The Impossibility of Painting is Merely a Feeling

Thoughts and reflections on the practice of painting.

Category: Studio Reflections

“My Intention” by Czeslaw Milosz

“I am here. Those three words contain all that can be said – you begin with those words and you return to them. Here means on this Earth, on this continent and no other, in this city and no other, in this epoch I call mine, this century, this year. I was given no other place, no other time, and I touch my desk to defend against the feeling that my own body is transient. This is all very fundamental, but, after all, the science of life depends on the gradual discovery of fundamental truths.

Snowmass, Colorado, 2015

Snowmass, Colorado, 2015

I have written on various subjects, and not, for the most part, as I would have wished. Nor will I realize my long-standing intention this time. But I am always aware that what I want is impossible to achieve. I would need the ability to communicate my full amazement at ‘being here’ in one unattainable sentence which would simultaneously transmit the smell and texture of my skin, everything stored in my memory, and all I now assent to, dissent from. However, in pursuing the impossible, I did learn something. Each of us is so ashamed of his own helplessness and ignorance that he considers it appropriate to communicate only what he thinks others will understand. There are, however, times when somehow we slowly divest ourselves of that shame and begin to speak openly about all the things we do not understand. If I am not wise, then why must I pretend to be? If I am lost, why must I pretend to have ready counsel for my contemporaries? But perhaps the value of communication depends on the acknowledgment of one’s own limits, which, mysteriously, are also the limits common to many others; and aren’t these the same limits of a hundred or a thousand years ago? And when the air is filled with the clamor of analysis and conclusion, would it be entirely useless to admit you do not understand?

I have read many books, but to place all those volumes on top of one another and stand on them would not add a cubit to my stature. Their learned terms of of little use when I attempt to seize naked experience, which eludes all accepted ideas. To borrow their language can be helpful in many ways, but it also leads imperceptibly into a self-contained labyrinth, leaving us in alien corridors which allow no exit. And so I must offer resistance, check every moment to be sure I am not departing from what I have actually experienced on my own, what I myself have touched. I cannot invent a new language and I use the one I was first taught, but I can distinguish, I hope, between what is mine and what is merely fashionable. I cannot expel from memory the books I have read, their contending theories and philosophies, but I am free to be suspicious and to ask naïve questions instead of joining the chorus which affirms and denies.

Intimidation. I am brave and undaunted in the certainty of having something important to say to the world, something no one else will be called to say. Then the feeling of individuality and a unique role begins to weaken and the thought of all the people who ever were, are, and ever will be – aspiring, doubting, believing – people superior to me in strength of feeling and depth of mind, robs me of confidence in what I call my ‘I’. The words of a prayer millennia old, the celestial music created by a composer in a wig and a jabot make me ask why I, too, am here, why me? Shouldn’t one evaluate his chances beforehand – either equal the best or say nothing? Right at this moment, as I put these marks to paper, countless others are doing the same, and our books in their brightly colored jackets will be added to that mass of things in which names and titles sink and vanish. No doubt, someone is standing in a bookstore and, faced with the sight of those splendid and vain ambitions, is making his decision – silence is better. That single phrase which, were it truly weighed, would suffice as a life’s work. However, here, now, I have the courage to speak, a sort of secondary courage, not blind. Perhaps it is my stubbornness in pursuit of that single sentence. Or perhaps it is my old fearlessness, temperament, fate, a search for a new dodge. In any case, my consolation lies not so much in the role I have been called upon to play as in the great mosaic-like whole which is composed of the fragments of various people’s efforts, whether successful or not. I am here – and everyone is in some ‘here’ – and the only thing we can do is try to communicate with one another.”

(from To Begin Where I Am: Selected Essays, pp 1-3, 2001)

IamhereA

Sackville, New Brunswick, 2015

 

Being a “painter”

palette

I wonder why being described as a “painter” can so often be aggravating? I recognize it as an accurate description of my concerns as an artist, the methods and materials used to externalize these concerns, as well as the histories and discourses that frame them. I spend a disproportionate amount of my time painting, or thinking about painting, or teaching painting.

And yet, in certain contexts, the term feels condescending. For many people in the art world, “painter” is a label that attaches as a kind anachronism, a throwback to a pre-“post-studio” era. It is also, therefore, a mark of being not quite bright enough to understand that what you are doing is no longer relevant.

