Fishy Sounding Insights into the Creative Process!
November 23, 2009
In the last post we began looking at the creative process using author Roy Peter Clark’s six stage model: Explore, Gather, Organize, Focus, Order and Revise. Let’s continue that discussion.
Gag Grouper
A couple of years ago I had the most productive day spearfishing that I will probably ever have. It was late October, bright and sunny. Seas were running 2 ft. or less. We were 35 miles out from the mouth of the Anclote river, in the Gulf of Mexico, when we dropped anchor next to a rock pile in 50 feet of water. Surface temps, like the air, were around 70 degrees. I descended the line toward the anchor which was in sand about 15 ft east of the reef. Horizontal viz was about 60 ft. Hovering just above the lime rock, much to my exceeding joy, were numerous grouper. Blacks, gags and reds, lined up like yardsticks. No, cord wood. All near 3 feet in length. Scattered amongst them were several sizable hogfish. (No they are not hog snapper. They are in the wrasse family. ) Swirling overhead was a large school of amberjack. My heart pounded with anticipation as drew back the bands on my 48 inch Biller. “Take a deep breath! Calm yourself. Stay high in the water column. What’s your plan?”
Surveying those fish was like surveying the table after breaking the rack. I felt like a pool shark about to run the table. This called for a systematic approach. “I’ll take my limit of grouper first. Those are my favorite. After that, the hogs, if they’re still around. Then an AJ and if he doesn’t kick my butt too bad I’ll shoot a couple snapper, too.” The savvy underwater hunter that I am, I drifted over the reef, staying high in the water column. At least 12 feet off the bottom. I acquired my target, a 30 + inch gag. “Steady, draw a bead, close on him.” Quick kick and POW!!!! “Now move him off the reef to string him and reload.” I systematically harvested all I was legally allowed on that one dive. Grouper, hogfish, amberjack and snapper. When I surfaced it took two guys to boat my stringer. My dive buddy didn’t do as well because a nosy bull shark chased him off of the reef. He fed it a fish off his stringer to keep it busy while he swam for the boat.
What does this underwater adventure have to do with your creative process? Well, there was a point in the story when I moved from strategic planning (Organizing) into overt action (Focus). By floating over the reef and acquiring my target I made that transition. In the context of a plein air event it’s the moment your subject is chosen and the easel comes out of your backpack. Being focused means you have a clear idea that possesses some level of profundity and are making a concerted effort to express it on canvas. Same is true if you are working in the studio.
The next stage in the creative process is Order. To me ordering means orchestrating the raw material of subject matter in a way that supports the central idea of your painting. In the spearfishing story, my central idea was to harvest four different types of fish. Selecting grouper first, spearing it, then moving away from the reef to string the fish and reload was ordering my approach to support my central idea. I wanted to avoid spooking the rest of the fish so I could accomplish my goal. In painting it might mean subordinating certain forms and passages to support the central idea and main line (the path the eye follows through the peice) of the picture.
The last step in the creative process model is to Revise. I plan to skewr a sacred cow or two when I talk about Revision so I’d like to save that for the next post. In the meantime let me do a little advertising. Don’t forget to sign up for my plein air workshop in Cortona, Italy in April 2010. You’ll be getting your tax refunds by then so why not spend it on a “whopper” of a plein air experience.
Plein Air and the Creative Process!
November 17, 2009
The Boatmen of Barcelona
The above painting by Dionisio Baixeras Y Verdaguer, 1862-1943, courtesy of the ARC. Not much is known about the artist. I chose this painting because I wondered what these guys were planning.
In my last couple of posts about plein air painting events I promised to discuss “the creative process.” The topic relates to one’s strategic approach during a plein air event and overall approach to the creative life. So here goes:
Recently I accompanied my wife, Penny, to a local event called the Festival of Reading, which could have been called the Festival of Writing. I went to hang out with my wife not because I was interested in the authors who were speaking. Penny knew their work. I didn’t. Unless John F. Carlson and Andrew Loomis were making posthumous appearances there would be no authors I knew. It was a Saturday well spent. Those highly creative people helped me frame my own the creative process.
Author Roy Peter Clark broke his creative process into stages:
- Explore
- Gather
- Organize
- Focus
- Order
- Revise
According to Clark, exploration is really a nice word for procrastination. In the context of a plein air event it’s a day spent driving around, looking things over, all the while telling yourself, “I really should be painting.” It’s crossing paths with another artist who is doing the same thing. Killing an hour catching up on small talk. It’s the elephant in the living room. You’re both procrastinating, you know it, but neither wants to mention it! So why not re-label it. Call it “Exploration“. Think of it as allowing your creative compass the time it needs to settle on due north. You can’t get your bearings and chart a course until it does. When I worked as a charter boat captain I had to wait for the ship’s GPS to acquire satellites before I could set a waypoint and follow a heading. Time spent in avoidance is like that. It’s a necessary part of the process. I do it in the studio, too. I put a painting up on the easel, look at it for awhile then take it down. Put up another, look at it awhile, mix some paint then give it a couple of touches and take it down. Make a cup of tea. Send an email. Put up another painting, momentum takes over. I put up a blank canvas, get started. I used to think I was procrastinating but now I know it’s called “Exploring”.
