Multitasking Afresh
Thursday, March 05, 1998
I have been analyzing my production times and patterns, and it is readily apparent that there are plenty of down times where thinking of the next cut or resting to gain a fresh perspective is necessary.
These times could easily be filled doing other carvings.
The question becomes how many to begin? Five per month? I can work away at different stages on multiple carvings, thus modifying the yucky and time-consuming stages with productive finishing work on other pieces.
These times could easily be filled doing other carvings.
The question becomes how many to begin? Five per month? I can work away at different stages on multiple carvings, thus modifying the yucky and time-consuming stages with productive finishing work on other pieces.
Working Through the Rough Stages
Wednesday, February 11, 1998
I’m feeling a little disoriented/disheartened today. I need to focus and filter out distractions, of which there seem to be many.
Part of my discouragement seems to be due to the stage of the carving I’m at right now, the carving being ‘A Tribute to Michio’. It is at the ‘yucky’ stage, there are still many problems to resolve and lots of rough edges.
Keep working, keep working, keep working!
Part of my discouragement seems to be due to the stage of the carving I’m at right now, the carving being ‘A Tribute to Michio’. It is at the ‘yucky’ stage, there are still many problems to resolve and lots of rough edges.
Keep working, keep working, keep working!
Stick to the Work
Sunday, November 09, 1997
A local entrepreneur invited me to create brochures as a way to increase sales - brochures which he would deliver into the hands of his clients.
In order to pay for these brochures, I'd need to spend funds set aside to complete payment on the tusk.
"Would it be foolish to pass this opportunity by?" I asked Miranda.
Miranda asked me, "What would feel cleaner, paying off the tusk or buying colour brochures?"
She then suggested I focus less on others ideas for my work, and more on creating the work itself. The art, she said, comes from within me and not from outside people like the businessman. Let him and the others who come after him prove themselves first, and in the meantime stick to the work.
In order to pay for these brochures, I'd need to spend funds set aside to complete payment on the tusk.
"Would it be foolish to pass this opportunity by?" I asked Miranda.
Miranda asked me, "What would feel cleaner, paying off the tusk or buying colour brochures?"
She then suggested I focus less on others ideas for my work, and more on creating the work itself. The art, she said, comes from within me and not from outside people like the businessman. Let him and the others who come after him prove themselves first, and in the meantime stick to the work.
Multitasker Fail
Wednesday, October 01, 1997
I don’t seem able to manage multiple priorities or multiple projects. I’m a one-at-a-time kind of guy, which means that I’ll have to schedule my work projects in a linear fashion.
Take Art As Far As I Can
Tuesday, March 25, 1997
I was asked to do a reading from the Epistles at church. “Work out your salvation with fear and trembling. Do all for God’s pleasure.”
It seemed to speak to me as I had contemplated on my way up to church about applying my life to this art and to take it as far as I can go. To see life in the long term and not one project at a time, yet to be able to throw myself mightily into each work as though it is my only work.
I have spent a lot of time on the website lately, but it is finally at the level I want it to be. It is my electronic portfolio. Last night I was the 200th visitor since March 12. Not bad!
Now it’s time to get down to the business at hand and finish the wolves/ravens carving. Much work is left to do, but it is taking shape.
It seemed to speak to me as I had contemplated on my way up to church about applying my life to this art and to take it as far as I can go. To see life in the long term and not one project at a time, yet to be able to throw myself mightily into each work as though it is my only work.
I have spent a lot of time on the website lately, but it is finally at the level I want it to be. It is my electronic portfolio. Last night I was the 200th visitor since March 12. Not bad!
Now it’s time to get down to the business at hand and finish the wolves/ravens carving. Much work is left to do, but it is taking shape.
Set Sights on a Star
Sunday, March 23, 1997
We had a big bonfire at Johnson Lake last night, and watched the comet, Mars, which is very close, and saw things like Pleiades, the crab nebula, the Andromeda Galaxy, two million light years away. It was a glorious time. Dick Fast brought his binoculars, 10 power with lots of light gathering capability. I saw worlds I never knew existed.
The latest National Geographic has an article on the new Hubble telescope. Light from 11 million years of travel, galaxies where nothing seemed to be before, fantastic phenomenon beyond my wildest imagination, all simply unbelievable.
My art is going through a bit of a funny period right now; last week I actually wished for a job with people so I didn’t have to face the difficult nature of creation. It was passing, but still noteworthy. My horizons are so limited and close, yet I had a glimpse of doing art for a long time and creating all kinds of interesting things, having plenty of time for all my designs and more.
