The Truth Dawns

It feels as if for the longest time I have been wrestling with the challenge of painting honest landscapes. Time and time again I fall into the clutches of the picturesque, the “pretty landscape”. The past week I have been back at work on this analysis.

The challenge I set myself was to dissolve the landscape I had in mind – a view of the mountains near my home with a semi-invented foreground composition – into something more abstract. My first effort came out like this:

IMG_0723
Mountain View I (Oil on Canvas, 11″ x 14″)

I was pleased with the outcome, especially the warm, rich and juicy foreground. But that horizon line immediately cast the image as a traditional landscape. I set to the problem with pastels, this time using only blocks of color with little or no lines:

IMG_0724(Edited)
Mountain View II (Pastel on Canson paper, 8″ x 10″)

I liked this one a little more. But I am quite comfortable with pastel, so this felt like cheating.

I went back to oils, this time taking away the option of lines by using only the palette knife:

IMG_0722
Mountain View III (Oil on Canvas, 8″ x 10″)

I felt I was getting somewhere, but was weary of the palette knife – it very easily becomes a gimmick or mannerism that an artist cannot escape from, like an actor associated with a certain role.

Finally, as the weekend approached, I resolved the idea with an image that I really love:

IMG_0726
Mountain View IV (Oil on Canvas, 8″ x 10″)

There is little left of the original concept, except color, rhythm, harmonies. Who knows how I will feel about this image in a week’s time? I know I felt good, relaxed and happy while doing it and after doing it. It is a good sign, but I know that art is an ever moving target, a mystery that deepens infinitely.

I have been reading The Philosophy of Samuel Beckett, by John Calder. Initially a somewhat dry read for my engineering brain, I started paying better attention in the chapter “The failure of art”. Calder quotes Beckett:

…to be an artist is to fail, as no other dare fail, that failure is his world and the shrink from it desertion, art and craft, good housekeeping, living.

By Beckett’s measure I guess I can say the past week I failed several times, and currently with attempt IV I am under the illusion of having succeeded. Slowly the truth about this journey dawns:

Slowly the Truth Dawns

To wake, and know
your heart sinks
dark and heavy,
hardening into stone...

Slowly the sea lifts its waves,
slowly the trees turn red in the gorge,
slowly the fires begin to lap in hell,
slowly the truth dawns...

Olav H. Hague, translated by Robert Hedin, in
The Dream We Carry

Thanks for visiting my blog. I hope you are happy and content!

Blue Mountains Dreaming

I have been dreaming of mountains, moonlight and clouds. During the recent full moon I stepped outside at 2am. Stars abound in the New Zealand sky, clouds scurrying along the Hakarimata mountains across the river. What a universe!

Acryl124
Acrylic on Canvas Paper (11″ x 14″)

Lady Izumi Shikibu lived at the border between the 10th and 11th centuries.  She must have dreamed of mountains and moonlight as well. She wrote:

I go out of the darkness
Onto a road of darkness
Lit only by the far off
Moon on the edge of the mountains

Izumi (translation by Kenneth Rexroth, in 
One Hundred Poems from the Japanese

 

P124
Pastel on Canson Paper (8″ x 10″)

Through busy days and dreamy nights, I keep pondering meanings and purposes – those of life, business…and painting. At times it feels as if a huge purpose holds me safely in its sway. Other times I drift as a leaf in a late afternoon storm. I try to live upright through both these views of life.

In his wonderful book The Silence of the Animals, John Gray writes:

Godless mysticism cannot escape the finality of tragedy, or make beauty eternal. It does not dissolve inner conflict into the false quietude of any oceanic calm. All it offers is mere being. There is no redemption from being human.

 

P125
Pastel on Canson Paper (8″ x 10″)

Thanks for visiting my  blog! I hope you are happy and content.

A Sense of Something Hidden

Coming back to my blog after yet another long absence, the memory of one of Wendell Berry’s poems – A meeting in a Part – pop’s into my mind. In the poem, the narrator tells of a dream: he runs into an old friend, one who has passed already to the other side of life.

