I was having dinner with a friend in a little spanish terrace about two years ago.
We were initially talking about adrenaline, work, the summer and then out of the blue he asked me a question that has stayed with me until today.
“Could you please explain to me why a person can cry in front of a painting or a piece of art?, are you born with this sensitivity, or is this a learned behavior, is it taught?.
In the most humble attempt to try to answer this question, I told him that at least for me there are clearly certain things that move me or excite me, that deep down it all comes down to how it makes you feel. Though I have to admit that ever since I started studying and finding out more of the historical background of the work and the lives and inspirations of the artists it gives the pieces a broader depth and power.
Then, I thought of my grandmother and we’ve developed very sweet conversations on the phone (we are old school, no skype) , where she asks me about what I am doing in the university, she enjoys hearing stories about the things I see, the people I meet, why I do what I do and asks a lot of questions.
When I visit, I love showing her my friend’s work , photos of things I saw in museums and hearing what she thinks about the pieces, sometimes she just laughs but other times she usually starts the sentence with ” This reminds me of…” and associates it with her own life.
Which brings me to the answer of how I would answer the question today. It all comes down to have the desire and curiosity to truly observe and keep asking questions, art conveys individual emotions but you have to be willing to be in the receiving part.
Like I said this was two years ago, ever since from time to time I have asked a few of my teachers and friends this question as well and it leads to very interesting conversations.
What do you think?
Today I leave you with a painting by Kazimir Malevich which he considered “the supremacy of pure feeling.”
“Only when the habit of one’s consciousness to see in paintings bits of nature, Madonna’s and shameless nudes.. ..has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”
- as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
This is a really spontaneous piece that I am quite fond of..
I was talking to a friend of mine over coffee about “making” and how some times pieces can take months to make sense and become real or the complete opossite.
I’ve lost plenty of hours of sleep thinking if what I did had any sense at all and then working to see how I could make it clearer. In all truth I believe in being honest and making from your gut and heart, the only thing I am certain of is of the comunion between your subconcient and hands.
All my questions are not answered yet and maybe there is no answer to them at all..but I live for the explosive beautiful moments of making, concentration, losing track of time, of truly not thinking at all and just moving your hands,when there is that rush to finish and then holding a finished piece, your idea in a tangible form for the first time.
As for this piece, she simply invites you to look closer.
Marlene Dumas – The Painter, 1994 Oil on canvas
Robert Ebendorf is known internationally for his use of unusual materials such as found objects, industrial products, and paper in his work, and his willingness to share his techniques and ideas with students.
He is credited with helping to shape the craft movement since the 1960’s.
I recently found a transcript of an interview with Robert Ebendorf on 2004 for the American Art, Smithsonian Institution it is a very inspiring read, to understand his thoughts, you can find it here.
You can see more of his work over here
Every so often I tend to go into raging “cleaning” spurs.. only in my house, in my workshop is the opposite not a thing it’s ever tossed only moved to make room for more materials..
I have a wooden box where I keep my old notebooks, inside there are bits of papers with a phrase or sometimes just a name, always with the hopeful plan to not forget and to have time to research more on that person.
I have finished quite a few notebooks, I am a fan of pen on paper and I write in a sort of violent non linear matter. I open the notebook,write what I must and then start on another paper with no particular order.. so going back to older notebooks it is just a peek into chaos.
Through 2016 I have to start a year long project, to begin, my gut tells me to pick up the pile of papers and arrange, this way arranging my own mind, what I need to know next hides in the pile.. just waiting to be found.
I decided through the next few months to share with you part of what is written on my notebooks, characters and works that inspire me.
It is hard to share sometimes, hence my lack of blogging, but in forcing myself to re-discover my own notes, I believe it will help to keep everything in one place and who knows, it might be interesting for someone else as well..
THE DICTIONARY OF OBSCURE SORROWS http://www.dictionaryofobscuresorrows.com/
The Dictionary of Obscure Sorrows is a compendium of invented words written by John Koenig. Each original definition aims to fill a hole in the language—to give a name to emotions we all might experience but don’t yet have a word for.