This is something I was thinking about while painting tonight. Often I leave things in my paintings rather ambiguous or suggestive. There are shapes are suggestive of things – animals or plants or clouds or structures… And they are all inspired by countless things I see through the course of my days. O, nature and it’s multitudes of fractal qualities – the curve of the leaf of the succulent in my garden or the window of a cathedral I might happen upon (for the cathedral, like the anthill, is an echo of nature). All of these things become part of the visual language and an artist can draw upon these shapes – even just the step of an edge or the clip of a curve – and use them to inform the work.
Now, the more you know – the more shapes and curves and lines and movements that you store in that visual memory – the more you can take your sense of ‘I don’t know what this is going to be’ and simply shape it and allow it to take form and be informed by your visual memory and the feelings evoked by the different shapes you run across. Granted, it takes some practice to allow for the space to allow that through but with effort and practice (a sketchbook helps) you might find that this comes more easily than you realized.
I think we get so caught up in things ‘being things’ that we forget to allow them to simply be what they are. Early on we get taught that if we’re going to draw a cow, it should look like a cow and so on for everything else. But it doesn’t have to be that way. All of life – it’s a huge sea of energy, moving and coalescing and taking form and we perceive it and name things and assign them a thousand responsibilities – to make us happy or sad or turned on or repulsed. Likewise, we look at our paintings and say ‘It must be SOMETHING!’ But there is a grace in following a train of thought to it’s natural finish without forcing upon it a responsibility to be a certain thing. In that, there is generosity, acceptance, and, ultimately, I think, joy.
Granted, if the thing is supposed to be a horse and the horse is simply not coming out right but it really should (because of the vision) be a horse, then perhaps you should spend some time sketching and drawing horses. However, the ambiguity which I speak of is really more along the lines of the places where there isn’t a horse and there isn’t a landscape and there’s simply paint we’re simply working with it…
At that point – it’s even more effort sometimes to cut out what isn’t working and to work what is. We get so attached to our lines sometimes! That’s fine. But still… ALLOW…. Breathe space into your work… don’t force anything… be patient…
BUT more importantly – if you’re not sure what it is, don’t just let the mud take over – don’t just be content with a muddy composition – MAKE THE CHOICE. In choosing it, sculpting it, shaping it, in all of it’s ambiguous beauty, you will quite possibly find sublime beauty and echoes of your life in ways you hadn’t imagined possible.
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