The poem concludes with:

Yet I, the changed one,
ask: "How you been?"
He grins and looks at me.
"I been eating peaches
off some mighty fine trees."
Pastel-Aug18-01
Pastel on Paper (8″ x 10″)

The past few weeks I have been in-and-out of a cycle of painting and reading. I am healthy, my family are healthy, my sons proud and showing signs of temperance and self-discipline – the sort that the Bhagavad Gita says leads to the ensuing of “a discipline (yoga) that ‘destroys all sorrow'”.

Life is joyfully sweet with swirls of  anxiety and melancholy that blows at times through my days. I keep being amazed by the urge to create, and the fragile line between using my painting to achieve a state of “being nobody, going nowhere”, and working with a strategic, commercial fragrance in my mind – however faint – while I work.

Recently I enjoyed Richard Holloway’s autobiography Leaving Alexandria. For most readers the final chapters dealing with the onset of disillusionment with the church – and perhaps even his faith – are probably the most gripping. But what lingered on in my mind was the impact of his childhood wandering in the hills above the Vale of Leven, north of Glasgow.

Holloway’s reflections on these childhood wandering are especially poignant for a landscape painter:

How can you make yourself one with a landscape? You can tramp over it, become so familiar with its contours that you never need a map, but you can never possess it. It is always eluding your desire, just out of reach, beyond your possessing. I did not know the word at the time, or the idea behind it, but on the hills I was experiencing latency, the sense of something hidden behind what is seen.

Oil-Aug-18-02
Oil on Paper (11″ x 14″)

I find in my own landscape paintings, when the right chord is struck, I am immediately immersed in a melancholy memory of schoolboy afternoons spent alone in the woods near my home. In a way, each of my landscapes contain something of my childhood.

In the excellent writer’s book Bird by Bird,  Annie Lamott advises aspiring writers:

Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O’Connor said that anyone who survived childhood has enough material to write for the rest of his or her life.

I guess in my case the same applies to painting and the source of the visual imagery that lies behind many of my invented landscapes.

The monk Nõin lived in the eleventh century. It is important that he lived. He wrote poems. He wrote:

As I approach
The mountain village
Through the spring twilight
I hear the sunset bell
Ring through drifting petals.

(translation by Kenneth Rexroth, in 
One Hundred Poems from the Japanese

 

Thanks to all who have supported my blog through follows, comments and likes. Without your motivation there would be nothing, I suspect. I hope you are happy and content.

 

A Kind of Tenderness

My most recent paintings are once again based on scenes from my morning walk up Driver Road.

IMG_E0048

Below are two photos that served as source material for the paintings above:

Pessoa wrote:

Peace at last. All that was dross and residue vanishes from my soul as if it had never been. I’m alone and calm. It’s like the moment when I could theoretically convert to a religion. But although I’m no longer attracted to anything down here, I’m also not attracted to anything up above. I feel free, as if I’d ceased to exist and were conscious of that fact.

Pessoa, Fernando. The Book of Disquiet (Penguin Modern Classics) 

IMG_E0036

In my back studio I often meditate as the New Zealand winter afternoon turns stormily into dusk then dark. Dark inside – pitch black if not for the small  candle and gas heater spreading warm yellow amidst the shadows. Outside rough jerking wind-sound and trucks on River Road.

But inside on the out breath all clarifies into a deep peace the colour of a winter sky in a painting out of Africa. Thoughts still move like northern lights across the mind screen.  Breathing deep into the hip sockets, the pelvic bowl expands – becomes a Milky Way. Another out-breath….and then the bell.

