Author Archives: Jo Ann Brown-Scott

Birthday Schmirthday

Posted on by Jo Ann Brown-Scott

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I had to have another birthday last week. I am older than I have ever been and still dazed and confused about life much of the time, but doing fine. These birthdays can kill you. There were a couple days worth of celebration; cards, calls and lovely gifts mixed in with a few dark, unpleasant surprises, but such is life. It was a real birthday – real – not quite all love and laughter every single minute all the time. But that’s ok, I am ok and life goes on. Yesterday I had a birthday lunch and movie with a dear friend, tonight I am having a late celebration with an exceedingly important person in my life, and so the birthday beat goes on….beat beat beat, just like a heart.

I ran across several quotes this week that I happen to love so much that I wanted to share them with you. The one on the cover of the black book that I was given just yesterday, in the above picture, is stunningly true, and I know that because I have lived it. I guess we all have.

Here is the second one, from one of my favorite people for wise and wonderful quotes, Maya Angelou :

“Never make someone a priority when all you are to them is an option.”

That can keep you thinking all day long, going over your life and remembering when you might have made that mistake. When you reach the upper birthdays you have probably, if you are getting older AND wiser, weeded some folks out of your days because they are no longer an enhancement to your life, for one reason or another. Life gets short, your days are numbered, you have a sense of urgency about how you will best spend your time remaining. If a certain someone is not ever contributing to the great good, you tend to see less of them, wanting to spend your days in positivity and appreciation for all the things that bring you to a good place, a place of comfort and joy.

Many Thanks to my brother, for sending me one of the most beautiful, original birthday greetings I have ever had. I will keep it and read it every year. Thanks to all my many friends ( including my blog friends whom I have never met) and relatives for remembering me and being the loving support that keeps me going, because it really does take a village, for your entire life. I value your words of wisdom and your ability to make me laugh. I have you in my life because you are all lights in my universe, and we all need to have light. You all influence how I paint, what I write about, what I say in conversation and what I believe in my heart to be true. We are all the sum of many parts, and I am the expression of the sum total of the people I surround myself with. So are you.

But you all probably already knew that, didn’t you?

 

 

Year Long Canvas, 11/24/2014

Posted on by Jo Ann Brown-Scott

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Year Long Canvas as of 11/24/2014, copyright Jo Ann Brown-Scott

“Let yourself be silently drawn by the stronger pull of what you really love.” – Rumi

Please check my archives if you have no earthly idea what this Year Long Canvas is – painting this canvas is an ongoing project and carries with it quite a story. As you can see, she is back to being horizontally oriented again but you can like her in whatever direction you prefer. If you see a landscape here you are not alone; with nothing else at all done to her, or with a few small tweaks, the landscape idea could become more obvious right now, but it is still too far away from completion for me to settle on a landscape. Call me crazy but I have recently also seen the possibility for people in this composition – not large people, but groups of small people congregating as if waiting for something…in a horizontal row extending from one side to  the other, just along the upper side of the dark stripe that is the new change for this week. They would not be very tall, they would be colorfully dressed and have no distinctive faces. Just waiting.

I always thought that I wanted this painting to be an entirely abstract expression, with nothing recognizable, but I am even rethinking that now. My mind is an open book.

I am definitely learning to better trust myself after all the months of work; to trust my decisions and my judgment, as was one of the original goals for the project, but the other thing that has resulted from doing this, to tell you that truth, is that I have become quite a bit more open-minded about my own work. I accept my own opinions of my own work, which I suppose is one facet of trusting myself after all.

I love painting although I seldom understand it thoroughly. It might come as a surprise for many of you to know that almost every artist does not necessarily like his own work all the time. Many times I have painted a canvas that is not of my own taste. Even within my own paintings I see areas that are not always to my own liking, but sometimes I leave them there anyway, without my own approval. They bother me, they go against my grain and I know that sounds odd, doesn’t it? Well it’s  a strange exercise in intentional imperfection, which I do believe it a useful experience in art. It wakes you up.