In general, I describe myself as an artist. But the truth is, without painting and drawing I wouldn’t be an artist. I don’t make my work in order to be an artist, rather, I am an artist because of my work. This may seem like a nebulous distinction, but it has implications for the ways I think about what I do in the studio.

Even when what I’m making isn’t painting as such, I’m thinking about it in relationship to painting. My sensibility is pictorial, and image-making is the basis for my responses to the world. The labour of applying paint to a support, the patient building of mark upon mark, layer upon layer, decision after decision, is also a mode of thinking.

My work isn’t “conceptual” in the way that this word is often used in relation to artworks – that is, as a diagram of thinking that is conveniently available to the initiated viewer – but, it is informed by all sorts of ideas and experiences that are external to art. These ideas are filtered through the process of making, often in ways that are obscure to me, and they govern or shift the choices I make in the work.

Crucially, the reverse is also true: making my work illuminates and informs my life. For me, drawing and painting are the ways that light is cast on the world, they allow a kind of search that I don’t find possible in other forms. The focused combination of physical, emotional, and rational energies that are brought to bear when I am painting clarifies how I relate to the world, and ideally, how I am living my life.

Finally, there are the objects themselves, their specific amalgam of spirit and dirt. When I’m standing in front of a great painting or drawing, the sense of vitality, experience, and hope that has been conjured out of inanimate mud seems as close to a miracle as I am likely to encounter. When I ask myself why I am a “painter”, these qualities are my answers. And, when asked why I “still” make paintings, I try to keep these things in mind, and then answer “because I don’t know any better”.

Piet Mondrian, The Gray Tree, 1911

Piet Mondrian, The Gray Tree, 1911 (Wikiart.org)

 

A Walk in the Park (in memory of Sally Bean)

Sally on the boardwalk

Sally on the boardwalk

 

I walk my dog every morning. Between 25 and 60 minutes a day are spent moving through the small, rural town that I live in, silent, except for occasional commands to “leave it”, or a brief exchange of pleasantries with the few others who are awake and outside before the business of the day is begun. Sometimes I have a point and shoot digital camera with me, that I point and shoot at things that catch my attention. Sometimes I simply make a mental note and move on.

The activity of walking and thinking and looking, both alone and in quiet companionship, has become the raw material for the work I do in my studio. By attempting to remark on the unremarkable, I am trying to make fleeting thoughts and elusive feelings more concrete. By producing first snapshots, then drawings and paintings, I am trying to render my lived experience more tangible and available for reflection. The impulse of the work is aimed at probing the relationship between my subjectivity and the material reality that is its precondition. Autobiography is not the concern, but rather, an attempt to understand the ways that my life is ensnared in wider orbits of meaning.

The work that I have made in the past few years has been overwhelmingly involved with picturing the remnants of processes and actions: digging, cutting, piling, dropping, scraping, falling, building, growing, dying. Debris is saturated with the stubborn thickness of things. The implacable presence of objects and chunks of stuff puts a check on my big ideas. It reorients my attention and makes manifest my utter rootedness in the physical world.

Despite this emphasis on the empirical and the mundane, I don’t consider the works themselves to be transparent representations of reality. Rather than windows or mirrors, I regard them as traces; signs that exist in their own right, but also point outside of themselves and their depicted subject matter. They relate at oblique angles to both my experience of the world and my responses to it.

When I follow my dog along a path, guided by her extraordinary hearing and smell, I am introduced to a world that is largely unavailable to my senses. The perceptions that guide her snuffling search through dead leaves, or that compel her to dig and lick at an apparently banal patch of grass or tree trunk, has led me to understand that what I take for granted as the ‘visible world’ is an astonishingly thin layer of reality. When I follow my work along a path, I am hunting for similarly invisible and compelling tokens of ordinary life.

sketch

sketch

Trust

Painting studio critique room, Anderson Ranch, Snowmass, Colorado, 2015

Painting studio critique room, Anderson Ranch, Snowmass, Colorado, 2015

Some of us are lucky enough to have a few fellow artists or a mentor that give us consistent and rigourous criticism of our work. But too often, the brutally honest comment is withheld in favour of the polite and understandable need to avoid alienating your community. After all, many of us have worked hard to assemble a group of like minded peers to soften the sense of isolation that accompanies work in the studio.

In a critique situation, many things are at play: the insight and judgment of the critic; your own understanding and investment in your work; your confidence, or lack thereof; the critic’s interest, or lack thereof; everybody’s ego; the general level of openness and comfort with the discussion at hand. For me, the central element in a successful critique is trust. Without it, the process is at best futile and at worst damaging.