IMG_0053

Pessoa continues:

Peace, yes, peace. A great calm, gentle like something superfluous, descends on me to the depths of my being. The pages I read, the tasks I complete, the motions and vicissitudes of life – all has become for me a faint penumbra, a scarcely visible halo circling something tranquil that I can’t identify. The exertion in which I’ve sometimes forgotten my soul, and the contemplation in which I’ve sometimes forgotten all action – both come back to me as a kind of tenderness without emotion, a paltry, empty compassion.

Pessoa, Fernando. The Book of Disquiet (Penguin Modern Classics) 

Thanks for visiting! I hope you are happy and content.

Where Movement Ends

Winter has come to New Zealand, and with it grey skies, moody days and biting cold on my morning walks. I have fallen into a steady meditation schedule,  early morning in my studio, my light the glow of the gas heater. Sacred minutes. My cup runneth over.

The urge to paint is back – after almost half a year. My paintings make me happy. In the half light of the days I peer into the emptiness at which they point.

A17
Mixed Media on Paper

I have been vacillating about my blog forever. Not routine procrastination, just doubt about the need for this world to have one more blog post released onto it. Most of all I am stalled by the lack of a strong opinion about one side or another, having seen all sides have a backside, and the artificiality of the personality and its opinions.

Gearing up to write a blog post became for me almost an act of in-authenticity. In the words of  T.S. Eliot, the action of one who prepares “a face to meet the faces that you meet”.

Not to imply anything, but my doubt about speaking or staying silent reminds me of the near silence of T.S. Eliot at the outset of his career as a poet and critic. Perhaps he too was stalled by the notion that any venturing out in the gesture of opinion was a move away from authenticity.

In the brilliant book, The Invisible Poet, T.S Eliot, author Hugh Kenner wrote that the study of the philosophy of F.H Bradley helped Eliot by freeing him:

“…from the posture of the ironist with his back to a wall, by affirming the artificiality of all personality including the one we intimately suppose to be our true one; not only the faces we prepare but the “we” that prepares; …A view of the past, a view of himself and other persons, a view of the nature of what we call statement and communication; these delivered Eliot from what might have been, after a brilliant beginning, a cul-de-sac and silence.”

 

IMG_E4444
Pastel on Paper

On my walks I think about authenticity and its ghostly fragility. I am not surprised that the concept provided enough material for Lionel Trilling to write a fascinating book about Sincerity and Authenticity. In my reading, Trilling regards authenticity as a more mature cousin to Sincerity, which is dismissed as a social construct:

In short, we play the role of being ourselves, we sincerely act the part of the sincere person, with the result that a judgement may be passed upon our sincerity that it is not authentic. (Lionel Trilling, Sincerity and Authenticity)

Authenticity takes us in a different direction:

A very considerable originative power had once been claimed for sincerity, but nothing to match the marvellous generative force that our modern judgement assigns to authenticity, which implies the downward movement through all the cultural superstructures to some place where all movement ends, and begins.

(Lionel Trilling, Sincerity and Authenticity)

 

This is part of the same discussion in which Trilling quotes (again) Eliot:

‘The progress of an artist is a continual self-sacrifice, a continual extinction of personality’.

 

IMG_E4445
Pastel on dark blue Canson Paper

Should we speak or remain in the authenticity of silence? As always, Rilke has the last word on this. In his poem, “We must die because we have known them”, he ends with:

...
But the grown man
shudders and is silent. The man who
has wandered pathless at night
in the mountain-range of his feelings:
is silent.

As the old sailor is silent,
and the terrors that he has endured
play inside him as though in quivering cages.

(Rainer Maria Rilke)

 

Thanks for visiting my blog! Special thanks to all followers and supporters who have recently encouraged me with kind and thoughtful comments.

 

 

Road to Character

Phew – life moved really fast these first two months of the year! In my last post, I showed a few works done using Acrylic on paper. To be honest, I have always been a bit of a snob in my attitude towards the use of Acrylic paint as compared to Oil paint.

It guess it is a combination of the “plastic” nature of acrylic, combined with the quick-drying nature of it. And then there is that luminous, mystical transparency of oil paints. However, I have had some success with Acrylic done on paper (normally heavy Fabriano Hot Press Watercolor paper), and here I would like to share some of these with you.

