a little careless. Yet this is the point when I begin to make cuts and shapes freely. Perhaps this is the time barrier to creative freedom?
After carving, I watched another library video on working in metal and stone. There are yet many great carvers in the world. I too can be one. I too am one.
There is more than enough room for all art in the world, even my own.
Tired
Thursday, February 15, 1996
I made an interesting discovery yesterday. When I'm overtired I tend to overeat. Also, my creativity is down to zero.