This is true both when the critic is another person, or when it is the artist themselves, in the assessment of their own work. The critique dialogue is about subjecting assumptions to hard scrutiny, through relentless  questioning, and unpacking of ideas and confusions. The conversation ought to be aimed at the illumination of the work, and most importantly, identifying ways to make the work, and the artist, better. Without trust, that dialogue can easily sour to defensiveness, evasiveness, cynicism, crushed egos, hurt feelings, loss of confidence and will.

Trust and respect are deeply entwined with each other in this process. To me, trust is the ability to be in a vulnerable position with another being, or yourself. The potential to be hurt by someone else, or by the person inside you, is a present danger when the ideas and aspirations that you hold most dear are being taken apart and ruthlessly probed. Respect, on the other hand, is the ability to take trust and shelter it gently, with an understanding of its fragility. It is also admiration for a person’s actions, integrity, and how they meet the world.

These are mutually dependent and reciprocal qualities, and the ability to extend them to others rests on the ability to extend them to oneself. The loss of these qualities is easily achieved, and spreads like a stain to one’s work and life. Re-building self-trust and respect is an arduous process, with no guarantee of success, but I have found that going back to the studio and starting the work again can be a good place to start.

work in progress, 2015

work in progress, 2015

 

Live / Work / Space

Weldon Street studio under construction, 2015

Weldon Street studio under construction

What is the function of the studio?
1. It is a place where the work originates.
2. It is generally a private place, an ivory tower perhaps.
3. It is a stationary place where portable objects are produced.
The importance of the studio should by now be apparent; it is the first frame, the first limit, upon which all subsequent frames/limits will depend.
Daniel Buren, The Function of the Studio

Studio: from the Latin studium meaning eagerness or zeal. (wikipedia.org)

I have recently moved into a new studio space in the attic of my house. Although this move was dictated by practical concerns, it has also led me to consider the benefits of a live/work space, as well as to reflect on the purpose of the studio for my work and my life.

Is the studio just a means-ends set up, as Daniel Buren seems to suggest in the epigram quoted above? An ivory tower for the production of luxury goods? Is it, instead, as Daniel Arasse puts it in reference to Vermeer, a pictorial laboratory?

I prefer to think of it as the latter, but maybe that’s just wishful thinking. The fact is, that so far my work is made in a space that is called a studio; it hasn’t yet become a cottage industry for luxury goods, but maybe that is just a matter of time. A certain amount of experiment, critical thinking, and labour takes place in the studio, but maybe laboratory is overstating it. I think it is a space of inquiry, of work on questions that don’t have any fixed answers, a place where I try to build meanings out of the fragments of life.

For me, the studio is a prism that gathers the different wavelengths of life and both breaks them into constituent parts, and weaves them back together in a slightly different form, one that allows new understandings and questions to arise. By folding domestic and work space together, I hope that these two spheres will become even more closely entwined.

Weldon Street studio, 2015

Weldon Street studio, 2015

 

 

 

The Mire

Noam Chomsky in his office, digital drawing, 2014

Noam Chomsky in his office, digital drawing, 2014

It has been several months since I posted to this blog, despite best intentions. The specific reasons are both numerous and unimportant, but in general, the hiatus has been brought on through a loss of focus in my work. This in turn has come through a failure to protect my time in the studio as rigorously as necessary, so that reflection is superseded by the imperative to “produce”. When time in the studio becomes a precious commodity, it seems wasteful to sit and think, scribbling in a notebook, rather than “work”.

Writing is a long and difficult process for me, so I tend to only write when I have something to get off my chest – an idea that won’t resolve itself any other way, dissatisfaction with an answer that I gave to a student, or some incident that I can complain about in my journal. These kinds of things become the problems that I can use as springboards for writing, the daily coal to feed the furnace. Sometimes though, the fuel piles up faster than it can be burned, or, when burned, it unleashes dirty and obscuring smoke.

I experience writer’s block not as a lack of ideas or anecdotes, but as a glut of ideas, irritants, or circumstances that are too fragmented or painful to get a hold of. The mire of life is an ooze that both sticks to everything and renders it too slippery to gain purchase. It alternately trickles through the fingers in wasted hours or seeps into the airway with choking anxiety. Attempts to contain the ooze are as useless as a tar sands tailing pond, so I depend on the studio and my journal to filter it, to provide a framework for making some sense of it. This is an improvised structure to begin with, and lack of maintenance weakens it precariously.