These next two paintings were inspired by a view of farmland just west of Hamilton, New Zealand. I was driving on the freeway and as I glanced to the side I saw this open farmland, divided into blocks, with the sun and shadow playing on it.

A15
Acrylic on Paper, 66 x 44 cm
A16
Acrylic on Paper, 50 x 32 cm

The painting below is an invented landscape. It started off as an abstract but – as so often happens – it slowly evolved into yet another landscape!

A13
Acrylic on Paper, 66 x 44 cm

The weeks since the start of the year have been quite a ride. Last December, a close family member passed away after a long, brave battle with cancer.  The few and short interactions I had with her and her two young, brave children in the last few days of her life had a profound impact on me.

I decided to deeply review and look into my own life, including my health, fitness and my personal direction in life. As I hinted in my last post, this drive has had an interesting cooling effect on my enthusiasm for painting, which has since evened out again.

I am now about two months into a surprising change in my life path. What started initially as an attempt to get rid of near-chronic fatigue has morphed into a passionate drive to improve my health, fitness and baseline level of happiness – in short, my total way of being.

I started with a zeal for weight-loss and fitness, but one of the first five lessons I learned centred around the brevity of inspiration. It runs out way before you reach the goal. So I soon realized any long term transformation – if it is to be lasting and significant – will be have to be based on humility and patience. In fact – character transformation, rather than body transformation.

In the book The Road to Character, David Brooks writes:

The humble person understands that experience is a better teacher than pure reason. He understands that wisdom is not knowledge. Wisdom emerges out of a collection of intellectual virtues. It is knowing how to behave when perfect knowledge is lacking.

I have managed to sustain this transformation drive now for almost two months, and I have learned many lessons on this first part of my journey – some expected and some surprising.

Although my blog started as a painting-related thing, I would love to share some of the insights and lessons learned on this journey with the followers of my blog in the hope that it may inspire you and allow you to learn from my experience. So watch this space!

In one sentence I will give you the key to absolute spiritual freedom: to be a self-actualized being, all you have to do is know, feel, think, and act like one.

Roy Eugene Davis – The Book of Life

If you are primarily coming to my blog for the sake of the paintings – I will continue to post some of my recent works, but be prepared for some motivational reading also!

Before I go – an excerpt from a poem by Wang Wei:

...
Oftentimes - with joy in my heart -
Alone, I roam here and there.
It is a wonderful thing
That I am aware of myself.
When the streamlet ends my trip
I settle down and catch
The moment of rising mists.
Now and then I meet
A furrowed dweller of the woods.
We chat and laugh;
Never do we want to go home.

Wang Wei, quoted in
Creativity and Taoism, by Chung-yuan Chang

It is a wonderful thing that I am aware of myself!

Thanks for visiting my blog. I hope you are happy and content.

 

 

 

Among Shadows and Ruins

In my last post I showed some of my recent paintings done on paper. These were in watercolor and pastel. At the moment, I really enjoy working on paper – just something about that natural texture and light weight of paper. However, I have become a bit impatient to let the watercolor dry before I go over it in pastel.

So…I dusted off my old bottles of Acrylic paints and started playing around with it. Not expecting anything to come out of these play sessions, I was amazed at how much I enjoyed the combination of Acrylic and paper.

The images in this post are some abstract works (size about 50 x 33 cm) that have come out of these play sessions – some of these have been getting quite a lot of pins when I posted them on Pinterest, so I guess I am not the only one liking them!

A8

I have also posted some of these on my formal website, and in doing this I found that putting a border around the image gives a much better indication of what the work would look like when it is framed with a mat behind glass. In the case of abstract work, I have always found that the border makes up an intrinsic part of the composition, so it is quite important to see it with a proper border.

