Creative Influences » art psychology

What Does A Painting Mean To You?

Kim — Thu, 24 Jun 2010 23:22:44 +0000

As you know from my previous post, I am enjoying Peter Clothier’s book, Persist. There is so much packed in this tiny book, I wonder if I will ever stop contemplating it all. One of the subjects he brings up is how visual artist have it hard because this is one area where often the work which took hours, days, months or years to complete will be brushed away with a glance. If you look at other art forms, this is often not the case. Consider writing, by nature it takes time to read or with performance art you are often captivated by the story being told and asked to remain in your seat for a film, play or dance. When Clothier observed people in Museums, he found if they stopped they stopped to read the little bit of information by the work, then moved on. He thinks visual artist need more time given to the work they are sharing. I couldn’t agree with him more. Let’s look at some art:

First, let’s look at Shangri-La by Andrea Hupke de Palacio:

used with permission from Andrea Hupke de Palacio

Now take a long look at this painting or go to Andrea’s blog to view it larger. I mean really get into it. Think about the face…look at those eyes and stare deeply into them, consider the head covering, too. I don’t know about you, but I can get lost in there. The colors she has chosen to use are magnificent. I want to swim in the colors. Can you imagine what it took to just paint the colors in the right place? I can imagine she was lost in her own place while doing this. When I really look at this piece, I seem to be able to feel the grit of the dirt beneath my feet, the crunch of the dry grasses and a cold winter wind. It takes me back to a more simple time in my own mind. The countryside is cold and I am looking forward to a warm stew and roaring fire when I bring the goats back to the village for the night. I look forward to the taste of wine and tangy taste of goat cheese. I can feel all of these things and more. Goodness knows, I am not thinking this is what Andrea was thinking when she painted this piece, but it is where it transported me. She started me thinking with the painting and few, well chosen words. I was easily transported from there. The thing is you have to spend time to get yourself into the place of your imagination. The key, by the way, is the title of this piece – Shangri-La. Where does it take you?

Unfurling

You have seen this one from me before. I call it Unfurling. I would like for you to try again with something very different to really spend time with this piece. Allow it to consume you just like with Andrea’s painting. When I created it, I felt one thing, but now I sometimes feel something different when I see it. With paintings like this you often hear things like…”I like it” or “I could have done that” or “My five year old has done something very similar.” I have answers for all of those kinds of questions, but what I ultimately know is that the viewer is not allowing themselves the opportunity to feel this painting. I know there are a lot of feelings in there, because I put them there. Artists do that! What someone else feels is not what I probably felt as they have their own life experiences to draw on.

The point is that it seems viewers want to be told what a painting means to them, if they even take the time to stop and have a longer look. Is it fair to the artist who probably just wants to have an opportunity to bring a bit more humanity to the viewer? They probably just want to help them touch their own shangri-la, right? Clothier suggests an hour meditation sitting in front of a painting to try to get to know it and to understand what it means to you, the viewer. The artists is done with it, now it is the viewers turn to have it touch their heart, speak to them, to bring their own humanity to the surface. If you have ever had a painting move you to tears, you know just what I mean. This can happen with many paintings. Once you learn the technique, you can slip into the world of that particular painting with ease.

Please, share your experiences of really taking the time to look at paintings. I wonder if after the first time you might view them in a different way?

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Still Working Intuitively

Kim — Sat, 05 Jun 2010 17:04:05 +0000

I recently had another beautiful email from my glass artist friend, Lesley McIver, in Golden Bay, New Zealand. We were talking about our work and how grateful we were each day we step into our studios when she wondered if I was still doing my intuitive art. The truth is, I can’t stop doing intuitive work. It is a part of me and a part of my wholeness. Lesley was just confirming I was still on my personal path. We have been following the work of the other for many, many years now. She knows I need this work for me, but she also knows I need growth in my work for me, too. Good friends are like that aren’t they? No matter what, we encourage each other to take a hard look at the place from where we have come as well as the place we are headed while keeping the focus on the present. They allow you to fall only to be there to pick you up again. They are true gifts.