The art Buddha understands why I do that, I do believe. He is still smiling and has a twinkle in his eye about this subject.

 

 

On Writing…

Posted on by Jo Ann Brown-Scott

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This is not the Year Long Canvas but it is by Jo Ann Brown-Scott, copyright 2012

Well ok, yes I have been doing some writing elsewhere, being unfaithful to my blog, seeking gratification with a more exciting venue and actually honest enough to admit that I love it and it completes me. I still love you blog, but this other exotic creature has got me by the scruff of my neck and it is choking the life out of me for more. More writing. Because it knows I am addicted.

I am writing a book, my third book, but the first two were just for practice, it seems to me now. This one is a novel and it is so much more fun that it surpasses doing either book and this blog, too, sorry to say. I am a woman possessed and I can’t stay away from the computer, which calls to me, coos to me, hoots and yells at me all hours of the day and night to write more. Ideas come to me in dozens, I have to carry a pocket tablet everywhere lest I lose some valuable tidbit. Because I do lose stuff – really great stuff – it just falls out of my mind sometimes in the time it tales to pour myself a glass of ice water, sometimes walking ten feet into the next room, or out to the car. I have the attention span of a gnat but it is because the ideas I have are coming at me like balls out of a batting machine and I can’t keep up. I guess it’s good problem to have, but it’s exhausting and I am all bruised up.

I have written so many computer pages in the last 3 months that it is pretty ridiculous. No one sits down and writes for 12 hours without batting an eye, 5 days a week. I don’t think it’s normal. I think I might have a problem.

You know how I love to paint – but I have forgotten what painting is, almost, except today I did some work on the year long canvas just because I felt so sorry for it. And it looks really good – I’ll send the latest and greatest changes soon. They only took me 20 minutes and now I can’t wait to write again.

I self-published my first 2 books with Amazon’s self-publishing division called CreateSpace and it was a very pleasant experience – I got listed automatically on Amazon, bought some marketing materials, used some other services from their menu of choices and it got done quite efficiently. I would recommend it to anyone.

This time I would like to approach agents or publishers and give that a chance, so I am hoping that if any of you have a connection, maybe you would let me know, because I do believe in 6 degrees of separation and the magic of networking. I was going to keep this a big secret but then I wondered what the point of that was. What would that accomplish? Certainly not a publishing deal. So please help me out if you can. I would provide a brief summary to anyone who might want to help me providing I can trust that whole thing.

Sorry I had to break this news to you that hard way – on the internet – rather than a personal note to everyone or even better, in person. But I have trouble tracking you down, all over the globe. Doesn’t mean I don’t love you, though. I still really, really love you, and I am going to break it off with the novel once I get her published. She seems a little fickle to me.

 

 

 

 

 

 

 

 

 

 

 

November Version of the YEAR LONG CANVAS

Posted on by Jo Ann Brown-Scott

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YLC November, copyright 2014 Jo Ann Brown-Scott

What nine months of attention does for an embryo, forty early mornings will do for your gradually growing wholeness….Your intelligence is marvelously intimate. It’s not in front of you or behind, or to the left or the right. – Rumi

Hello everybody! Here we are well into November and as I woke this morning I was in a great frame of mind due to absolutely nothing in particular. I had not even slept well, but something lit a little fire in me. After a long, crisp walk in the morning air the time was right; I was ready to apply the latest shock therapy to the canvas. The additional changes just happened, in less than fifteen minutes, to the Year Long Canvas that Homare Ikeda offered to me as a challenge and an assignment way back in March of this year. I would say we are in the home stretch now, but who ever knows when it will be done, or mostly done, or perhaps even continue? For those of you arriving late to this project, the objective is to continue to paint for a solid year on one particular canvas, adding layers and layers of new work on top of the old. It is an exercise in patience, confidence, acceptance of change, and testing one’s ability to focus over a long period of time on one constantly changing image. Of course I am painting other canvases as well, and finishing them, because I have a tendency to be quite task oriented. I like a feeling of accomplishment.