A7


 

A good break over the new year, together with increasing exposure to sunlight, nourishing but sparse food and lots of exercise has enabled me to put some distance between my demons and my angels. At the moment I am living with my angels mostly, but in the end I realize – they are all mine. All part of this particular life as a sentient being on a ball twirling in a corner of the vast eternal universe.

When consciousness can relax into the simplicity of bare presence, something opens up. We are in harmony with a greater intelligence, or more accurately, the illusion that we are separate from this falls away.

Tollifson, Joan. Nothing to Grasp (pp. 103-104). New Harbinger Publications. 

With a more energized viewpoint, I noted that my need to go into the studio has ever so slightly diminished – like everything else this will change – but for now I am keeping a curious eye on it. I have learned not to overthink these changes in my internal seasons too much. Besides, thinking is quite overrated. To quote Tollifson again:

Some of our thinking is useful and functional, but we can notice that much of our thinking, maybe most of it, does nothing but generate suffering and confusion. With awareness, we can begin to feel when thought ceases to be useful, when it slides over into obsessive rumination. The more we pay attention with awareness to any thought process, the more we can become sensitive to where it ceases to be functional. Ultimately, the clearest and most truly creative decisions, discoveries and breakthroughs come from a place totally beyond the thinking mind.

What I have learned to my surprise (again!) over the past few weeks is that a healthy, nourished body exposed to a lot of sunlight really does tend to host a more positive, healthy mind. The old “healthy body, healthy mind” cliche, a bit more personally experienced.

But there is something of benefit in all internal seasons. What beauty is there not also in the spirit in repose, slightly reflective and objective. I can only imagine the mood of Pessoa when he wrote:

The more I contemplate the spectacle of the world and the ever-changing state of things, the more profoundly I’m convinced of the inherent fiction of everything, of the false importance exhibited by all realities. And in this contemplation (which has occurred to all thinking souls at one time or another), the colourful parade of customs and fashions, the complex path of civilizations and progress, the grandiose commotion of empires and cultures – all of this strikes me as a myth and a fiction, dreamed among shadows and ruins. But I’m not sure whether the supreme resolution of all these dead intentions – dead even when achieved – lies in the ecstatic resignation of the Buddha, who, once he understood the emptiness of things, stood up from his ecstasy saying, ‘Now I know everything’, or in the jaded indifference of the emperor Severus: ‘Omnia fui, nihil expedit – I have been everything, nothing is worth anything.’

Pessoa, Fernando. The Book of Disquiet (Penguin Modern Classics)

 

Thanks for visiting my blog. I hope you are happy and content.

Slow Sea of Indigo

A while ago I became frustrated with a landscape I was doing in pastel. It was looking a bit too pastoral and pretty for my taste. It left nothing for the viewer to complete with her imagination. It lay around on my studio floor for some days while I walked and shuffled over it as I came and went. The image improved considerably!

I then reworked it a bit, took a photo and then edited the photo (adding warmth and editing the contrasts), until I came up with the image below. I loved it. It has the warmth and emotional honesty of a true landscape – that is – a landscape seen through eyes of someone who actually feels, fears, lives and breathes.

IMG_4013

I posted the above image on my Instagram feed and (sigh) it has received the most likes of anything I posted! I set out trying to reproduce this style of image on paper. My strategy was to lay a foundation in watercolor to get the right warmth, then add the rest in pastel and stomp on it to add some random marks. This is what I came up with:

MM44
Mixed Media on Fabriano Paper (approx 50 x 33 cm)

The image was not quite the same – it lacks the glowing warmth of the edited photo. But it is real and has a charm of its own, so I decided to try some more paintings in this style. Below are some results:

MM45
Mixed Media on Fabriano Paper (approx 50 x 33 cm)

Every time I look at Marie Marshall’s blog, I am amazed at the richness of the imagery that I find like pearls in her poems. Here is an excerpt from a poem she posted recently:

MarieMarshall

MM46
Mixed Media on Fabriano Paper (approx 50 x 33 cm)

It has been a hard year for our family. The original family unit was down from five to four when I was eight years old. Now in the last half of this year year we lost two more. They live on in the minds of the remainder and the many others that loved them.