So with Lesley (and other good friends, too) in mind, I am sharing one of the pieces I have worked on recently in the studio. This is small for me, 18″ x 12″ on hardboard done with acrylics (mainly inks). It is funny with some of this intuitive work. I sometimes find it difficult to share here on the blog. It is as though I am opening myself up to the world – showing you the part of myself I hold so private. From an intellectual standpoint I know you don’t see the same things I see or feel, but emotionally I want to protect that part of me. Maybe this is also why it is a challenge to title this work, but eventually I am able to get to that aspect. Do you feel this way about any parts of your work?

I would love to hear from you on this or any other art subject. Have a wonderful weekend.

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Art Paper for the Door Queens

Kim — Fri, 23 Apr 2010 16:03:53 +0000

One thing I learned when we were in Paris is how much variety the French (or maybe the Europeans) have in art paper! I have a fetish for both pens and paper, I was in heaven in the art shops and Andrea was the perfect guide. One day she stopped by our hotel and walked with us across the river to the old Sennelier shop. What an amazing place! If you ever have the chance to visit this old art shop, do. It is an adventure you will never forget. I know I shall never forget it. The thing which struck me was the variety of papers available. Andrea told me about Moulin de Pombie paper she had used with great success, so I walked away with (paid for) a small booklet.

Here is the thing, if you ever have the chance to purchase this paper, don’t do as I did and make the purchase of a small bit, but a larger one and even sheets of the stuff! It takes liquid color like magic! I love it.

This is the very first sketch I did in this little book. I am drawing a lot of doors as Andrea and I have the Door Queen’s Project going and it is getting very exciting as we consider the impact of doors. It is also great fun. Andrea has also started some door painting (not just a doodle, mind you) which looks wonderful. We will see where this project leads each of us, but for now, we are having a great time.

I also came home with a sketchbook which I am loving made by Hahnemuhle (which I think is German). It is not for wet media, but I am enjoying the pen and ink drawings in this one.

I used the Copic pen seen in the photo to try another, looser rendition of the first Paris doors, on Rue Royale, I shared with you.

You may see these doors again, as I am working to get the sketching loose yet clear. You can see the shakiness of the line as I still struggle to let go of drawing with tools. You would think I could do this, but those nasty old brain tapes keep playing in my head! Do you have these issues? Professors chatter continuing to come back to you? In some ways, it is comfortable for me to use these architectural features and in other ways it is a major challenge. I love the psychology behind the architectural elements, so I move forward with that. I can absolutely see the challenges and the rewards of this Door Queens Project!

Now this afternoon I head into my studio, crank up the music and cut loose with some serious, free-flowing abstract work. I have lots to show you there, too! How about you? Are you finding lots of projects to keep you busy with your art? Do you consider the psychology behind the work you are doing? What are you doing which helps you feel as though you are so much more yourself when you work on it?

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Changing Physical Environments Can Be Interesting

Kim — Tue, 16 Feb 2010 19:17:04 +0000

for a friend to see again

I have been very busy lately. 2009 proved to be a unique year for our family, and since I am typically a very private person I have not shared what was going on with very many people. Now, I will let you know I have been living a dual life! It is true, I have been running from the east coast to the southwestern part of the US with amazing regularity. I have had a studio in both locations and have observed how these different locations has not only caused me to produce vastly different paintings but also how the different studios have encouraged me to work very differently. It has been an exhausting and fascinating process. While I have lived and worked in a variety of locations and have done my fair share of traveling, this experience was so different because I was living in both places. Now that the experience has come to an end, I am spending more time reflecting, and once I can receive shipment of my work to one location I will be trying to decide what was good and what did not turn out so good with these works side-by-side.

Just because the physical experience has ended (and I am not sad for that, because it has been exhausting), I feel I can now relax more and see what I need to take away from it. This clearly does NOT mean my travel and or moving days are over…far from it! I will give you the heads up to watch this site for some photos of and reflections on an exciting trip I have planned for early spring.

Do you find it a challenge to work in a variety of places? Do you think your work changes when you move studios or work in different locations? I have noted before how vastly different my work is here in the US compared to the work I did when we lived in England. I can also tell you the work I did in the southwestern US and the work I did in the mid-Atlantic US was very different, although I tried to use the same mediums and supports! There is a lot of psychology I need to explore here, however I think some very good insights will arise. Now I am beginning to wonder what Asia might do for my painting!

