[Announcer]: Happy New Year and welcome to The Painting Experience podcast for January
2015. On the podcast, founder Stewart Cubley explores the potential of the
emerging field of process arts and shares inspiration from his ongoing
workshops and retreats. In this episode, Stewart addresses a question that often
comes up when someone begins to paint for process. Does it matter whether my
painting is abstract or figurative? How do I know which direction my painting
should take? [Stewart]: There's often some confusion in the beginning of painting for process
around the traditional distinction between abstract and figurative. Should I
remain abstract? Should I not have any recognizable features or figures in my
painting? Is it best to avoid anything that might lend itself to interpretation
or bring about the thought process? Or, on the other hand, is it actually better to
access the internal imagery that exists within the human psyche and to allow
those images to take form? These are questions that I get fairly often in
doing the painting process with people and I think it's interesting to see how
the mind wants to categorize our experience and therefore feel somewhat
more comfortable once it's decided whether it's better to do abstract or
better to do a figurative or whatever category we create. And so I'd like to
explore that a little bit today because it's kind of a bogus distinction actually
and rather irrelevant in the process of painting because it puts us back into
our head and it tries to create a value based upon whether or not something has
looks a certain way or doesn't look a certain way. So if we start in the
beginning and say someone who has no art experience and no training
comes to a workshop and starts to do the process as it's been presented which in
the beginning is very open in other words there's no assignment given,
there's a safe space created where there's no comparison and a person knows
that they're going to be listening to the serendipity and not having to plan
ahead of time. And so they get started -- and if someone is open to that
experience, they'll often take it to heart and not have a plan
and so turn towards the table and see a color and see a brush size that seems to
attract them and go to the blank piece of paper and to allow some sort of
stroke to happen. And then there's a kind of a movement that starts to take place
and one stroke leads to another stroke and a rather undefined painting
takes place where there's colors and different shapes and different strokes
and you could say it's abstract. You could call it abstract, I guess, if you'd
like. And as that person proceeds, very often, and
not always but very often, after a while one of the strokes looks like something.
It reminds you of something, "Oh, it's a face or it's a tree or that looks like
an animal or or maybe a rock." It could be anything, but it looks like something.
And then you're at a fork in the road here because, do you go with what it
looks like or do you stay with the abstract? And sometimes people tell me it
looks like such and such, but you know I don't want to do that I shouldn't do
that because because that's planning, or that's thinking too much. And so we have
a discussion around that. And basically I'll encourage a person to do it because
that's not thinking and that's not planning; that's serendipity.
Serendipity often speaks to us through particulars, it doesn't just
stay in general and intuition comes in precise forms, very often. So if something
looks like something, it's announced itself. It's not come from thinking, it's
come out of left field and so I'll encourage somebody to go ahead and do it.
Say yes, do it! So that often unfolds for a while and can be very satisfying to
start seeing . . . you start seeing things in your painting. You say, "Oh look, there's
there's something here and there's something over here." And all these
little images start to -- or large images -- start to emerge. And then at a certain
point there can be another leap: perhaps you've turned away from your painting
and you're getting some paints and then you turn around and and you glimpse your
painting and you see an image in your mind's eye and maybe it has a location
in the painting but something pops at you and it's no longer "look-alike." In
other words, it's no longer suggested by the stroke or the color and the painting
but it came to you in your mind's eye, very much like a dream does. And it's
just an image popped at you and you say, whoa where did that come from?
