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Artist x Artist
AR x AR (model1, model2) --> The Creative Art
-^_6
This esssay wwas previously published in 2007 as part of
a blog on the creative act. It will probably lead to much
expansion by means of the iconosphere.
What IS it that we do? (as artists, historians, musicians, etc...)
Current mood: tired
Category: Art and Photography
I think that for the most part we ARE lost.
One moment, everything seems quite clear. The next, its all a
hopeless muddle. One of the oddest things about us, must be
when others see us "talking" to ourselves.
So, i'm sitting there with some poster board and various sets of
coloured markers "trying out patterns" -- sheesh, if i *ever* perfect
the Jim Dine/Frank Gehrey LARGE MARKS technique it'll be a
mirracle -- oh, vast unseen criticism of Aristotle, why must
you task us so to WORK LARGE, oh poetica that hears not our
un-scene staged theatrics as we dream again of ellisian fields
and dwelling on Parnassus!
So, i'm sketching these lines of black or red or whatever --
appraently "just filling up the page with the SAME mark" and
then going back over it with another colour -- making a complete
pigs breakfast of it -- a few straggs walk by and must think me
either mad or retarded. But, then:
The figure of the shaman is closely associated
with madness. When an initiate becomes a shaman
by Eliade's first method (spontaneous vocation),
he "takes the risk of being mistaken for a 'madman'".
[Eliade, P. 80] The behaviour of someone chosen
in this way becomes more and more strange. Such
a person "seeks solitude, becomes a dreamer,
loves to wander in woods or desert places, has
visions, sings in his sleep, etc."
[Eliade, P. 75 – as quoted in Silvester]
(gee wizz, i'm becoming more legit everyday ?)
So, part of the what-ness of what we do as artist is to simply explore
the alphabet of our oevre. And we MUST do this, recalling the (musical
artist) John Cage's comments about musical patterns/possibilities, he
sed that there are patterns like A, AA, AB, ABA, AAAB AAABBBCCC, etc
And that "many are possible, FEW are tried". (not an exact quote).
Methinks: What we do is to get two very different ideas (more like
models) to run full tilt at each other (not unlike what
sub-atomic physcists do with "atom smashers"; ie, cyclotrons).
So, we have to try out "stupid little artist's tricks" and try to
sneak up on the rational part of our brain. Thus, we try
the juxtapostion of different models (these can be maps
or other tecniques; yarrow stalks, cards, coins, or just
your favorite enebrient/lucingent. Let it per-cul-late
down into the tendrals that is the brain.
For the most part these "models" are random or least favorite ones
that serve us well. Hence, part of the idea for a time/idea space
ship of the mind (to paraphrase Carl Sagan's "Spaceship of the
Imagination") -- a chronosphere if you will. Hmmmmm......
Remember: What-ever it is that we do do, we gotta do it. Or it won't
get done. (Well, it might get done, but it'd prob not be
what we viz'd it to be -- Viddy well, my brothers, viddy well).
==== Bibliogrphic References
Eliade, Mircea. Myths, Dreams, and Mysteries. 1957. Trans. Philip
(actually this is one of the BEST books for any artist (ie, visual,
musical, theatrical, philsophcical, historians, etc) to read.
Silvester, Mary Nicole. (2006). The Artist as Shaman: Madness, Shapechanging,
and Art in Terri Windling's The Wood Wife.
Downloaded on Nov. 21, 2006 from
http://www.mythicjourneys.org/passages/septoct2003/newsletterp10.html
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