If you compare this version to the others in my blog archives about the YLC you will see that I am letting myself go more with each passing month, slinging the paint around with more abandon, opening my heart to more drastic change and actually having more fun with it than I did in the beginning. My loose and free-spirited attitude is picking up speed as I work through the months. I barely even try anymore – I just work mindlessly. It is my arm but something else is guiding me. I feel it arriving from over my shoulder, it comes through me and lands on the canvas. It is as if I am not even here. I am just an instrument. I do believe I am in the flow.

Obviously I use layers of paint both thick and thin, building texture and depth, a characteristic color palette that I enjoy, a linear emphasis, a roundness in some area, darks against lights and lights against darks. I am working vertically right now, but it started out being horizontal; I work all around it, turning it in all orientations as I paint, because in abstract art you have to do that. You might choose to see the suggestion of a landscape, or not. Purely abstract is fine too.

This painting could quite easily go in the direction of enormous simplicity and minimalism, by covering up almost 90% of the composition with washes of gray, black or even white, allowing just slivers and shafts of colors to reveal themselves as if you are looking through an opening to something underneath. That seems to me a rather easy, chicken way to end the whole thing.

I actually prefer the challenge of complexity, depth and mystery. But you probably already knew that by now.

 

 

 

 

 

The Wisdom of the Ages

Posted on by Jo Ann Brown-Scott

  

Photo #1 courtesy of thevirally.com   Photo #2 courtesy of lasplash.com   Photo #3 courtesy of ntang17.blogspot.com

I taught mixed media collage for three years in Lincoln, California, and one of the things I always said to my class was that the first people to ever use the technique of adding texture and three-dimensionality to art were  cavemen and cavewomen. (I am assuming women also contributed to the ancient art on the rock walls inside caves.) Recently new evidence of those artistic mixed media roots has been found in caves.

In the introduction to my mixed media collage class I said this, “Abandon your pre-conceived notions about traditional fine art and begin a mixed media journey where improvisation, freedom from boundaries, self-discovery and originality are valued higher than any predictable destination.” Mixed media painting is a highly improvisational and innovative type of art – a “fly by the seat of your pants” (or paints) type of art. It is pretty much balls to the wall – gaining new ideas as you go and incorporating them into your fast moving composition. It is using what you have at hand and making the most of the world’s simplest gifts.

Texture, pattern and color are the dance. Any degree of sculptural relief – where the painting’s texture comes up off the background in a tactile kind of effect – is much to be desired. Collage papers are welcome; as is any other kind of found object that might add fascination and special interest to the image. There is no order of things – you can start with paint or papers or your collection of found objects. This is Art with Abandon! It is the ultimate art in recycling, using old bits and pieces of things to create fresh, new fine art suitable for framing.

This is not a new idea; people have been doing it for years – for eons of time. The very first cave artists who would now be classified as a mixed media artists were the inspired ones who first drew an image of an animal of some species and then – OMG – then glued some dried grass and other found bits of twigs and earth under the image with wet mud, creating a realistic, three-dimensional mixed media collage scene. Recently they have found just such images – more than one – to prove the extraordinary artistic vision of these very primitive people. Artists also utilized the rough surface and particular colorations of the rock wall itself by choosing to draw on specific locations that brilliantly enhanced their images in both 3-D contour and color. These people were very sophisticated in their artistic talent…very discriminating and wise in their choices.

Can you imagine the cave  mom, as she roasts a hunk of antelope over the fire while being pestered by her hungry family, saying, “Get some charcoal and go draw me a picture on the wall – dinner will be ready soon – now go!” And one person, perhaps just one at first, grabs some grass and a handful of earth and pebbles, then using wet mud left by the rain he/she pastes it under the animals, and in doing so positions his animals in a realistic landscape. Suddenly we have an entirely new artistic concept. Can you imagine how thrilled he/she must have been with that gesture? It gives me chills to think about it.