I hope that re-focusing in the studio will prompt a parallel re-ignition of this blog. I realize now that my activity in the studio has come to rely on the guidance that the thinking and reflection in the writing embodies, and that their mutual support is necessary. Life continues to unfold, whether we extract meaning from it or not, whether our attempts are adequate or not. Therefore, the work  also goes on.

Cornel West arrested, digital drawing, 2014

Cornel West arrested, digital drawing, 2014

 

 

“If you are going to spend your life …”

From Felix in Exile, 1994

From Felix in Exile, 1994

“If you are going to spend your life making objects, or drawings, that have come from within you but that are left outside and that continue to exist, there has to be some part of yourself that fundamentally needs this externalization of the self, needs it psychically. Otherwise there’s no reason to be doing this strange activity. So there’s a question about where that comes from, about what the motivating sense of inadequacy is that it has to buttress itself with so many … either walls of paper in one sense or proofs of existence in another. You have to look back and see, not just empty time but also the pieces of paper on which you can trace back and find a root. It’s like Hansel and Gretel. You feel you’ve got to leave those breadcrumbs if you’re ever to find the way back home – home being who you are or knowing who you are. If you’re an artist, more than anyone else, a biography entails a biography of exhibitions, of works, with a date for every work. A retrospective exhibition is like a root march, if it’s done chronologically. At its heart lies some fundamental insufficiency which ensures that it is not enough for someone to look at you as an artist and say, ‘you are who you are and that’s enough’. You say in response, ‘No, you need to look at the work’. That’s why for a lot of artists, certainly for me, although I am getting better at it, criticism of the work is so annihilating. It’s not just a matter of ‘Oh, they don’t like the picture, that’s a pity’. If the work is not acknowledged, then you don’t exist. It’s felt – I’m sure that anybody who is involved with work that is from them but has to have external form, feels this. So when you ask, ‘Who is the target and who is shouting?’ one will always have to go back to ask those deep questions about that primal lack which makes you feel you exist only after you have made work.”
(William Kentridge, That Which is Not Drawn, 75-76)

Watch William Kentridge’s Video Automatic Writing

 

Window, Brick, Wall, Field

Johannes Vermeer, View on Delft, 1661

Johannes Vermeer, View on Delft, 1661

There are various ways of creating space in a painting such as linear perspective, diminishing size, and occlusion. In the Renaissance tradition, these systems were used to turn the surface of the painting into a ‘window’ or transparent plane through which viewers could perceive the illusion of depth; a space that receded from this plane to a distant horizon which implied a boundless pictorial realm.

Painters that we today consider modernist, took this space apart and turned it inside out, slowly compressing the illusion of a space ‘behind’ the window of the picture plane until it was co-extensive with the literal surface of the painting. The most extreme examples of this tendency are monochromes – paintings that have either done away with most of the markers of illusionistic space or reduced them to such subtle nuances and variation that they are barely visible.

Kazimir Malevich, Suprematist Composition: White on White, 1917

Kazimir Malevich, Suprematist Composition: White on White, 1917

Monochrome paintings tend to be “non-objective” (i.e. not deriving from a preexisting source in the objective world) and so they occupy actual space, like sculpture, rather than presenting a pictorial illusion of space. However, there are differences in the way different monochrome paintings engage actual space. The sixties and seventies produced many painters for whom this was an issue, and I have found it useful to compare four that have had a particular impact on my thinking about painting.

Robert Ryman, Archive, 1979

Robert Ryman, Archive, 1979

In my previous post I wrote about Robert Ryman’s white paintings, which he refers to as ‘realist’, in the sense that they are real objects and not illusionistic pictures of a ‘real’ subject or using naturalistic techniques. Instead, he uses a combination of material elements: paint simply as a material, the support and its specific relationship to the wall, the context of actual light falling on the surface. The experience of these elements together is the content of his work. They sit on the wall with the subtle obstinance of a brick.

Frank Stella, The Marriage of Reason and Squalor, 1959

Frank Stella, The Marriage of Reason and Squalor, 1959

Frank Stella’s early paintings used monochrome palettes (e.g. the “black” or “aluminum” paintings) and industrial paint to reinforce the literal qualities of the painting surface. This reductive strategy was summed up with his pithy statement, “what you see is what you see”, a deflation of the expressionist rhetoric of the earlier generation of New York School painting. The stripes in these early pieces were a reiteration of the framing edge of the painting, emphasizing their lack of pictorial depth. As the edges of the paintings became more convoluted (the so-called shaped canvases) and the stretcher frames deeper (sometimes 4 – 6 inches) they became more like objects or impassive adjuncts to the wall.