In the coming weeks, look for some posts on this recent experience. Do let me know if and how your physical environment affects your work. I will be eager to hear from you.

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Creativity Management

Kim — Fri, 04 Dec 2009 14:41:49 +0000

the beginning of the fall

This morning we have the beginnings of the first snow of the season. While it will not last long, it is lovely to have so early.

I tried to upload this video however it was not going to happen. Use this link to watch. I highly recommend it!

Elizabeth Gilbert on Nurturing Creativity on TED

Earlier this year, Elizabeth Gilbert author of Eat, Pray, Love, gave a talk on Ted.com which touched me in a profound way. I have mentioned this talk before. I revisit her talk with some regularity however, because it serves as a reminder of the importance of living up to my own expectations rather than the expectations of others. When I first shared this video, it touched so many people and the email conversations went on about it for weeks and months. People found Elizabeth’s talk inspiring and a good reminder of what it means truly to live a creative life. I hope it spurs the same kind of conversation here.

As you may know, Miranda’s comment in the last post reminded me of this talk and I thought it was a good follow up to what we were talking about as far as maintaining our creativity. Elizabeth talks about how much strength it takes just to show up for creative work and how society really puts pressure on creative people to constantly perform at peak performance. It hasn’t been like this forever and she contemplates if this kind of pressure is what gives creative people the reputations of being a little off in the head with those who choose not to live a creative life. You have to be fearless to be an artist. The stories she shares sound so familiar to me. I wonder if you find some idea of resonance in them?

If you have not seen this talk before, I think you are in for a real treat. If you have seen it, I encourage you to watch it again (I hear new thoughts and ideas each time I watch it). Do her thoughts help you see your work in a different way? Are you turning your art around in your head and viewing it from different perspectives? Did you hear some ideas here which may help you manage all that happens in your creative life? I am eager to hear what you have to share.

Have a Beautiful Weekend!

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The Power of Art

Kim — Mon, 12 Oct 2009 16:26:35 +0000

I love the work of Marc Rothko, so when I found this series of videos done by the BBC and Simon Schama, I had to share them with you. Schama does a whole series on The Power of Art which includes similar discussions on Caravaggio, Bernini, Rembrandt, David, Turner, van Gogh, Picasso and Rothko. If you are willing to take these in bits and pieces, which may be a perfect way to view them, they are all on YouTube. I love the way he weaves in art, the artist, culture, business and political history to help explain, indeed, The Power of Art! One of the greatest examples of this, I think might come about in the Picasso series when he speaks of a painting which was covered up at the United Nations before a press conference! I will tell you no more here. We have so much to be greatful for in these artists who went before us, not only in understanding what they went through and what they were trying to share, but also what their struggles mean to what we do today.

I would love to see more of these. Of course, modern art is my personal preference, but we have a lot to learn from all artists – even each other. I am grateful you are willing to share.

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The Reflection in the Mirror

Kim — Tue, 06 Oct 2009 15:37:08 +0000

I have just started reading Jackson Pollock: Energy Made Visible by G.H. Friedman which was published in the early 1990’s. I honestly have not gotten very far in this almost 300 page book about a man who cut his own life short. Friedman interestingly interjects his own thoughts into the writing which is wonderful. In the few pages I have read, Friedman brings up the issue of how the artist goes into the studio and absolutely must face themselves in there. I have always found this challenge to be a joy as working through those issues I face brings more clarity to my life. When I can work through them in the studio, they seem to be less painful in some way or maybe it is just the right way for me. The opposite seems true for these mid-20th-century Abstract Expressionists (or in Pollock’s case – Action Painters), because they seemed to struggle with meeting themselves in the studio without drowning their struggles with the bottle. I find it difficult to understand how so many of them struggled with the same affliction at the same time working through this amazing emergence of this incredible genre. Maybe they all just fed off of each other’s weaknesses and then that mirror in the studio (the canvas) became only bearable when they would drink. I suppose the true answer to that is one for the mind scientists (individual and collective).