In the midst of a piece sometimes that’s all I see, and so my world looks crude while the piece is so. Alternatively, my world looks great when the piece starts to look great.
It occurred to me last night that I need to set my sights on a distant and unmoveable star. With regard to carving, my commitment is “to show up.” The rest will take care of itself.
The latest National Geographic has an article on the new Hubble telescope. Light from 11 million years of travel, galaxies where nothing seemed to be before, fantastic phenomenon beyond my wildest imagination, all simply unbelievable.
My art is going through a bit of a funny period right now; last week I actually wished for a job with people so I didn’t have to face the difficult nature of creation. It was passing, but still noteworthy. My horizons are so limited and close, yet I had a glimpse of doing art for a long time and creating all kinds of interesting things, having plenty of time for all my designs and more.
In the midst of a piece sometimes that’s all I see, and so my world looks crude while the piece is so. Alternatively, my world looks great when the piece starts to look great.
It occurred to me last night that I need to set my sights on a distant and unmoveable star. With regard to carving, my commitment is “to show up.” The rest will take care of itself.
Open Door at Thirty Six
Thursday, February 20, 1997
Today I turn 36 years old. I feel very good, very excited about the possibilities this year brings. The feeling I have had for so many years of waiting to get out of the starting gate has finally given way to an open door into the wonder of life. I am having fun. I’m also very tired, but it’s a good tired based on plenty of fulfilling activity.
Good Vibrations
Thursday, February 06, 1997
I worked on 'Grizzly' again yesterday for the full day. I think it will take a while for my hands to become accustomed to working with the tools. The vibration and the gripping cause them to exhaust after 2 hours. However, yesterday was the longest I have carved in quite a while. Two 4-hour periods.
Write My Own Story
Thursday, April 11, 1996
What a wonderful artist’s date last night. I finished reading “Paddling My Own Canoe” by Audrey Sutherland. I felt so good afterwards, energized. Questions about self-worth, shortness of life, ‘this is my time, what am I going to do with it?’ emerged again yesterday. The answer: I need to write my own story.
I felt again the possible freedoms I might experience as a self-employed artist. I wondered at my ‘production-based’ attitude, challenging again the notion of making for the sake of making. Given my limited life span, should I not do the important or timeless work? I mean, to the exclusion of all else? Or should I make all pieces of a high quality, so as to become cherished, and therefore timeless?
I felt again the possible freedoms I might experience as a self-employed artist. I wondered at my ‘production-based’ attitude, challenging again the notion of making for the sake of making. Given my limited life span, should I not do the important or timeless work? I mean, to the exclusion of all else? Or should I make all pieces of a high quality, so as to become cherished, and therefore timeless?
Art Work as Play
Tuesday, March 05, 1996
What a great insight Julia Cameron has about artistic work. She recommends we consider it not work but play.
Because of a need to be perfect in my art, I have lost any sense of play.
However, I have been trying on the idea of "making a date with my artistic child to play" and it has great merit. If I say to myself, "Let's play at this today," even the most daunting task becomes a joy.
Because of a need to be perfect in my art, I have lost any sense of play.
However, I have been trying on the idea of "making a date with my artistic child to play" and it has great merit. If I say to myself, "Let's play at this today," even the most daunting task becomes a joy.
Tempted by Manual Labour
Thursday, January 11, 1996
Yesterday I took the Yukon College class I am teaching up to the mine for a tour. I really enjoyed working there before, but would I consider working there again? The place draws me like a narcotic - the thought of working there, of belonging, of doing something not held in distain by the majority of people here.
But what about all this?
Do we need the money? What about the money from carving? Where are my values?
Strange how, for me, town work and life seem artificial compared to work at the mine. I wonder why? Is it because mining is a primary activity: basic, real, foundational for our society? Without the primary harvesting of resources, whether big or small, civilization would not exist.
Perhaps the narcotic for me is being where the action is, being rooted, being extraordinarily common - how far away from the work of priest, counsellor, teacher, artist.
But what about all this?
Do we need the money? What about the money from carving? Where are my values?
Strange how, for me, town work and life seem artificial compared to work at the mine. I wonder why? Is it because mining is a primary activity: basic, real, foundational for our society? Without the primary harvesting of resources, whether big or small, civilization would not exist.
Perhaps the narcotic for me is being where the action is, being rooted, being extraordinarily common - how far away from the work of priest, counsellor, teacher, artist.