Ad Reinhardt, Abstract Painting No. 5, 1962

Ad Reinhardt, Abstract Painting No. 5, 1962

Ad Reinhardt was a contemporary of Mark Rothko, Barnett Newman and was at first seen to be allied with the colour field wing of post-war American abstraction. However, his view of art was deeply ascetic, and he claimed that his black monochromes were “simply the last paintings that could be painted”. His vision was that of a monk seeking perfection through endless repetition of form. It was also aligned in many ways with the “end of painting” strain of modernism that I referred to in an earlier post.

Brice Marden, The Seasons, 1974 - 75

Brice Marden, The Seasons, 1974 – 75

Brice Marden’s monochromes seem to align more closely to the objective world. The colours, the proportions, the waxy skins of the paintings all have correlates in concrete reality. So, even though they also have the object quality of other monochromes, they also reveal more traditional, symbolic layers of meaning.

All four of these painters have been very important to my work and my thinking over the years, even though they are in many ways conceptually incompatible with each other. They highlight for me the fundamental differences that accrue in the meaning of a work through different conceptions of how it functions spatially, even when they have superficially similar visual qualities. The reduction in these works represent both a minimum threshold of what might be construed as a painting, and an opening onto an expansive field of possibilities.

Consolation

Henri Matisse, Interior with Egyptian Curtain, 1948

Henri Matisse, Interior with Egyptian Curtain, 1948

What I dream of is an art of balance, of purity and serenity, devoid of troubling subject matter … a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue. (Henri Matisse, Notes of a Painter)

This statement by Matisse is one that I misunderstood for a long time. As Jack Flam explains, “[t]his often-quoted sentence tends to give the impression that Matisse desired from painting merely relaxation or entertainment – in short that his ideals were somewhat superficial” (Flam, Matisse on Art, p.35). This supposed superficiality is what has always made me uncomfortable as I didn’t understand what was at stake for Matisse in making his work.

Flam continues:

It is important to realize, however, that this statement is more an explanation, and perhaps defense, of his limited range of subject matter than an expression of simple-minded optimism. (Moreover, it is very likely that when he wrote this he had in mind his new patron, the Russian businessman Sergei Shchukin, whose recent life had been filled with tragedy and who sought consolation by what he called ‘living in’ the pictures he acquired from Matisse.) Matisse is not advocating an art of superficial decoration or entertainment, but stating his belief in art as a medium for the elevation of the spirit above and beyond, yet rooted in the experience of, everyday life.

Nietzsche said that without music, life would be a mistake. I take this to mean not that life is merely enriched by music but that it is the only acceptable recompense for the burdens of living. The consolation that Nietzsche finds in music or Shchukin in Matisse’s paintings is the sense of wonder and unity that is at the core of aesthetic experience.

For me, the sensory overload and drive to consumption in contemporary society dulls the capacity for this sense of wonder – it is literally anaesthetic. The aspect of Matisse’s work that I had overlooked is that it was made in the face of constant struggle, in defiance of a modern world gone mad with two world wars and on a trajectory that was almost wholly independent of avant-garde trends. It was an attempt to make visible and available for experience the dynamic order of the universe.

In the text for his book, Jazz, Matisse writes: “A new picture must be a unique thing, a birth bringing to the human spirit a new figure in the representation of the world. The artist must summon all of his energy, his sincerity, and the greatest modesty in order to shatter the old clichés that come so easily to hand while working, which can suffocate the little flower that does not come, ever, in the way one expects.” (Matisse on Art, p.173)

It is difficult nowadays to talk about an ambition for “art as a medium for the elevation of the spirit above and beyond, yet rooted in the experience of, everyday life”. It is thought of as an outmoded metaphysics, a pretension of so-called high culture to think that work could function this way. It is more legitimate to talk about art as a mode of critique or deconstruction or cultural strategy. I believe it is or can be all of these things, but they are byproducts of an activity that is aimed at something else: a means of coming to terms with the brokenness of life.

One of the reasons for my renewed interest in Matisse is the seriousness of his aspirations and the formal ruthlessness and cunning that he brought to bear on his work. Another is the sense that his work seems to have functioned not as a retreat from the world, but as his way of meeting its implacable enmity with a precarious sort of radiance.