A Work in Progress

I think about this art mirror a lot and wonder about the struggles people have not only when they create art, but also when they view art. It has occurred to me how abstract work is possibly sometimes difficult for people because they struggle with what they see there. It is easier to say things like, “my dog could have painted that” or “what a mess” or “what the hell is that?” when they don’t wish to take the time to figure out what it means to them. Sometimes that is too painful and sometimes it may be down right impossible. I spent many years creating drawings which were technically correct (literally drafted to the mm) for the dreams of other people. Once I gave myself permission to do this for myself, I gained a greater respect for the part of themselves artists put into each of their works. Maybe it is because of these artists who truly put themselves out there for all to see, I have the courage and the strength it takes to continue meeting myself in the studio. I am not sure of the reasons I can do this without needing something else to boost me up. It seems the greatest challenge comes when we have to hear the opinions (and face it everyone is a critic – especially those who do not practice art) of others and bolster our inner strength when their own fear makes it difficult to view something new. I have always been someone who is who I am and cannot be who someone else wants me to be, so maybe that is it. Then again, maybe it is my lifelong experiences of living inside my head which helps me along with this. No matter what the reason, I can say without a doubt I am very grateful for these artists who have put themselves out there in front of the public eye and continued painting no matter what was said about them. Every single day the knowledge of what they went through gives me the power to smile when someone just doesn’t get it! I hope you can smile through it, too.

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Gratitude

Kim — Mon, 21 Sep 2009 20:03:20 +0000

My apologies for the wonky colors and spacing in this post. I am not sure what is going on, but at least you can read it for now!

Andrea mentioned the other day the magic of the internet and computers. She talked about how we meet each other and share our thoughts and ideas in ways which were never dreamed possible when I was growing up, and we do it with the click of a button. When I think back on it, I often wondered how I possibly was able to get through all of those papers without spell check (an important feature for those of us who have an issue with spelling and hearing particular sounds). I constantly carried around a huge paperback dictionary with a font so small I struggled to see it. There was all the long hand writing (which I sometimes miss and just want to write in my journal – the reason I do not keep a journal on the computer) which caused callouses on my third finger. That callous did not leave me until just a few months ago. I look at my adult children’s hands and guess what, no callouses from writing long hand. They can’t imagine the work it really took just to write a paper, although their academic papers are so much better than I ever dreamed of writing. The computer and the internet are magical and I am very grateful for the connections it has allowed me to make and keep.

by Elis Cooke at Journey by Journal

Journal keeping is a huge part of my creative process and my gratitudes are a part of what goes into keeping my journal. Without these tools, I would probably not come to the conclusions I do about art (mine and others) and life. This particular journal I received as a gift from my husband and it was purchased from Elis Cooke at Journey by Journal. I love this journal because the pages can easily be replaced and I have 6+ sections to utilize for different things. The touch of this book is amazing. I love running my hands over it and feeling the pages. Just coming to write in this journal is a meditation. Knowing it was touched over and over by Elis, my friend, makes it even more special. Without my computer and the internet, I would probably have never heard of the work Elis does. She is very knowledgeable about journaling (and painting) and has inspired me in a lot of ways. I have two types of paper in this journal one for writing and one for sketching. I carry it with me everywhere! I have art writing, personal journaling, complaining (I actually have another name for that section), doodling, lists, etc. in this journal. Elis was kind enough to share some divider paper with me (her own creations) which I adore! I also love how the pages of this journal lie nice and flat making it easier to use.

divided pages

Now I don’t mean to sound as though every part of my life is full of nothing but perfection because nothing could be further from the truth. I have my issues, too, like not being able to sleep, dealing with too many left-brained tasks (which drive me insane), struggles trying to figure out what the heck I was doing when I last left a painting (for which I am grateful to ask art friends to have a look and help me out), some times I spend too much time thinking about what I could be doing or what I should be doing rather than focusing on the task at hand, and I berate myself for looking so dumpy - see, I am no different from anyone else. What I can tell you, though, is having gratitude for what I do have keeps me focused on the positive in life. Today, I just read an article in the mainstream press which says optimism keeps you healthier. Well, that isn’t rocket science, but it means naysayers are probably getting it if it is in the mainstream press. I don’t know about you, but clearly I am eager to stay healthier and being positive is right up my alley! So go ahead and pull out a journal, better yet see what Elis Cooke has on offer. If you decide to keep a gratitude list, don’t forget to put your computer and the internet on there because I am glad you are using it!