I like the way author N.M. Kelby put in her book “The Constant Art of Being a Writer”. She writes about going to a place called Kincaid’s Billiards, “This is where I come when words logjam my brain. I play for the need of that perfect moment, that perfect sound – the clack – that pure note of ball upon ball….I play because the distraction of the sport, which is similar to the process of writing, makes me see my work in a new light…..I tell my family I’m doing research.”
During the Exploration stage I find my self making mental notes, noticing my emotions and forming impressions. In short, I’m “Gathering” information. In the context of a plein air event that might mean checking weather reports, observing the movement of the sun, asking locals for their input and looking at things through the viewfinder of a camera, taking pictures and scanning through them. This gathering of thoughts and impressions is like shopping for ingredients to a stew without a recipe. Maybe I’ll use some of this and a little of that. It’s filling your cart with potential ingredients.
Things naturally progress into the Organizing stage. Borrowing N.M. Kelby’s pool analogy again, it’s like surveying the table after you have broken the rack. There are a lot of possibilities. Some easier, some more challenging and some that inspire. Your first shot sets up your second, which sets up your third and so on. Each subsequent shot also opens up previously unforeseen opportunities. The key is to look at the table from all angles, follow your instincts, formulate a plan.
In pool I look for shots that suit my eye. Plein air events aren’t too much different. I look for subjects, colors, tones or qualities of light that suit my eye and inspire. Organizing has to do with having all of your options on the table, looking at all the angles and formulating a plan.
In the next post we will take a look at the other half of Roy Peter Clark’s model.
In the meantime I want to make sure you know about a couple of workshops coming up in March:
I will be at the Indian Rocks Beach Art Center, March 19th-21st, 2010 giving a workshop called “Plein Air – the Art of Study”. I am making the bold claim that this workshop will cover absolutely everything you need to know about painting.
March 29th-31st, 2010 I will be at the Boca Grande Art Alliance giving a workshop entitled Painting the Impressionist Landscape. For pricing and info click on the respective links.
Paint Outs, the Good, the Bad and the Ugly!
November 8, 2009
Red Mooring Ball at Low Tide with Fog
It’s only been two weeks since my last post but in the world of “cyber-time” it probably seems like I disappeared into the witness protection program. I was at the Crescent Beach Paint Out and enjoyed a full week without internet access or good television reception.
First Light
The paint out was fun if not challenging. We had plenty of good subject matter but not enough time to get to it all. I did 9 paintings in 6 days. 7 were exhibited, 1 was for my host and 1 was deemed unfit for public consumption. The first of the six days was spent exploring. Overall the show looked great. The artists deserve a round of applause. The pics in this post are of paintings I did during the event.
The Meagan Garret
My last post began a discussion about “the process” of creating art within the context of a plein air painting event. It occurs to me that I should take a step backwards and say a little about the events themselves because many of you may not be familiar with how they work. Participating artists are selected by invitation or submission process. Organizers usually designate a territory and often limit the number of paintings each artist can exhibit. Paintings have to have been created during the event and must be for sale. Proceeds benefit the artist and the promoting organization. These events do contribute to an artist’s income but most artists don’t rely on them. The best thing about paint outs is that they are like mini “Artist in Residency” programs. They enable the artist to work away from home without distractions and in the company of other working artists. Artists are pretty much left to do their own thing. No says where to paint or what to paint. The aforementioned painting territories are usually broad and loosely enforced. Many artist regard boundaries as guidelines rather than absolutes. I tend to fall into that category. Many events provide host for lodging and other perks like meals and socials.
If you are an artist who wants to include some paint outs on your schedule here’s the good, the bad and the ugly:
- Avoid events that require an entry fee. Entry fees are simply revenue for the sponsoring organization and are often not applied to all invitees. There are plenty of great events which won’t charge you to participate.
- Only enter events that provide hosts for housing. You don’t want to have to pay for a place to stay. I have enjoyed some fantastic accommodations and made great new friends this way.
- Don’t bother with plein air painting competitions. Judges usually reward their friends and names they recognize. These events become very political and will often leave you with a sense of disillusionment. I’ve seen enough questionable shenanigans that I have sworn off of them.
- Shows which have an Artist’s Choice award are good. This means the artists vote by secret ballot for their favorite painting. The one with the most votes wins. It’s a super fair way of awarding the best work.
- Choose events in places that inspire you or which support a cause that you believe in. Inspiration makes doing your best work easier.
- Have fun but conduct yourself with a sense of professionalism. No need to perpetuate the myth of the eccentric artist. You are a small business person in a vital industry.
- Remember, ALL of the other artists involved know something you don’t. So make learning a priority.
- Paint in places where the public can find you. Hand out business cards promotional material from the show.
- DO NOT make a fuss over onlookers who watch you work. Yes, they may be sneaking a free lesson but you’re best off to embrace them. These people will buy the painting they watch you paint!
I’ll have another post up later this week about “the creative process”. It’s good stuff. Until then….
