Falling Chips

Mini Pumpkin

“Beauty is whatever gives joy.” Hugh Nibley (from The Painter’s Keys)

Suppose your goal is to create “beautiful” art. The first thing you might set out to do is define, “beautiful.” Good luck with that! Volumes have been written about what is and isn’t beautiful. The subject was examined in a movie documentary starring Mathew Collings, titled “What is Beauty?”  The Stanford Encyclopedia of Philosophy has a mind bogglingly in-depth article on the definition of Beauty. Even the dictionary has multiple definitions of beauty. What’s an artist to do?

The first step may be to go back to the beginning and take a look at why you create art in the first place. Was the original purpose to create something “beautiful” or something that will be enjoyed by others. There is a big difference. As the exact definition of beauty is likely near impossible to pin down, while giving pleasure to others is not. Therefore, a better goal might be to define how art gives pleasure to others and set out to pursue that direction.

Now that the goal is in mind to determine how to make pleasurable art, you take a look at what you have and discover one person finds pleasure in one style and another person prefers a different style. Uh Oh! What now?? You could just throw in the towel and give up. Or you could follow your own heart, create what you find pleasurable and let the chips fall where they may. Some of those chips just may fall on a few likeminded folks.

Muddy Letters

Purple Coneflower, miniature

“I think all great innovations are built on rejections.” Louis-Ferdinand Celine, (from The Painter’s Keys)

 

All artists face rejection at sometime or other. It is inevitable. For many artists, myself included, our art can feel somewhat like our child. Art comes from the depths of our souls, our hearts. A piece of who we are is in each artwork. To put it out there for others to enjoy is what we create for. Each time we do, we face the possibility that others will not respond with the same love and acceptance that we feel for our art. It is a hazard of the job.

 

Every artist is admonished to “not take it personally.” Hearing that statement over and over does not make it so. But each rejection can become a learning experience. The majority of rejections are likely due to the simple fact that a particular artist’s work does not fit with the vision of the venue. On other occasions, the rejecter may feel it necessary to explain the rejection in terms the artist may find hurtful or discouraging. Other rejections can be deliberately demeaning. Unfortunately, it happens. And sometimes a rejecter attempts to provide constructive criticism. Daniel Grant writing for The Huffington Post states, “Part of the job of being an artist is determining which one applies, and there is not a Website as yet to help with that.”

 

Grant’s words can be taken to heart, as I recently found. While applying to a number of juried venue’s this summer, I encountered some success but not without the inevitable rejections, as well. Most rejections were of the variety, “We have XY applications for only X number of places, …” followed by some explanation. But one such rejection was of the hurtful type. The rejection included the scoring by each of the 5 jurors with comments. Four of the five scored me as a one (the worst) while the fifth scored me as a five (the best). What could be made of that?? Was the fifth one a genius or an idiot? Were the four a mean little clique or a group of learned critics? And no one was in the middle. There were no scores of three.

 

The first reaction was hurt. The four had been explicit in their criticisms. The second reaction was puzzlement. Why was number five an outlier? And why no middle ground? Either the art was terrible or great, not mediocre. That was the first glimmer of hope. No one scored mediocre! After running through all the emotions, a sober look back at each comment produced the final enlightenment. I could remain hurt or look for what was constructive in each comment. What did number five like and what did each of the four dislike. Surprisingly, I found some truth to work on.

 

Rejection has been written on over and over, sometimes helpfully and sometimes not. Some artists just want to stay stuck and grumble, others want to take positive action. Taking positive action requires Courage. For some encouraging ideas, Artpromotivate offers, “How Can Artists Deal With Rejection When Promoting Art?” On her website, Maria Brophy offers additional encouragement in an article titled, “The Illusion of Rejection and How to Deal with it.”

 

Artists can take positive action to overcome rejection or they can treat rejection as an illusion. Either way is better than wallowing in the rejection mud, unless you are a mudwrestler. In that case…nevermind, wallow all you want. For the rest it is worth remembering that Van Gogh only sold one painting in his lifetime and we all know what his paintings are going for now. Not that we are all budding Van Goghs, but you never know! Someone out there reading his/her latest rejection letter may be sitting in the studio staring at a multi-million dollar masterpiece that is awaiting discovery. No rejection letter is so muddy that a little soap and water can’t do the trick. Time to wash the mud off and move on.

Eyes of the Heart

Reelfoot-Afternoon Shadows2

 

“I shut my eyes in order to see.” Paul Gauguin (from Skinnyartist.com)

How can one create with eyes shut? Gauguin’s statement would seem to not make any sense. Does he mean painting with a blindfold on? Many paintings out there look as though they have been painted with a blindfold on. Many more look like they need to have been painted with a blindfold on. But is this to be taken literally?

Gauguin, in my opinion, is talking about the heart. Let the heart see with the heart’s eyes. That is a difficult thing to do when the brain’s eyes want to remain in control. There is the natural inclination to recreate in exact detail what is physically present.   It may be necessary to actually close the eyes to get the right visual. It may take practice. It may take concentration to let go of one set of eyes to allow the others to open.

The art of opening the heart’s eyes and allowing them to take over does not necessarily mean losing realism. The heart’s eyes are eyes of feeling, eyes of emotion. Emotion is the spark that lifts realism out of simple recreation and gives it life. Emotion is the spark of any form of art that lifts it out of boredom and lights a fire.

A blindfold is not required to paint with the eyes shut. It just takes getting in touch with the heart’s eyes. Of course, painting with a blindfold may make for new and interesting art. It could even start a new movement in “blindfold painting.” Who knows, it may become all the rage. Anything can happen when the physical eyes are closed and the heart’s eyes are open.

Weekly Photo Challenge-Work of Art

Slide1

This simple feather from an unknown bird washed up on the beach and seemed to me, to be a work of art.  Simplicity sometimes is a work of art in itself.  Its probably not so simple to the bird who lost it.

Weekly Photo Challenge-Work of Art