Many locations around the world have also revealed handprints – hundreds of them. Plentiful and childlike, colorful and animated and most definitely a playful way of passing leisure time and leaving your signature. Children all over the world both in and out of art class do the same today with finger paints, clay, concrete or even mud.

It seems that the more things change the more they stay the same. Art has always been universally appealing and it speaks the language of the ages. Put yourself inside a cave on a rainy day and what are you going to do? Well, paint of course! Or in the evening, by the glow of the fire, waiting for bedtime….you paint about what you saw during the day. The level of detail, the intensity of the hunting scenes – it is just fascinating to observe in the primitive cave art from all over the globe. And if you choose to zero in on the cave art that depicts extra-terrestrial art showing weird Martian-type creatures and what look like space ships, then you will be off and running in an entirely different direction! It does make one wonder, does it not?

 

 

 

 

 

 

 

Back Again With the Year Long Canvas, 10/22/2014

Posted on by Jo Ann Brown-Scott

  

photos courtesy of travelmag.com and pinterest.com

Pearl Street Mall, Boulder – Scroll down to see YLC

Yes I have been out of the loop for a while, preoccupied and otherwise engaged. Just involved in life itself, nothing major. Enjoying fall and weekends in the mountains. Was up in Boulder on Saturday night to attend a concert, and so we wandered the legendary Pearl Street Mall. (Had some fun with a faux bronze statue guy who came to life right before my eyes. If you are familiar with that crazy scene in Boulder you are laughing right now).

The multicolored confetti of leaves was flying around, families were out in the balmy night air having fun together and watching the street buskers perform. Had a great dinner at the Boulderado Hotel. Went to a rousing Patti Griffin concert where no one in the audience was timid about speaking up and interacting with Patti and her band. Someone then commented sarcastically on that by also yelling,  “Well welcome to Boulder, Patti….” and she agreed, but she was fine with it. Boulder is just different – people there are not easily defined but if I had to try I would begin by saying that they are quite proud of themselves to be living there, considering it a lifetime achievement or something. Bucket list item #3 – live in Boulder. Become an authentic  Boulderite. You see people in Boulder don’t see themselves as subordinate to anyone. Well why should they? I have loved Boulder since I was a student of fine art there in the 60’s at a time when the campus scene was PARTY and the art professors were deliciously weird and cutting edge. The Young People’s Socialist League was active and the Viet Nam war protesting was just getting started. I was there to paint; I did my share of partying too.

Being back there again, and still painting, in the company of a person with whom I shared many of those Boulder years is always rather surreal to me. This Saturday evening was especially magical. We actually talked a lot about my YLC – the year long canvas. I have been neglecting her. In the wise words of my friend, “The Year Long Canvas is a zen lesson in sustained patience and restraint,” or something to that affect. Delayed gratification should also be mentioned; I am a person who enjoys actually finishing a painting. We decided that the assignment of one year (March, 2015) needs to be loosened a bit, to allow my tolerance and focus a little wiggle room. Maybe more than a year, maybe less. My esteemed instructor, Homare Ikeda of the Denver Art Students League, who offered me this assignment, most certainly would have many additional comments and opinions about this process I am experiencing since I last saw him. Once in a while I run into him and we talk, which is enlightening and meaningful to me. As I explained in one of my earlier posts, he believes that every painting you will ever do as an artist is already inside of you, waiting for the right time and place in your life to be set free from its “cage” – and cage is my own word, not his. You just need to uncover it by stripping away all the unnecessary layers. That is a fascinating concept. A lot of thought is required to get your mind around it. Please visit  http://www.homareikeda.com

Today when I worked on the YLC I went a bit crazy. I gathered all of my confidence in order to believe that I was always going to be able to make a great painting out of it and I was fearless. I am sure many of you will be disappointed with this step, but I am NOT FINISHED. That is the entire point. It needs to get weird before it can get better again. It needs to evolve, and after seeing it sitting around here the way it was for so long I began to yearn for a new language and a fresh message. These new strokes are either the beginning of the end, or even the end of its beginning, whichever way you prefer to interpret it. Have a look, and zoom in for details:

