Observing and Listening have become almost superpowers in the contemporary world. Such pursuits are almost the opposite of (though are often mistaken for) ‘consuming’, because to truly see and/or hear takes as much patience and skill as any act of creation. They are the wells that feed creation.Processes —both of observation and research— culminate in the process of making, which is, always, one of translation.
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The above was born of a comment left on another artist’s blog; I’ve adapted it to a more generalized sentiment, as I find it to be true.
Apologies for the longer stretches between posts, lately. I’m in need of a schedule to stay on track here, as I re-learn living, and balance with the full time gig/ I’d rather expected more time for writing while I was upstate, but lots of family goings-on took precedence. Happy Summer, and thanks for reading and looking!
Here are a couple stills from a scene into which I’m working that oak tree drawing and the landscape I’ve been working on. I’m still getting the hang of working with cameras, and messing about with focal lengths and such, to get the depth of field. It’s slow going, but enjoyable.
Sometimes it can be done with reading on the train. And sometimes it needs to be done by formulating, or finding, some clear thing out of the jumble of tangled strings and wires— the ones that formed knots in one’s head during the tumult of the day.
I’ve been on a new trajectory. It’s great; it’s weird, It’s new. I love new.
I also love Old. That’s neither here nor there. I’ve been feeling like a teenager again, lately. In the sense where I’m acutely aware how temporary so many people in one’s life tend to be. It’s not a judgement call; only acknowledgement of reality.
Most folks are temporary. There’s a time during which you overlap. It ends.
The thing to always remember is that you’re permanent. Be permanent to yourself. A solid. And recognize those who exhibit permanent qualities in return— they’re your rocks. Will help get you to your True North. The Keepers.
One of the reasons I enjoy poetry is because it comprises all of my favorite ways of making. It’s creating images with words, yes; a kind of storytelling. But it’s about so muchmore than just the correct or precise words —more than denotation or connotation— it’s also about design.
It’s about how the words interact with the space around them; make a composition, make aural and visual rhythms; remainders as important as omissions.
As in any kind of composition, the negative space is crucial.
My subconscious has been working on a thesis for me lately; broadcasting things which on the surface (flattened and simplified by my waking mind) appear disparate, but on closer inspection are stitched together by a continuous thread.
Its thesis is about crafting sensible (or at least legible, recognizable) solutions, guides,codes to amorphous and unformed problems. Striving to find concrete solutions to riddles or puzzles only hinted at. Trying to map a place whose geography and even location is ever-shifting.
A reminder that, sometimes, the answers one wants or needs are unattainable because one is asking the wrong questions. It’s telegraphing this to me visually; that’s how I best understand the world. And the message coming through: I must widen my frame of reference, my view, in order to ask the right questions.
‘Maps for cephalopods’ is perhaps the most obvious— my subconscious’ version of hitting me over the head; a wry attempt at a movie-montage or voice-over exposition— and its point at least two-fold;