Matisse’s work has resonated with me, particularly in the last two years, because my own aim has shifted towards an attempt to understand the contingency and vulnerability of our existence. My recent work has been made with the realization that everything crumbles, breaks down, dissolves, and that the small times, the brief moments of pleasure and contentment give way, recede, erode. Not all at once in a dramatic, sweeping action, but bit by bit, scraping and grinding down until you realize that you often feel barely alive.

blooms, 2012

blooms, 2012

The rubble and potholes and ditches are sometimes offset by blooms, but they are brief. When I was trying to write an artist statement for the Whale and Star workshop in Miami, I at one point resorted to poetry – an embarrassing turn and luckily I didn’t read it in the group. But even if it is bad poetry, it summed up the feeling behind the images in the work:

when I am broken
my consolation is in new leaves

The words broken, consolation and new were key. The little boy who is experiencing the world for the first time, whose joys and sorrows seem so immediate and full, is my consolation. And maybe making this work is also a sort of consolation, inadequate though it is.

snow hill, 2013

snow hill, 2013

Paintings of these small things, these routine places, and minor moments feel right to me. They aren’t great paintings, and maybe not even good paintings, but they do feel like they are directly related to my life and how I am in the world.

Independent Project

Jasper Johns, The Dutch Wives, 1975

Jasper Johns, The Dutch Wives, 1975

Walter Hopps: Jasper, from what point in your life would you date the beginning of your career, your sense that you were an artist, or going to be an artist?
Jasper Johns: Going to be an artist since childhood. Until about 1953 when it occurred me that there was a difference between going to be and being, and I decided I shouldn’t always be “going to be” an artist.

(Walter Hopps, “An Interview with Jasper Johns,” Artforum 3 no.6 (March 1965), reprinted in Jasper Johns: Writings, Sketchbook Notes, Interviews, MoMA, N.Y., p.106)

The two classes that I am teaching are currently undertaking “independent projects” where the expected learning outcome is beginning to treat their work as their work. And not only to treat it as if belongs to them physically, mentally, and emotionally, but also that it is their work, their lifelong ‘independent project’.

Of course, it is presumptuous, not to mention absurd, to talk about this as a ‘learning outcome’. At best, it may be the first glimmer of understanding that being an artist is not a skill set, a talent, or an aptitude, but instead a particular kind of orientation towards the world and life. When Jasper Johns says “it occurred me that there was a difference between going to be and being” it suggests that being an artist is literally a question of being, that it is a mode of existence as much as an occupation.

It can be a difficult pill to swallow. Students enter art training for a wide variety of reasons, often without even a vague idea of what is involved in being an artist, but with an interest in making things and a sense that they want to be creative. They are also burdened by the trite images and clichés that circulate in the culture regarding “self-expression” and artistic “freedom”. It can be hard to come to terms with the reality that freedom and expression are the results of responsibility, rigorous discipline, and seriousness of purpose.

rack

I find that the fundamental problem of being an artist involves constantly needing to make choices about the right path to proceed upon, without anything to guide those choices except an elusive “vision” and the evidence of one’s work. Additionally, there is no easy path, or correct path, merely the one that lies ahead, opened or occluded by the accumulation of past decisions.

The first decision is a commitment to inhabit this mode of being fully, in the face of the very high probability that fortune and fame will not be the rewards that follow from this choice. And even if these material bonuses do arrive, the real (if less immediately tangible) reward for being an artist is existing in the world with the senses, the intellect, the emotions and spirit open and fully engaged. A possibly dubious prize when there are so many reasons to numb oneself against the world and so many available methods of anaesthesia.

The ‘independent project’ of art-making unfolds in relation to the life of the maker. As a teacher, I have become increasingly aware of the difference between how I perceive my life and art and how students (generally half my age) perceive theirs. When I was younger, the urgency that I brought to my work had to do with wanting certain things (e.g. career success, jobs, shows) immediately. Now the urgency comes from the fact that I am over forty years old, that I may live another forty if I’m lucky, and that the first twenty-five to thirty were more or less pissed away. This leaves very little time to work on my project before the deadline.

No longer wander at random. You shall not live to read your own memoirs or the acts of the ancient Romans and Greeks, or the selections from books which you were reserving for your old age. Hasten then to the goal which you have before you. Throw away vain hopes and come to your own aid, while you yet may, if you care at all for yourself.
(Marcus Aurelius, Meditations, Section III, p.32)

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