And our first tendency of course is to reject these spontaneous images because
conscious mind, you know, thinks they don't fit or often there's a fear that
we don't have the skill to paint them. That we're not trained, we couldn't
execute it, it wouldn't turn out right. And so this is another fork in the road
you might say, this is another time when I'm often needing to encourage someone
to go ahead and do it and to say look it really doesn't matter if it turns out
the way you saw it in your mind's eye but it did present itself. And it's just
the jumping-off point; it's just the tip of the iceberg. There's something here
that wants to be explored; it's pulled you towards it and you want to give it
credibility. So I would say go there with with that image in mind that you
saw and see what happens, let it be born under the brush. So this takes some
courage and requires you to dare allowing your own forms and images and
way of painting to come forth. It's challenging and there can often be
judgement that's encountered in that process and I think that's one of the
reasons we avoid doing it. And yet it's very satisfying when you do it,
when you begin to allow your own internal imagery to be born and to take
form and there's a quality here that I relate to a phrase from David Whyte,
the poet. He speaks about coming out of hiding and this is very relevant for me
in the painting process because being willing to allow your own images to come
forth, and your own forms and and your own precise paintings -- there's a coming out
of hiding. There's a willingness to show up in your particular way that's
different than anybody else's way and there's a kind of individuation. You're
allowing your own individual images to come forth, you're allowing something
that that's very unique to you to take place. That's a very important aspect of
a painting process but that doesn't make images "better." And I think this is really
important to understand because it is true that in this process of
individuation through art, that we can be in denial, we can be avoiding, actually.
Allowing our own images to take place we can be in denial and be kind of
defensive around allowing our own images to take place and then we get stuck, of
course, and the energy stops and we find ourselves kind of at a dead end. And so
it is important to take the risk and to allow ourselves to come forth in that
way but, again, it doesn't make images better.
There are times when we're deeply in the stream of the creative flow and the
brush is moving; it's being drawn into maybe a certain repetitive gestures and
sometimes you wonder, what are these fine lines that I'm doing? Are they roots? Are
they . . . they look almost dendritic. Are they cracks? I don't know what they are but
they feel really really good to do. And then you might have these sort of drop
like things coming down and and you can't get enough of them and you just
feel like . . . they feel so good . . . they're almost . . . they're getting tinier
and tinier, they're little dots and dots within dots. Are they tears? Is it
rain? What is it? Are they stars? You realize that you have no interpretation.
You're painting without interpretation and the mind could easily label the
painting as being abstract because there's no recognizable images in the
painting but you're being drawn to do it. And can you say in this case that you're
avoiding something because you're not doing imagery? So I think you can begin
to see that it's a rather artificial distinction and it really doesn't matter.
I think that's the main point because what really matters is, of course,
does it have juice? Does it have that quickening, that feeling of being excited
in the moment being drawn to do something? And this happens in paintings
that have recognizable images and paintings that don't. It really doesn't
matter what really matters is the energy and when you're being drawn to do
something, which means the brush feels really comfortable doing
these fine little little lines and it just, it can't get enough of them and
wants to do more and more and more and more and more. There's something there
that is so compelling and functioning on a level which is beyond the comprehension
of the conscious mind. It really doesn't make any difference whether you
can label it as something or not and if you're being drawn to an image and
some image pops at you and in your mind's eye the imagination is is
alive and well and something has come to you to paint and it's got excitement and
fear both mixed in at the same time. Excitement because it's new and you
don't know why it came to you and yet it's very precise and you can see what
it is -- and frightening because you're not sure you can execute it and it might
mess up your painting and what does it mean anyway and what will people think --
but there's energy there! And so what if that's what mattered. It's really about
the energy rather than the product. Then you see, you enter into a very exciting
realm and you realize that we exist on both these levels in a way in other
words we we exist in form and yet we're beyond form. We have a certain identity
that we walk around with and function with in life and yet we really
don't know who we are. We are not that self image that's been created through
experience and through other people's opinions and our own ideas of ourselves
there's there's much more of a mystery than that and the painting process is
really a way of living that mystery, engaging the mystery and travelling with
the mystery. And there's something very natural about that, of not defining our
experience and therefore ourselves by these categories. By not valuing one
aspect of experience over another aspect, but realizing that there's a deeper
mystery and that it's really our job to allow that mystery to unfold and to
recognize ourselves in the mystery as opposed to being defined by a particular form.
[Announcer]: You can learn more about The Painting Experience and find a list of upcoming
process painting workshops by visiting our website at www.processarts.com.
If you enjoyed what you heard today, please share it with a friend.
The theme music for this podcast comes from Stephan Jacob.
We thank you for listening and hope you'll join us again soon.
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