“Sensitivity to touch is one of the key distinctions between an artist and a person who is just using paint.” Van Waldron
Is sensitivity a key element in successful art? Much is written about the senses and sensitivity. Opinions are all over the board on whether sensitivity matters and whether artists and creative people are more sensitive than others. Does it take a deeply sensitive person to create the type of art that touches the senses of the audience? Do viewers instinctively react more forcefully to art created by the more sensitive artist?
One artist describes the feeling of acknowledging this sensitivity. Vanessa Turner writes, “I have often felt that I was more sensitive than those around me, more affected by my surroundings and the energy of an environment than your average person.” Artists capture what is missed by so many in the hustle and bustle of daily life. Some would say artists are merely taking the time to stop and look around more often. Artists spend time contemplating surroundings and therefore see more. But that explanation is too simplistic. Otherwise many more people would be artists.
Carolyn Edlund of the Artsyshark.com interviewed psychologist and researcher Douglas Eby of TalentDevelop.com. Eby says “being a highly sensitive person is a trait in 15 to 20 percent of people but it seems to be much more common among artists.” Eby quotes from an article on CNN saying “people with this trait tended to have more brain activity in the high-order visual processing regions.” Evidently artists have more brainpower!
The highly developed sensitivity of the artist’s brain transfers into the hands of the artist and onto the art in the form of energy. Art lacking deeply felt sensitivity is just draftsmanship. Without energy the art falls flat. Technically correct art is without emotion. It takes emotion to touch others. It takes sensitivity to create emotion. Of sensitivity, Vanessa Turner states, “It makes life beautiful.” And that beauty is what shows up in the art.
Miia Niskanen of the wonderful blog Pearlspotting.wordpress.com sent me this link in response to a post about the geometry of art, (here). Numbers keep coming up in art. Another post of mine on this subject was The Magic of Threeon how the number three turns up frequently in art and in design. The number three is pleasing to the eye in any design or painting according to the latest research. When contemplating the numbers, a blue mist of fog comes right up and takes over my brain obscuring any attempt by me to decipher what numbers might mean. However, after these posts, I took a second look at past paintings and noted the more successful paintings many times featured various configurations of the number three. In my case, the number three was not a conscious plan. There is no possible way my brain was consciously telling me to do anything with numbers. It would never get through the blue mist anyway. But on some level it must have broken through. The numbers are there.
This notion of numbers in art has spurred me to look at other artist’s work with this in mind. It may be possible that many artists are following the numbers rule, consciously or unconsciously. The number three is not too hard to follow but Phi is another story altogether. The Fibonacci Sequence is really way too much for my art brain to take in from other parts of the brain. If I can figure out how to look for it in art, it would be truly amazing on my part to find it. It would definitely have to have come unconsciously. This is one of those conundrums where any available outside input would be very welcome and greatly appreciated. Please help me solve this conundrum by sending your valuable opinions. Do the numbers matter??
“Expectation is the mother of all frustration.” Antonio Banderas (from Brainyquote)
All artists experience frustration at some time or other. It is a fact of life. How one chooses to handle the frustration can make a huge difference. Or not. Fantasizing about destruction of another’s artwork may have occurred in the thought processes of some artists at one time or other. Most people will grumble a bit. Others will, perhaps, voice a few well-chosen descriptive words. Some may even take to a blog to spout some derogatory witticisms. Few will act out of violence toward another artist.
One artist recently vented his frustrations by very publically destroying the one million dollar work of another artist, (see note below). His frustration was supposedly due to the gallery in question’s statement of intent to support local artists. The destroyed artwork was by an artist who was not local. While the frustration is understandable, what purpose does violence toward another artist serve? Or is this a case of civil disobedience?
In Max Ehrman’s famous Desiderata is the quote, “Avoid loud and aggressive people as they are vexatious to the spirit.” While the frustration is understandable the reaction is quite vexing. Where does smashing artwork get anybody beyond the “15 minutes of fame” spotlight? It did call attention to the galleries statement. That could result in possibly a few more pieces by somebody local. But long-term change seems doubtful from this bit of destructive violence.
Insight from the blog, Johan Turdenmeier’s Miscellany pinpoints the innate problem with this behavior. “I wonder when if ever the vexatious person will notice they are the cause of other’s retreat. If they have any idea that they’re behavior is literally sucking the spirit out of their companions.” Violence does suck the spirit out of those around it. The art- smashing artist is probably wondering where his friends are about now.