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Year Long Canvas, mid-October 2014, not yet titled, copyright Jo Ann Brown-Scott

Making Yourself Vulnerable

Posted on by Jo Ann Brown-Scott

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Against the Sun copyright Jo Ann Brown-Scott 2014

“All day I think about it then at night I say it. Where did I come from and what am I supposed to be doing? I have no idea. My soul is from elsewhere, I’m sure of that, and I intend to end up there.

This poetry. I never know what I am going to say. I don’t plan it. When I’m outside the saying of it, I get very quiet and rarely speak at all.”  – Rumi

Art is very similar to writing, and one of my favorite quotes about writing which I cannot remember verbatim, says something to the effect that, “Writing is easy – all you do is open a vein and let it pour out.”

The same could be said of painting. You just have to be more than willing to let it all come out, opening yourself to that uncomfortable feeling of being vulnerable. Really really vulnerable. Hit me with your best shot, you think to yourself, and I will somehow absorb that blow and learn from it and move forward. It’ll sting like hell but that hurt is what keeps me alive and persevering.

Artists, writers and all creative people are the brave ones. The ones who spill their blood & guts onto canvas or paper and wait for the reviews. Some refuse to hear the reviews; others use them like salt in an open wound and they learn from them, if they choose to take them seriously…..and we all know that often the harshest review comes from the least qualified person to deliver it. If you are an artist who has ever had a show of your own, and you are wandering around listening, anonymously, to people’s conversations about your art before they have actually discovered who you are – well that is fabulous. The raw, the uncensored, the blunt, the stunningly honest observations are breathtakingly valuable. But you have to be strong.

I believe that artists and writers who cannot make themselves vulnerable are seldom going to break the barrier to attracting a following that lasts through the years of a career. Sustaining a selling career for an entire lifetime is not impossible, but for most of us, if you fall away from your own authenticity and lose your soul somewhere along the way, I think your sales will suffer and then your next step is near obscurity. Your fifteen minutes of fame are over; throughout the chapters of your life it is difficult to be a consistent success. In the literary world of books, which I do know something about, many authors have a blockbuster hit that might even reach the New York Times bestseller list for weeks only to find that they had only one fine book in them. They (the literary “big guys”) say that almost everyone has one book in them, since we all have a compelling story of some kind – but can we tell it? Can we spin the tale to make it marketable? That is the question. Think back to just one example – “EAT, PRAY LOVE” by Elizabeth Gilbert. She told a hell of a good story about herself and made millions. She spilled all of her guts and had nothing much left. We all know of many other authors who never managed to be inspired enough to succeed with a second or third or fourth attempt.

It all boils down to sincerity. Open up, be vulnerable. Tell your story or paint it – but bleed it all out. Then see what happens.

 

The Witches Hat Experience

Posted on by Jo Ann Brown-Scott

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When I was an art student at U. of Colorado decades – many decades – ago, I was introduced to Meininger’s Art Supply in Denver, established in 1881 by Emil Meininger. It was already an institution then and by now it is a monument; family owned and dedicated to the passionate pursuit of creative arts. It is a supply destination with a beating heart. My own artistic soul found every tool, book, easel, paper and paint that it needed there and still does. A trip to Meininger’s, be it the Denver location on South Broadway, the Boulder location on The Hill or the Colorado Springs location is like discovering the art Mecca. You can learn more in this link: www.meininger.com

In 1922, Emil’s daughter-in-law, Josephine, bought a cabin in the Insmont area of Bailey, Colorado,  on top of a hill overlooking the picturesque South Platte River about 45 miles southwest of Denver. They named the cabin Blue Jay Bunk after the Stellar’s Jays in the area and Josephine and their four children, including Henry (“Cap”) Meininger, spent summers there without inside water or electricity for many years, while her husband, the elder Henry “The Chief” Meininger, worked at the store Monday through Friday. He took the Denver train to Bailey on the weekends, and the cabin became a popular place where he and Josephine entertained family and friends.

