Artists need to be constantly on the prowl for ways to make their work more visually exciting. Art needs magic bullets beyond mere subject matter. Fact is, perfectly dull subjects can be made more interesting with a little extra thought and effort. You may already be applying some of these ideas, but if my request seems more like a tough order, perhaps these exercises will be all the more important for you.
When I was a five-year-old girl growing up in Canada, I remember opening the basement door of our 1959 split-level ranch house to tiptoe barefoot through the rain puddles to my dad’s studio. Inside was a world creatively ordered for one — an intimate deluge of feathers, beach stones, vintage English car parts, every size of nail, frame, canvas and brush and hundreds of partly squeezed tubes of paint. A giant, north-facing picture window was all that separated this universe from the nests of herons and eagles.
I was putting the title The Red Canoe on the back of a painting when my friend Joe Blodgett walked in and said, “Nice painting, too bad about the red canoe.”
After a couple of single malts I was looking at the painting through Joe’s eyes. I was pleasant enough when I urged him to go down to the smokehouse to get our smoked salmon, and while he was gone I took off the final varnish and hauled that canoe out of my picture.
“This is why you must love life,” says Bernadette Fox, the artist-turned-wife-and-mother in Maria Semple’s 2012 comedic novel about art, failure and the domestic cage. “In one day you’re offering up your social security number to the Russian Mafia; two weeks later you’re using the word calve as a verb.” Bernadette, a once-lauded star-chitect is languishing in the suburbs of Seattle, unable to put her finger on the cause of her erratic behavior, anxiety, sleeplessness and misanthropy. She loves her husband and child, but something has gone terribly wrong with herself.
Three others hang out with me when I’m painting in our garden. Lester and Mary were around here last year. This year they’ve brought along an oversized teenaged layabout with an annoying voice. Jack is often on his own, but Lester and Mary, who may be married, spend a lot of time strutting about, discussing, among other things, Jack. The parents are a bit co-dependent, but they like each other and seem smugly contented with their day-to-day routine. Lester, Mary and Jack are crows.
Over a recent 48 hours, an intimate group of tail-waggers embarked on a treasure hunt of public art. Our gang, like an itinerant, vibrating organism, scrambled up and down the hills and in and out of the eucalyptus groves to identify creative miracles, dotted like superstars among the natural wonders of this coastal oasis. Like an Easter egg hunt, the expedition signalled a kind of exultant celebration of worship and quiet human endeavour.
Dear Artist, Out in the golden stubble, under a prairie sky, there’s no one in…
Recently, I quietly conducted a personal experiment in streamlining my art life. Like a big purge, after almost three decades of living a philosophy of multi-tracking, flexibility and expansiveness, I narrowed the scope and range of my activities to see if it would intensify what was most creatively meaningful and satisfying. The process came with terror, guilt and a fear of loss and failure.
This morning, Janet Morgan of Brooklyn, N.Y., wrote, “My husband Gregory Frux and I will soon be leaving our jobs to become full-time artists. We’ve been doing some brainstorming. We both have projects and trips in our wish-books. We’ve done residencies and will most likely do more. Have you any thoughts on changing from having very little time to having lots of time for art?”
When asked about her writing process, Toni Morrison described a ritual of rising early — a habit she developed by being a mother. “I always get up and make a cup of coffee while it is still dark — it must be dark — and then I drink the coffee and watch the light come,” she said. “Writers all devise ways to approach that place where they expect to make the contact, where they become the conduit, or where they engage in this mysterious process. For me, light is the signal in the transition. It’s not being in the light, it’s being there before it arrives. It enables me, in some sense.”