Tag Archives: Hokusai

The Winter of Discontent

Self-Portrait by Katsushika Hokusai, 1760-1849

Self-Portrait by Katsushika Hokusai, 1760-1849

Six weeks into a semester a student expressed to me her observation that she “wasn’t getting any better.” Students often believe that their frustration is unique to them; that their struggle is evidence of a lack of “talent.” In the journey we make as artists there are many well-known landmarks. Frustration with our seeming lack of progress after an optimistic beginning is a big one. Let’s just borrow from William Shakespeare and call that one “the winter of my discontent.”

We enter this barren landscape typically at those times when we are taking on new concepts, new images, and new practices. These strangers in the room challenge our comfortable, familiar habits; they upset what we thought we were doing. Lurking behind the curtains of consciousness, ready to spring forth in judgement of the child that lies at the heart of every artist there is often a soured, old, adult intelligence, even in very young people. Our rational intelligence is no help; in fact it’s the problem. A great pianist doesn’t “think” about every note in the moment of playing it. The dancer at the barre is not the dance. The pianist playing scales is not the concert. Larger patterns and instincts guide the artist and only practice can develop these instincts. Practice is not sexy, but it’s crucial because only by ritual application to the problem of taking materials in hand and attempting another drawing does the process become familiar enough for it to seep down into the subconscious.  I’ve noticed that progress in making art does not happen gradually. It happens in quantum leaps, not unlike the way seeds grow, invisible to the eye, under a hard crust of earth until a soaking rain softens the ground and seemingly overnight, the field is green with new growth.

“I have drawn things since I was six. All that I made before the age of sixty-five is not worth counting. At seventy-three I began to understand the true construction of animals, plants, trees, birds, fishes, and insects. At ninety I will enter into the secret of things. At a hundred and ten, everything–every dot, every dash–will live”
― Hokusai Katsushika   (from Anne Harris, fb)

“It’s as simple and complicated as this: if we want to make our best work, we must believe that what we have to say matters. We must believe wholeheartedly in our own vision of the world. We must be willing to be imperfect, vulnerable, playful, uncertain, and authentic. Doing is the creative habit that separates those who go places from those who spin their wheels.” Sol LeWitt, in a letter to Eva Hesse (from Alan Rushing, FB)

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Brush Drawings

From the sinopia drawings that served as preparatory designs for Italian fresco paintings, to the stream of consciousness drawings of modern abstraction, drawing with brush and ink or other liquid media has a long tradition and appears universally in both eastern and western cultures. Drawing with wet media can be challenging for students who are used to the traction and forgiving nature of a pencil or charcoal. Unlike drawing with dry media where you can endlessly probe, plan, measure and erase, wet media seem to have a will of their own. Once the mark is made there’s no going back. You’re committed. In eastern traditions brush drawing is an extension of long meditation on the subject, which includes not just the objects one is drawing but also a keen sense of the instrument’s nature. This is an idea that still bears up for anyone trying his or her hand at working with ink and brush. Like putting a bridle on a wild horse, it works better if you understand and work with the horse’s nature than if you try to impose your own will for absolute control. Let the brush have its way, guide it where you can, and be open to what can happen. The ride is often more exciting than the destination.

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