faith&foolishness

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Posts Tagged ‘creative process’

You Can Be an Artist; You Already Are

Posted by Sarah Jane on December 18, 2009

“I’m excited about the visual arts and want to continue pursuing my own creativity, even though I’m not majoring in art. How do I go about that?”

That question came to me twice this week. This is one of my favorite parts of teaching – witnessing that moment when the coursework suddenly intersects with a student’s dreams and passions outside the classroom.

Once I quieted the part of myself that kept trying to shout, “Well, change your major!” it occurred to me that my earlier thoughts on nurturing creativity had prepared the way for this question. In the pattern of Joseph Beuys, I believe that everyone is an artist. It’s not confined to a certain college major or to those with gallery representation; the sacred spark of creativity is a defining part of being human.

I think the answer to that question comes in three parts. The first is to start by making something. There’s something very meditative about making things: when our hands are busy in mixing colors or trimming pots or placing mosaic tiles, the mind is allowed to wander freely. In this open-ended time of asking questions, making connections and playing with ideas, we may come to a greater sense of understanding and direction.

My second piece of advice is to listen intently. What is it that we called to bring into being? Sometimes that answer comes through something like gut instinct; other times it’s inspired by reading books, looking at art, or taking a walk. A friend of mine has a ritual of looking through old issues of National Geographic when she’s in need of visual inspiration. In my experience, this is the most spiritual part of the process – the time during which my creative spirit sits in waiting for the voice of its Creator.

Finally, an artist must have a community. We all need someone to both challenge and encourage the creative process – to tell us when we’ve done something brilliant, to act as a sounding board, and sometimes to tell us sternly to get back in the studio immediately and not come out until we’ve made something. This doesn’t have to be a formalized group; just a few people who understand the artistic process themselves and can be as engaged in the actual making of the work as they are in the end results.

I had one last thought, too, a thought that didn’t occur to me until after the last student had left my office and I returned to my grading. Perhaps the most important element of all is one of simple encouragement – you can be an artist; you already are.

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Artistic Process: Following the Threads

Posted by Sarah Jane on December 3, 2009

The artistic process feels at times like a many-layered friend, whose complexities I have come to understand through long acquaintance, and who occasionally still manages to surprise me. I have great trust in this faithful and mysterious companion.

Wendy Richmond’s recent Art Without Compromise intrigued me in its description of “visual reflection notebooks” created by the author: mixtures of article clippings, images of her own work, and images of other artists’ work that she admires. She describes playing with these disparate elements, varying the juxtapositions and letting the images lend each other meaning and context, and then using that information to identify common threads running through her work and thought processes.

This book has been a timely read for me, since one of my goals this winter is to identify and pursue some of the ongoing patterns in my artwork. In gathering my own materials for a visual reflection, I opted for loose cards instead of a notebook, in order to continually reconfigure and recreate the various juxtapositions. My material was gathered from a variety of sources — images of my own work, important words from my artist statements, images of other artists’ work, interesting quotations, and photographs of various natural objects. It’s an open-ended collection of elements that can grow and change along with my ideas.

My initial assortment consists of 80 images and words, but revelation struck even before I had completed that collection — exposing a previously-undiscovered thread dealing with fragmentary knowledge and the complex relationship between the known and the unknown. That particular pattern spans from a 2005 body of work exploring my grandmother’s experience with memory loss to my current projects in which community-wide participation ensures that no single person has full knowledge or control of the results.

Perhaps this fascination with fragmentary knowledge comes from a deep awareness of the limitations of my own understanding. I have no idea where the process is leading me. I’m just following the threads.

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Nurturing Creativity, part 2

Posted by Sarah Jane on December 1, 2009

A performance, a reading, an exhibit; all artists need to have their creative work showcased and celebrated in a public setting. The creative process is largely a private one, but it depends on the response of an audience — the acknowledgment that this work is important and meaningful to the broader community. One of the most effective ways to affirm and validate our artists is to provide opportunities for their work to be experienced by others.

In working with lots of young artists, one thing I’ve observed is that there are relatively few informal venues for displaying artwork or hosting performances — venues available to artists who don’t yet have (or perhaps aren’t seeking) formal gallery spaces, theatres, or concert halls to showcase their work. It’s a role that’s sometimes partially filled by coffee shops. But the need is greater than that, and can be filled by a broad array of organizations; a church can host an evening of recitals by community musicians, a library can sponsor a poetry reading or show an independent film, and a doctor’s office can feature an exhibit of local artwork.

I’m a big fan of such unconventional venues for art events. The artist is able to share his or her talents with a broader audience — not just personal friends and family, but also a variety of strangers who frequent the venue already — and benefits from the encouragement and validation of that experience. In addition to being enriched by the creative offerings, the venue welcomes in a crowd of newcomers and is able to better serve and connect with the whole of the community.

But this is when things get really serendipitous. When art moves out of the gallery and the opera house, and into the spaces where people live and work and spend their time, it reaches a much wider audience — an audience of people who might never have gone out of their way to listen to poetry or look at a painting. They may never have had a meaningful experience with theatre before, or they may feel unwelcome in a posh concert hall. But art doesn’t belong to the elite; it’s a fundamental part of what makes us human. And so I believe (and my experiences back this up) that these people, too, may be moved and transformed by an encounter with creative work.

And finally, at the end of the cycle, it begins again. There is nothing to spark creative thought like coming into contact with artists and with the fruits of their creative labor. If we want to inspire future creativity, one of the best ways to do so is to showcase and celebrate the creativity we already have.

*** The kinds of arrangements I’m describing here could be initiated by the organization wanting to host the event — but they could just as easily be proposed by the quilters or cellists or poets seeking a venue for their work. Either way, I recommend creating a written agreement in advance of the event, which can prevent miscommunication and protect both parties.

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