“Cap” Meininger died in 1991, and left Blue Jay Bunk to his children, including Henry pictured above on the left, with his son Judd Meininger. Henry lived in the cabin year-round throughout the 1970’s making improvements and cutting cords of firewood for the winter, while still commuting to work at Meininger’s in Denver.

“Next to Blue Jay Bunk are three houses running down the hill, all built about the same time as the cabin in the early 1900’s. All the old houses, having been built as summer cabins for fishing lodges and summer camps, have needed much restoration and upgrading to keep them from deteriorating. In 1985 Henry married Betsy Palin and together they bought the green house next to the cabin, and Henry’s sister bought the white house next to that. Henry eventually bought the house at the bottom of the hill that has always been called Witches Hat for its conical roof. Henry bought that house and had it restored just in time for his son, Judd, to be married there in 2011.”   excerpted from the brochure titled Meininger’s Insmont Retreat, Bailey, Colorado

Yesterday I was fortunate to find myself arriving at Witches Hat with my artist friend Peter Heineman who was participating in the Golden Triangle Museum District plein air paint out, an event hosted on Sunday by Henry, Betsy and Judd Meininger. Peter remembered the property well, having spent time there when it was owned by Larry Weckbaugh even before the Meininger’s purchased it. Good times were had under that roof, and another of Peter’s friends, Bill Fifield, was the woodworking artist who hand carved much of the interior detail surrounding doors and mirrors, plus adding his personal touch in other areas of the cabin.

The day was perfect with fall colors, Colorado’s deep blue sky, the S. Platte gurgling along across the back meadow, artists with easels sprinkled throughout the property and great stories from Henry and Judd about this legendary property. The whimsical Witches Hat house is like nothing you have ever seen, with old photos and funky art, a well-loved and hard-working kitchen, nooks and crannies, additions and secret places to explore, all arranged around that famous high-ceilinged cone. If those walls could talk! Betsy had a lovely lunch which we enjoyed outside on the deck, topped off with a cookie assortment and a tray of the fanciest, most chocolate-y pastries, contrasting nicely with the rustic rural setting. It was a day to be remembered…thanks to a family that has meant so much to Colorado artists and the history of art in this area. Who knew that some fine day, far into the future of one freshman fine art student at CU who knew to shop at Meininger’s, such a day would come. Life is never dull, is it? Many thanks to Henry, Betsy and Judd Meininger – a family I had always admired from afar – for making some grand memories for me.

Denver‘s Golden Triangle Museum District is home to art galleries, a first Friday artwalk, restaurants, bars and popular arts attractions like the Denver Art Museum …www.GTMD.org

See Peter’s artwork at http://www.peterheineman.com

For more photos visit my Instagram account at joannbrownscott

See my art at http://www.epiphanysfriends.com and http://joannbrownscottart.artspan.com

Book – “The Creative Epiphany, Gifted Minds, Grand Realizations” by Jo Ann Brown-Scott and visit  http://www.epiphanysfriends.com

 

 

September Report on the Year Long Canvas

Posted on by Jo Ann Brown-Scott

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New September YLC copyright Jo Ann Brown-Scott 2014

An eye is meant to see things. The soul is here for its own joy. I am not contained by this universe. – RUMI

If you remember, the last time I posted a blog about the Year Long Canvas my intention was to enter the piece, as it was then, in a juried show at the cooperative CORE GALLERY on S. Santa Fe Drive in Denver. You can see the type of art they show at http://www.corenewartspace.com

My decision was made on impulse, just because I was curious to see what would happen. The gallery is well respected and they had over 135 entries into the open show. The sole juror of the show, Jt Urband, is a well-credentialed professor with degrees from the U. of Penn who now teaches plein air painting at Denver’s Arapahoe Community College. He did not choose to accept either of my abstract entries into the show, but I was rather impressed with most of the 30 paintings that were accepted, with the exception of a couple pieces.