I keep seeing in my dreams landscapes where the light has another color. Perhaps something like the painting above? Rolf Jacobsen wrote about this:

In countries where the light has another color
the faces along the streets at dusk
can turn to pearls in a slow sea of indigo.

And you must ask yourself - what do these
fiery diadems reflect here, and whose hands
have scattered them across these dark waters?

Rolf Jacobsen - from:
The Roads Have Come To an End Now, translated
by Robert Bly, Roger Greenwald and Robert Hedin

 

Read that again – that last verse. Those are big questions, aren’t they?

 

Thanks for visiting my blog. I hope you are happy and content as the year roars to its end.

 

A Form of Communion

The painting above is charcoal and pastel on paper. I mount the paper over a rough board with some old, dried acrylic paint blotches on it. The rough surface forces me to focus on big areas and not get lost in details – one cannot draw anything small on such a rough surface!

I recently decided to paint on paper rather than board or canvas – mainly because I have so many paintings standing around making me mostly sad. I cannot move around in my studio anymore. Just by coincidence, a fellow painter/blogger commented on my last post that he had started to paint on paper for the same reason.

This got me thinking more about why I put so much time, effort and emotional risk into my painting practice. I can tell you one thing, it is not for the money! (oh God I wish it was!)

I went back in time to my past self, sitting in a small apartment in College Station, Texas in the early 1990’s, getting up at 5 am to practice drawing and make charcoal sketches. Why did I do that?

P36
Charcoal and Pastel on Fabriano HP Cotton paper (first wrinkled, then stretched, which creates the “veins” throughout the painting)

Moving over my odd 20 years of on-and-off painting, I think in each fresh assault on painting, my motivation evolved in three phases:

Phase 1: I see art that touches me and inspires me. Something in me awakens and says – also want to do that! Motivation: to make something beautiful.

Phase 2: I get feedback from other people (my wife, and these days, blogging or Instagram friends mainly). My motivation morphs – I like having the approval of others, I want more of that.

Phase 3: I strike a plateau. I now turn out paintings steadily, find some pleasing, others not. I still enjoy the praise of others, but part of me starts to wonder: (a) do they really mean it or are we just “liking each other’s stuff”? (b) What do I do with all the paintings?

I think I now go through the above cycle of motivational change in small (monthly) and large (annual) rhythms. Phase 3 is not an easy one. When I am here, I face into the fact that I will most likely never be a famous painter, and – commercial aspects aside – there are simply not enough people who know or are interested in my art to even pay postage to receive it. So what now?

P29
Charcoal and Pastel on Fabriano HP Paper

I understand that some may respond to this stage/question in a pragmatic way: “paint better and market yourself and your art better”.  But the way I am put together, this state only makes me question deeper.

And the answer I arrive at is always simple, and always the same:  I paint because I want to be happy.

Some instinct tells me that painting could be a way to be happy. But one can only be happy in the Now, while painting, not only when and if the result is satisfactory.

And always this points me to the attitude I assume while painting – it is either a gentle, rhythmic, humble form of communion with Something mysterious that is greater than me, or else it is a small, scared pursuit tinged with greed and trepidation.

And to be honest, one the days that I do assume the attitude of communion with something greater than me – working alone and quietly in my studio – I invariably find that there is very little need for strain and control, because the image emerges by itself with only some gentle coaxing from me. And the joy I feel in those moments lasts for hours, makes it all worth while and draws me back again and again. Maybe one day that could be enough for me. I hope.

