What do we do with all these things we’re noticing? If we start paying attention to both sides of things, we’re seeing details we overlook. We’re noticing how they fit into a larger context: the big picture. What’s after getting these new thoughts and images?
The things we take for granted, things we think are routine and familiar are full of life and fractalised components of being. But you don’t have to consciously apply the stuff you perceive to any creative thing you’re working on.
This act of trying to see deeply applies itself.
I would argue—and I do argue—that there’s a magic connection to your work, if you’re doing both things together. “Magic” not in a mystical sense, but in an ineffable I-don’t-know-how-this-works-but-it-happens sense. Making and creating is enhanced and enriched by your changing the way you move through familiar environments. And the fact that you’re working on art of some kind enlivens your mundane perceptions.
You don’t have to try. We can overthink the work very easily. I think a better way to improve and hone the thing you do is to carry the feelings and careful way of seeing (or listening) outside the place you make that thing.
Consider not boxing in your work. See if you can open the sense of flow throughout the rest of your day.
It’s a nice view from our apartment, mostly of the buildings next to ours, but the west Portland hills rise up behind everything and it looks like a diorama. It’s inspiring and uplifting. I’ve wanted to live in a downtown apartment since I was little.
It’s also a different sketching perspective. Since I’ve never lived this high up before, I have a new set of angles to discover and try to capture. Both these aspects are fulfilling and fun, and it’s a big change from many years near the ground in L.A.
Simple things feed into our feelings and our creativity. We shouldn’t undervalue a change in view.
Let there be light
Let there be moon
Let there be stars and let there be you
Let there be monsters, let there be pain
Let us begin to live again
The video is a bit distracting, but I find the words a thrill, even as some make me laugh. This is a valuable, rare quality in art of any kind, and Devin is better than most at pulling it off.
It’s helpful to have a reserve of these kinds of messages, things to tell yourself that help you keep going. Discouragement is often part of making art, like frustration. There’s excitement and satisfaction, too, but those don’t need encouraging memes to return to work. Sometimes all I need is a simple nudge that it’s meaningful to be doing it.
With some regularity, the song “Changes” by Yes fills the phantom ears in my brain. Just the memory, of course. It’s sad and jarring, as much as I like it and the way they made it. Sort of like an Anselm Kiefer painting.
It reminds me that nothing stays the same for long. We move through time, or the other way ’round, and there’s always a new way to look at our work and the world we interpret through it. It should be humbling, at least enough to get us to keep practicing, trying to see the new stuff.
One of the strangest elements of going to sleep is losing consciousness. The person we are seems to just go away for a while. The person who wakes up isn’t quite the same consciousness. So are we the same person we were the day before?
Whether this holds true as we study the way consciousness works is, to me, irrelevant to the application of it to art and to making. It may be useful to think of ourselves as always renewing, always arising with the potential and promise of a new person—who still holds pretty much the same ways of thinking, goals, and student loan debt.
It’s easy to get caught in the quicksand of self-doubt and worry, of course. The negative “what-ifs” that catalog all the things that can go wrong. The critic telling us we’re not good.
But we also can decide to think of ourselves as new beings, and there are all the things that can go right. Maybe you’re not the same person: you’re someone else stepping into the place of the one who was in your place yesterday. Someone who has the memories, but doesn’t have to take on the baggage of yesterday
Tomorrow, we are different people. We can start our making again, and maybe not beat ourselves up about how good it is because, well, we’re new.
The opposite of what’s commonly thought of as “good weather” can be the sought after and enjoyable type to some. Specifically, to me.
Today was rainy for the first time in a couple of weeks. For me, growing up in the deserts of Arizona and California, rain is like a strange and beautiful prize. I can’t get enough, or at least I don’t know what my limit is. If this love of cloudy days and speckled windshields defies expectations, good.
We all—me included—need our assumptions challenged regularly.
I spend considerable time every Mother’s Day missing mine. It is getting a little easier balancing that with remembering how lucky I was that she was so amazing.
But I couldn’t help sharing this small, profound moment from Keanu Reeves’s appearance on The Late Show With Stephen Colbert. It’s just a person who’s aware of our place in the universe and he tells the truth.
“What do you think happens when we die, Keanu Reeves?”
“… I know that the ones who love us will miss us.”
Joan Jonas has an installation at Ocean Space, a new exhibition venue made to facilitate artists and scientists studying the oceans. It’s fascinating and eclectic. Jonas incorporates performance, sculpture, video, drawing, and painting into the work, which may not be fully finished till the end of its run in September.
She’s paralleling the natural ecology of the sea with a kind of ecology of artistic practice. Everything works together as a whole piece, no one element is meant to stand on its own. They feed and support each other.
Aging comes with a few characteristic abilities, many of which seem to be complaining—about the weather, what hurts on your body, these kids today (DISCLAIMER: I’m firmly in the the-kids-are-alright camp and expect to continue to remain).
And the cost isn’t cheap. Bodies break down and get slower. It’s nothing unusual, it happens to everyone who keeps living. It’s ordinary stuff.
But there are definite benefits to getting older, and the biggest one is simple, accumulated experience. True, wisdom isn’t inevitable, but it’s a lot easier to harness. Appreciation for beauty and recognition of darkness is easier, too. There’s a wealth of years that lets us understand the world better and how it all fits together.
If you’re an artist getting older, this is your advantage. “Write what you know” becomes a massive toolbox, which for a young person would tend to be a small, spare tray. You can use this in your work: put everything you are into it, because the ocean of accumulated life inside you is very big, indeed.
It’s only everything. Everything you were and are, all you’ve seen and heard. It’s all in the stew. It’s all past that fuels and lays the foundation for the future, and the act of making funnels it through a venturi tube of consolidation.
I’ve finished Mark Doty’s enthralling Still Life With Oysters and Lemon, underlining and line-marking as I went. A book ostensibly about Dutch still life painting from the 17th Century, it folds in an increasingly deep examination of art and personal experience bit by bit. It’s a lovely book on its own, but it’s also instructive on the ways art encompasses the things of the world and our inner interpretation of it.
About the Author
Marcus is a maker of things and thoughts. He currently resides in Portland, Oregon.