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Emotions and Painting

Kim — Wed, 16 Sep 2009 14:34:34 +0000

Growing up in rural Virginia in the 1960’s and early 1970’s, I had very little exposure to art, in general, and no exposure to abstract art of any kind. As a child, my elementary school teachers would give poor grades for coloring outside the lines or for “using inappropriate color”. I always wanted to change and challenge assignments I was given, however I also wanted to be a good student. What was a little kid to do? Being raised with the “never challenge authority” and “adults are always right” mindset, I learned to keep my conversations going inside my head rather than voice them and risk having my sensitivities beat up. So it wasn’t until I was taking an art appreciation course my freshman year at college was I ever introduced to any abstract art and then it was this genre called American Abstract Expressionism. I remember seeing a Jackson Pollack drip painting in a photograph and breaking down in tears. I remember this feeling of justification of my own instincts. I can still get teary thinking about that moment. Being as naive as I was, I also didn’t know art could make people cry.

in process sketchbook work

Why am I telling you this? Well, yesterday I came across this article on the Miller-McCune Research web site which talks about a recent study done in Rome with people visiting various types of museums. What they found is those who visit modern art museums are sensation seekers while those who visit the ancient art museums are looking for cultural enrichment. Both were interested in intellectual development and had an interest in arts and most of the museum goers were women, but the visitors to the modern art museum were on average 10 years younger than the age of the ancient art museum goers. This was a simple research, but one which will probably open avenues for further social, intellectual and cultural work. While I wasn’t surprised, I was happy to see this actually was taking place. So while I feel a great deal of emotion when I paint and when I view certain art, it is nice to know others also get that emotional feeling when they view art, even in public formats.

another sketchbook work in progress

Another emotional aspect of being an artist is having some special people say nice things about you from time to time. You are right, this is not the first time this has happened, but over the last two days I have had a couple of people say some kind things I wanted to share with you. Yesterday, Adam Reeder, said this to me (after he recommended a particular book on public art) on Facebook, “yeah you said it Kim, we need to be able to learn from everyone, and someone as talented as you could really run with info.” I have followed Adams work for sometime now and his sculptures are amazing and his drawings can sure make you pause. I am sure you will enjoy how he looks forwards and backwards with his art. Then, in this morning’s email there was a note I had been listed as a recommendation on Miranda Aschenbrenner’s blog, Learn To Art (scroll down as she has place a tutorial at the top). She said some lovely things there, too. I encourage you to visit Miranda as she has some lovely posts about realistic drawing.

So art is emotional on all sides for me. I wonder what research might find about the ’state of mind’ of artists as they produce particular kinds of art? Do you ever fill with emotion as you paint? Have you ever collapsed on the floor in the middle of your studio? I am eager to hear of the emotional experiences you find in art both on the production and observation sides. My emotions bring the richness to my life. Do you find that is true for you? Are you an emotional museum goer or are you seeking cultural enrichment?

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Tuesday’s Bits and Pieces

Kim — Tue, 18 Nov 2008 13:27:00 +0000

So I am a sucker sometimes for containers. If they are unusual, then I will consider purchasing them. So this is an ink bottle, and it is full of black ink. I don’t use ink all that much, but the bottle drew me in when I saw it. You, too, can purchase one at Art Supply Warehouse for $7 or less if you act soon and have the current coupon. I really like seeing the bottle sit on my table. Silly, isn’t it?

I have also come across an article about what makes people successful in their chosen careers. Of course, artists are not profiled and a portion of this article suggests just what artists have known all along. Actually, I was reading it when I remembered a story I read from a source I cannot put my hands on now (if you know it, please let me know so I can give credit where credit is due). A professor of art teaching a pottery class at an American University decided to divide his class in two parts. Those students in one half of the class would receive an A if they could create the perfect pot by the end of the semester. The students in the other half of the class would receive their grade based on the quantity of pots they produced during the semester. As you might guess the “perfect” pot came from the students who also produced the greatest number of pots in the semester.

I do not get nearly the quantity of time in my studio I would like, because there are so many people who depend on me. Maybe I should spend time at night painting. Do you feel you get as much time as you would like in your studio?

Everyone have a beautiful day.

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