I am reminded always of the lines from TS Eliot’s Little Gidding when find I drift away from the communal, spiritual attitude into more self-absorbed materialistic one:

...
If you came this way,
Taking any route, starting from anywhere,
At any time or at any season,
It would always be the same: you would have to put off
Sense and notion. You are not here to verify,
Instruct yourself, or inform curiosity
Or carry report. You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
...
(text copied from this site)
P38
Charcoal and Pastel on Fabriano HP Paper

Thanks for visiting my blog. If you are interested to see more of my paintings, please visit my (slowly) growing website: Fritz Jooste Fine Art.

 

 

 

Larger Questions?

Those of you that have followed my blog for a while will have noted (perhaps with an eye roll 🙂 ) that I am very often plagued by doubts and fears about my art. It is not a depressing state – simply a part of the fruitful dark side of life. I share this personal stuff in the hope that it would resonate with some other artists out there.

O270
O270 (oil on canvas paper)

Over the past weeks, I often pondered the two questions “what should I paint?” and “how should I paint?” For some people this would probably be a short deliberation. I wrote about it before in this post.

But for me, this time around, it went back all the way to the “what do you want from life?” question, which is just a hop-skip-and-jump away from the big one: “Who am I?” This sort of progression of questioning is just the way I am – I expect for some of you reading this it may be similar?

O273
O273 (oil on canvas paper)

I often look at some of the hyper creative and/or skillful painters interviewed on the Painting Perceptions website. These rock stars of the art world generally spend several years drawing from life, studying color etc. before becoming a certified “Master in Fine Art”. The best of them take that skill set and hone it into something that can express their unique voice in new ways – and some of those are just mindbogglingly impressive.

Although in my earlier years as a painter I put in many hours of drawing from life (my poor wife!) and still have notebooks from more than 20 years ago in which I painted pots and pans or systematically copied all of Bridgman’s beautiful drawings.

Despite having some skills in the ‘drawing from life’ department, I am often perplexed about where this leaves me, as someone drawn more to landscapes in the middle and far distance, where quality of light and mood predominate, and focus and detailed drawing is less important.

I am interested in how can this type of composition be perpetually developed into something deeper – more unique, more inquiring? Or is there perhaps a limit to what can be done with this style of landscape:

O278
O278: (oil on canvas, 16 x 16 inches)

Please don’t suggest practical answers to the above question! these are questions I long to solve myself! 🙂 There is lots more that can be said about this topic, and…

I think the debate deals with having something meaningful to say versus saying something not necessarily meaningful in a very skillful way. Both have their merits – I think am inclined toward the first – but in visual arts the second approach may just have more depth to be explored over a lifetime?

[If you are interested in this issue, I strongly recommend you study the interview with Harold Reddicliffe on Painting Perceptions].

But in the meantime, as I try to develop my skills and experience as an artist, I will stick to the advice of the painter Thomas Aquinas Daly, which I also quoted in my earlier post referred to above:

…my deep emotional involvement in my subject matter is the essential ingredient that carries my work. For years I floundered in a quandary over what to paint, until I realized the most rudimentary fact: that I should paint what moves me, and if handled with some degree of facility, it should in turn move others. The mistake I feel a great many artists make is in labouring to render material that is totally devoid of feeling…

If a subject matter doesn’t incite my emotions and possess my full sensory attention, it simply doesn’t get painted…

By selecting my subject matter with sentiment, I feel I incorporate a spiritual dimension that is the essence and true strength of any vital art form.

Thomas Aquinas Daly – Painting Nature’s Quiet Places

(out of print)

I am sure some artists may disagree with this sentiment, but it just happens to resonate with me. One thing I know for sure – the artist who does not seriously consider these sorts of questions and solves them at a deep internal level will most likely eternally dwell in the forecourt of the arts and craft markets (I realize this is super OK for many artists!)

But for those of us interested in these matters, we have to consider this question deeply over many years. It is probably a way in which there is no ecstasy:

You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.

T.S. Eliot – excerpt from Four Quartets

Thanks for visiting my blog. Apologies for the long post! If you are interested to see more of my paintings, please visit my (slowly) growing website: Fritz Jooste Fine Art.