The Creative Epiphany – Creativity’s Multi-Choices

thCAVP09TH Gustav Klimt

I am having one of those moments in time when I cannot decide where to place my emphasis, because both painting and writing are near and dear to me, and very much alike. Creativity is visiting me now – she blew in after my trip to Singapore and has taken up residence in my studio, refusing to leave or even turn down the heat a bit. She likes it hot. She is here because she senses that I am ready for her – but be careful what you wish for because you might get it and she always brings complications disguised as challenges – that euphemistic word that implies the positive but often delivers the negative. She is tricky. She knows how to add intrigue while testing for ingenuity.

I see her as a woman, sitting there staring at me and smiling a Mona Lisa grin, all wild-haired and dressed in hot pinks and orange, eyes flashing. Sorry guys – I respect your freedom to see her any way you like, but to me she is a woman. She is a flaky wench, as I have said before – a woman of many faces, many moods. A heart-breaker, a beauty, a complicated and yet simply divine girl/woman who arrives in a different costume for every day of the week. She can be pouty, stubborn, insistent and bossy but she is also charming, enigmatic and smart. She kills me with her power – I am powerless in her presence. She demands my attention. I drop everything for creativity. Sometimes it is worth it and other times she lets me down….she deserts me….she leaves me in midstream of an idea and does not return for months. And when she does show her face again, enticing me back into her spell, she laughs at me, wondering why I missed her so much and what the fuss of her absence was all about, telling me I need to learn to “wing it” without her constant attention. Easier said than done. She knows how hard it is to wing it.

Sometimes she comes baring gifts so abundant that I am on overload. She offers ideas rapid-fire, challenging me to do them all at once or choose one, any single one, and do it to the absolute best of my ability, at the risk of losing all the others. This is her Sophie’s Choice – choose. I cannot choose one at the exclusion and even death of the others, and therein lies the rub. How come ideas come in clusters and the days are only 24 hours long? Creativity knows how impossible her requests can be. She does not care. She smiles. She waits to see what you will do.

I want to paint; I want to write. The two are similar in their challenges and their triumphs. I ought to be able to do them both, giving each a designated time of day, you would think. But they spill over, they melt out of their allotted hours, they almost become one and the same. I drift from computer onto easel and back to computer again. They each require constant practice, regular attention and loving support. A magnetic composition/plot that pulls in the viewer/reader. A path of light & color/unfolding story for the viewer/reader to follow –  lights and darks, embellishment of certain areas/characters, an exciting punch of extraordinary interest preceded and  surrounded by  some interesting places for your mind to travel while headed in the direction of the focal point/main event. The sensuality of color description, the journey of your mind as you view/read, the tension created for your mind’s eye, the surprise discovery of the message/plot, and the final conclusion – writing or painting? They are about the same thought process for me.

This late fall day, week, month, year, there is a war in my studio to see who wins – the visual artist or the writer. I am a helpless victim of creativity. Happy to have such a problem but wary of the battle.

The Creative Epiphany – Abstraction in Art

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As if….

I have been painting in a contemporary abstracted style since I was a student of fine art at CU in Boulder. I could not wait to get past all of my classes in realism so that I could set myself free. I knew I was a student at a school with a great art department at a point in history where I also knew instinctively that I fit in. My professors in the sixties where cutting edge and adventurous. You do not, of course, just jump right into abstraction until you have an understanding of realism and composition and all the basic principles of art and design. So I did that and it was fine but I was itchy to get past it and start taking risks in art. Through the years since then I have sometimes turned back to my own loose version of representational art and I do enjoy that, with my semi-abstracted landscapes and recently with portraits of Africans and American Indians in particular. But I consistently paint non-representational abstractions as my most fulfilling style of artistic expression. Still, after all these years it is not as if I can predict the outcome of the process even as I am doing it. The entire abstract procedure is serendipitous, improvisational, riddled with shock and surprise and the finished product is absolutely impossible to predict. And that is the charm and the excitement of it for me. The journery is the thing – listening to the paint speak to you, understanding your tools and what they will do, hearing the language of the papers in your mixed media collage, knowing how to achieve great texture and depth, knowing your canvas and being aware of the weather and the time and the mood of the day and the music that you have playing – it all factors into your art when you are feeling the abstract process in your bones and you are truly in the zone. Thus the term abstraction – you are capturing the essence of things.

Ok so let me put it another way. I am usually not painting in the abstract style so that people will “see” something in my composition. Much abstract art, yours and mine and thousands of pieces of noteworthy art down through the centuries, does indeed have a suggestion of a particuler image of some particular thing, but of course much does not. One of art’s irritations for me is when I have completed an abstract image of nothing in particular and people start their wierd process of attempting to find an image in it that will “reveal” something about my motivation for painting the piece. Because that makes them more comfortable – they need a comfort zone to crawl into. They assume I have purposely hidden stuff in there to be mysterious and provoke chatter and speculation about who I “really am” and what I am “really thinking”. That makes me crazy. Many times I am standing right there next to them as they do it. They begin to “see” stuff and then they look over at me as they “explain” what they see and what they believe is so obviously my motivation for the art. What are they looking for from me? A nod and a wink, indicating they have busted me and figured out exactly what I was thinking as I painted it? Sort of like “gotcha”? Come on. As if….

Abstraction does not always have to carry the weight of a major statement that smacks you in the face or a hidden agenda that creeps up on you or even evidence of a noticeable mood swing on the part of the artist. Some of it is there to be appreciated for the simple balance, the beauty, the freedom, the energy, the force, the quiet, the sensuality, the essence, the whatever. Please don’t take one of my paintings and turn it upside down or stand on your head or rotate your eyes all around each side of it looking for a duck or a funny little man or an angel or some other stupid thing that I did not put in there. And if you purchase it, please hang it in the proper orientation in which it was painted, not the direction in which you are comfortable viewing it because you “see something” that way. It is all about respect.