Art, motorcycles and pickles?!

I have Bob Dylan to thank for the sheer astronomical numbers of times I've tried to come up with an idea and the word that popped in my mind was 'pickle'. Today I happened to hear the Pickle Song (I don't wanna pickle, just wanna ride my motorsickle) and listened to the story in the song, wondering why that word sticks in my mind so much.

The whole premise of the story is that he wrote the song on the way to what he thought was certain death, as the last song he wanted for posterity, and even though he had some time (it was a long way down lol) he didn't rush what he wanted to say.

Beyond being hysterically funny (maybe you have to be a 60's child to really appreciate it) it's useful imagery. Although I've never painted a pickle (or sculpted a pickle) it's still the image behind my work, because every time that word pops in my head it tells me I'm just trying too hard, to just let go and create what appeals to me at the moment. At the moment I'm doing that with my Jammins'© characters.

 I was at a point (and had been for a solid year) of not creating any artwork at all. It mostly had to do with health issues, but I also questioned where my creativity had gone in my overall body of work. Just doing a good job at something may be satisfying on an accomplishment level, but not always on a fulfillment level. So one day I bought some plain old Sculpey, just to see if I might have something to say in another medium. 

I thought I'd do a figure, just to see if it would take the molding and if the molding quality itself was worth pursuing. Hmmm, I thought, male or female? 'Pickle' my mind said. So ok, lets just start with a face and head. Hmmmm...androgynous...that's an interesting look. No ears? No eyeballs? hmmm...maybe this being sees with it's heart and soul and has no need for these appendages. 

I got done with the head and it was pretty appealing to me. But I was at a loss for where to go from there. So I set it aside for the next day. When I sat back down with it I just grabbed a big chunk of clay and started to push it around the neck, no idea where I was going with it. And darn if it didn't form a simple gown encased body with the cutest little hands and feet. And it seemed to be totally jamming to it's own little vibe. 

The one power that I've found art to have is that once you have created something, it exists. This little creature was not the only one of his kind. He was a manifestation of my/our inner child and his whole being was joyous and simple, yet somehow in a deeper way there was a message in how he and the other Jammins'© see the world. 

It's a good message and I want to help spread it. So it doesn't really matter if it's not considered fine or 'serious' art. I've seen the real inner child in someone come out when they saw a Jammins'© and if for no other reason, I will make as many Jammins'© as are waiting in line to be created, just to see that reaction time and again.

So see? Pickles. You gotta grab your muse any way you can get it :)

The Art of Critiquing

Artists can be hard on themselves and usually it's about the things they feel they're not 'good enough' at. Critiques can be helpful if they involve seeing an overall picture of the work, not just the good or bad points.

The same critique techniques can be used by the artist to evaluate their own work by following a general criteria to look at key points. 

Intent

Did you convey the inspiration that compelled you to paint the subject? If it was a portrait, does it catch the likeness, or the character? If it was a certain light did you give it the drama needed to be focal? If you feel you did not catch the mood, then it's time to look and see how technique can help in the next piece.

Composition

The eye seems to be drawn to certain placements more readily than others. Even though beginning artists tend to plop things right in the middle of the page it's not the best place for a focal point. There are points like on a third mark (mentally divide the page into thirds and place your subject on one of the intersecting lines) that give paintings interest. The Golden Ratio is another method of placement.  You don't have to follow an exact rule but the important thing is that there's a flow that keeps the eye moving around the painting. You can control how someone does this by using a lot of different techniques. 

Technique

Technique is not only about how well you wield a brush or a tool. Art is an illusion and there are ways to manipulate your medium to help with that illusion. Do you have hard and soft edges? This helps the eye move, fades certain areas into distance or less importance and accentuates areas of more importance, bringing them forward. Placing something to stop the eye is important too, especially if something in your work is pointing the eye out of the picture. A well placed solid object can halt that escape. 

Are you using color to your advantage? Warms and cools help with depth, contrasting colors bring excitement, harmonious colors keep, well, harmony throughout. Grays made from colors work as neutrals, mud is failed neutrals that jar.

Do you have a distinct focal point? This is not necessarily a complete object...but the 'impact' point of the artwork. To get a good focal point play up that area, subdue the rest to it.

Flow

Perhaps this is the most important part...so much can throw the flow off...a line/edge that is too long or short for proportion, an angle that isn't quite right on a shape. Look for what you don't see, negative shapes are just as important to flow as what a viewer can see. 

Using the critique

Perfection is unattainable, but improvement on the next piece certainly is within your reach and if you fairly critique your work and use it to improve, then it has an accumulative effect over time. You can't fix everything at once. Choose one thing to work on, research it, practice it, use it to advantage until you've 'got' it. Then move on to another area to work on. Before long you will see an overall improvement on your work and you will have the necessary skills to create any illusion you want.

What is Fine Art?

There's a question for the debate forums! 

Here is Wikipedia's definition of fine art. It starts out as a simple distinction between aesthetic and utilitarian. But just as in real life, the definition seems to get murkier as it goes deeper into discussion, and where it gets tied up the worse is when it's about which work should be included. Is it traditional art only? Only traditionally recognized mediums? 

Artist probably argue over this more than non-artists. It's hard to get recognition in a market geared a certain way, so perhaps artists just want to know where they fit in. I think most of it is elitism though, both in artists and collectors. 