The lesson here is that there is no lesson – usually not a tangible reason can ever be revealed as to why you were accepted or not accepted into juried art shows. I know of shows where the judge’s personal art experience had nothing whatsoever to do with the type of art that he was asked to judge for the show. Some art experts who admit to having no understanding of abstract art or taste for it might be included on the jury panel for a show heavy leaned toward the abstract. Or conversely, abstractly inclined jurors might be asked to judge a representational show. As an artist I find this rather frustrating and I would go so far as to say that I think it is just wrong, or at the very least, pointless. But that’s just me. Actually it is not just me – other artists feel the same way.

One of the primary requirements of being an artist is to develop a thick skin. You will be faced with a lot of rejection as your work evolves and matures. If you are willing to put it out there, get ready to hear what people really think about it. Listen and learn. But very seldom do you have access to why a juror did not select your work for a show – you are left wondering and wondering.

Since then I have slightly altered the YLC and if you are detail oriented you will notice the changes in the above photo. Just a few subtle additions of turquoise green inside the large black area so that it is not so much flat black, then a row of dots descending out of the yellow, and finally a few small geometric areas of the same color of turquoise green added on the right side of the orange ball and in other tiny areas. That’s it for now. I really do like the YLC painting at this very moment in time. It makes me happy to look at it and I think it is full of positive energy,  movement and drama. I see no negativity in it, and most of its areas work singly as well as enhancing the greater whole, as I see it. You can zoom in for details.

The summer has been a significant and important one for me with many exciting new experiences with friends and family, and the good karma of that has been manifested in this painting and others I have done. My paintings have been strong but joyful, powerful yet inviting, poetic and revealing of my happiness. Those of you who know me well understand exactly why and where this energy came from….and I am proud of the resulting artwork. I believe the art Buddha would be proud to hear about that, whether or not the YLC made it into a show. I am smiling as I say all this and all is well here with me. I wish the same for all of you creative ones.

Namaste.

 

 

 

The Second Knowing of Art

Posted on by Jo Ann Brown-Scott

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Mosaic from the Grand Palace in Bangkok copyright Jo Ann Brown-Scott 2014

Rumi, the 12th century scholar and poet, is my favorite source of wisdom – as you know I often include Rumi quotes because his words are ageless; he is relevant even now in the chaotic 21st century. Every single time I browse through my Rumi books I am stunned to find quotes that jump off the pages to me exactly when I need them.

Today as I read his words, in speaking of knowledge and practical education, he says:

There is another kind of tablet, one

already completed and preserved inside of you.

A spring overflowing its springbox. A freshness

in the center of the chest. This other intelligence

does not turn yellow or stagnate. It’s fluid,

and it doesn’t move from outside to inside

through the conduits of learning.

This second knowing is a fountainhead

from within you, moving out.

And so it goes with painting. Although the artist might be a realistic plein air artist, a painter of photographic realism, portraits, or even a photographic artist, he or she must always call upon something from inside in order to decide upon and create an image. In abstracted art you must pull from an even deeper place, and you must define your own personal language of art.

Some people do that quite well; others struggle with finding the particular art language that is true to their soul. If you, as an artist, try to speak artistically from a place that is not genuine, I believe your art will be soul-less and uninspired. You can spot art that has no soul – there is a lot of it out there. It is gutless, bland and forgettable.

Rumi also said to me today:

Do you know why your soul-mirror

does not reflect as clearly as it might?

Because rust has begun to cover it.

It needs to be cleaned.

Whatever makes your soul sing, seek that. If you know  the secret of where to go, either deep inside yourself or outside in the real world, and what to look for in gathering mental material for your own artistic soul to become inspired and thrive, you are fortunate indeed. We must all find the source of the food that feeds our creativity.