Rather than look at a certain style or medium, I like to look at an artist's mindset. First, I do think workmanship has a lot to do with how I think about a piece of art. It doesn't matter if it's a technically difficult realist oil painting or a color splashed abstract, fine delicate sculpt work or rough hewn bold figured clay, there's a difference between what I consider fine art and ordinary art. If you can see shortcuts, i.e.: sloppiness, then it's not 'fine'. If an artist doesn't care enough to take the time to make their work the best it can be, then why should I care about it?

Note that I am not talking about degrees of roughness, that's style, not workmanship. 

When looking at mindset then, I can see that the artist cares that their work is to the highest degree possible. That fact alone elevates work into the fine art category for me. There are artists that feel this way, but may not have learned the technique necessary yet, so to me they are budding fine artists...on their way, but not quite there.

And I do not exclude any medium there is that can be used to express an artist's vision, traditional or not. I feel sorry for people that have closed their minds to certain mediums because they're not considered acceptable. I have found fine art not only in traditional guise but more obscure media like digital work, carpentry, food and ice carving and tattooing. There's more, but these come to mind when thinking of artists that are hungry for respect for their work.

There'll always be a fight for recognition of an artist's work one way or another. The point is that getting lost in semantics will get neither the artist or the collector anywhere. To me, plain and simple, fine art is something aesthetic that makes me draw my breath in when I first see it. Sometimes sheer craftsmanship will have that effect, sometimes it's concept or subject matter done a certain way. In the end fine art has that extra piece of heart and soul in it that sets it above the rest.

 

Why I create art

Hmmm, you think that vocalizing the why of creating would be an easy thing for an artist. Ha...ask any artist that has had to create an artist statement just how hard it really is to explain. And not only that, many artists can't even articulate it to themselves! Why is that?

Well, firstly, creating is a compulsion. Your mind is just geared towards wanting to paint, sculpt or craft and so you just do it. At first it's just exploration and then when you're not satisfied with the results it's about learning technique. It's tied in with concept and creativity and maybe you don't even think about it, you just do it. 

When asked to do an artist's statement then, the words just aren't there. You resort to what others have said for your example...sometimes simple, some times just a lot of fancy words but not really what your reason is. You wonder if they even know why they create.

I've come up with a lot of things myself over time..mostly things to do with what I was trying to say with my work. I'm not really sure I even nailed that...if you've got something to say there has to be a reason you think it's important. I never really could nail the reason I painted or sculpt.

And then while sitting outside today admiring how nice the grass looks it came to me; as usual, in a very round about way. You see, when we first got our home I had that pride of ownership that comes with owning your own home (really huge after living such a large part of my life in a tent or wheeled vehicle). I wanted to take care of the place, even stretched our poor budget to keep on a company to continue taking care of fertilizing and weeding. 

Then I watched the yard get worse each year. Oh...it had to be me! Not enough water, too much water, didn't aerate, allowed the thatch to get too thick...on and on until both the lawn and I were worn out. I finally decided the company I paid had no real idea of what they were talking about. So I decided to take over.

It's been an enlightening experience. At first I was nervous as heck that I'd kill the grass and way too eager to kill anything that wasn't supposed to be there. Then I seeded in new grass in a couple areas...this in the high desert in the summer. First try in the spring fell apart once the heat set in, the second try this fall has gone well. 

Along the way I learned. Formulas don't work...you have to let things tell you what they need and that takes observation. Some things that I didn't think belonged were actually helpful...clover acted as nursery plants, shielding tender shoots from the sun and they feed nitrogen into the ground. And some wonderful wildflowers have crept in here and there and I've let them be. I do hand weed and spot spray for the bad pricker type stuff, and invasive things like wild morning glories (though I've left some spots for even them). I only fertilized in the beginning of the year and made sure the water needs were met. My lawn looks the best it has ever looked...thick, green, lush.

Boots loves to roll on his back in it...it's a daily routine. Yesterday a friend came over and flopped down on the grass to enjoy it. I sit in the shade on the grass with Boots on a hot day and just enjoy its scent and softness. Thinking about this made me realize that I didn't do all this work to have a lawn for bragging rights (although it really does look nice). I did it for the pleasure of the sensation a lawn can bring, to myself and others. 

And boom...the thought flew in my head that that is why I create art (and so funny, because I'd just articulated the fact about liking to bring pleasure to others with my art in a letter to a friend and didn't even get what import it had). It's also funny that creating art and tending a lawn have so many things in common...quite the learning curve. 

In my art I tend towards lighter subject matter...I want to bring a smile of pleasure to someone's face. I also want people to see that there is always a lighter side to be found and to seek it themselves. That is purely why I create art. Simple, eh?

Another this and that art related subjects

Well, it's time to change the art site of the week, I hope you enjoyed seeing Lisa Lorenz's wonderful work. 

Now I'd like to introduce Mark Malone , this week's artsite. I've always liked Mark's work for it's power and potential. He has a distinct style that carries through his oil paintings, sketches and digital work and I've enjoyed watching him work to make his own unique artistic vision work into any subject he chooses. Hope you enjoy.

Here's a link to sculptor Javier Marin too, his work astounds me with it's sheer power. The size and scope of his work, though extremely different in style, puts me in mind of the historical period when huge sculptures ruled the environment they sat in. 

And on an entirely different note, check out the miniature work of Michelle Bradshaw , the first piece I saw of hers was East of the Sun West of the Moon....wow, amazing details. 

I guess I just love all sorts of sculpture styles and size really doesn't matter. What I do like is seeing an artist's distinct point of view done with great technique. It's sort of like sneaking into a person's mind and getting to rummage around...fun!