Had this artist taken the time to examine his frustration a bit he might have come up with a less vexing response. Organizing a protest would have been a good start. His friends may have joined him for that. The publicity would undoubtedly have been more favorable, not to mention the optics. When expressing vexations it is always better to avoid vexing potential supporters. Vexing the target problem would have garnered significantly less vexation and possibly led to future reductions in vexatious-ness. We could all get behind that.
(This account is purposely not reporting the artist’s name or the gallery in order to not assist in perpetuating more of this behavior. We observe the 15 minutes of fame rule whenever possible. We hope the smasher’s 15 minutes are now over.)
If you would like to read more there are accounts at these links:
“Drawing is a frame of mind, a loving embrace if you will.” Susan Avishal (from The Painter’s Keys)
How often do students get in trouble for doodling during class? Doodling, new research is showing, may not be such a bad thing at all. In fact doodling may be good for your health. While supposedly zoning out with some prodigious doodling, the brain is actually busy at work solving some major problems. Instead of treating doodlers as slackers, perhaps it would be better to treat them as the smarter students because they just may be.
Psychology Today has a regular feature on Arts and Health by art therapist Cathy Malchiodi. In an article about the benefits of doodling, Malchiodi cites recent research on doodling and memory retention. It seems that the act of doodling while performing a specific function helps retain the memory of the function. Malchiodi also discusses in the same article, the current “Zentangle” craze as another example of the health benefits of doodling. “Zentangle” is more structured than simple doodling and creates a meditative concentration in the process that is both soothing and calming for the heart.
Maybe all those people who scold doodlers are the same analytical types who don’t understand daydreaming either. Now we know. Daydreaming and doodling are techniques of the right -brained creative types allowing the brain to work out and solve complex problems. As both activities are meditative in nature, these creative folks are soothing and relaxing the heart at the same time. So go ahead, doodle and daydream to your heart’s content. You just may be about to solve a great human dilemma or come up with the next greatest invention. You could be the inventor of the soon-to-be latest hot must-have item. Grab a pen and start doodling. The world is waiting for your great creation! At the very least, you’ll be healthier.
“All theory, Dear Friend, is gray. But the Golden Tree of Life springs ever green.” Johann Wolfgang von Goethe (from Brainyquote.com)
Landscape painters, ceramists, make-up artists, soap makers and more love this mossy green pigment. Chromium Green has been available for two centuries and has recently been discovered in the paintings of J. M. W. Turner dating to around 1812. Few warnings accompany this lovely green paint reputed to cause only some minor skin irritation in a few people. Those who eat it could have mild stomach upset so it is probably best not to ingest it. Otherwise Chromium Green has a wealth of uses.
Brittanica reports Chromium Green as having been discovered by French chemist Nicolas-Louis Vauquelin in 1797. The name derives from its multi-colored compounds. Merriam-Webster says “Chromium Green is a moderate yellow green that is greener and deeper than the average moss green, yellower and duller than the average pea green or apple green.“ “This natural green provides landscape artists rest in a summer painting saturated with vibrant greens,“ according to Daniel Smith.com. Natural Pigments.com has the scoop on the Turner discovery and is also a great source for purchasing the pigment.
While you are obtaining the pigment for mixing paint, you can also grab a bar of Chromium Green for sharpening your knives and sculpting tools. A bit of Chromium Green in your roofing tiles will add some UV protection. If you happen to be considering building a spaceship, Chromium Green can be mixed with other metals for “super high performing aerospace products.” Or just add it to your camouflage for high infrared reflectance, whatever that might be.
For many artists, Chromium Green is a must have for the paint box. Mossy greens add a wonderful richness in any painting. Chromium Green is beautiful in ceramics, as well. Other non-artist fans of Chromium Green may be found on the rooftops fitting the tiles. Or that spaceship your neighbor is building could feature some bits of Chromium Green in the materials but I wouldn’t get too close. He may be guarding his spaceship in his infrared reflectant camouflage with the knives he recently sharpened on the leftover Chromium Green. It’s probably best to stick with the people who only use Chromium Green in artist materials. Steer clear of the ones with the spaceships and the knives.
“Often the muse will not respond to direct and logical requests. She must be lured in with the playful and the gentle.” Jill Badonsky (from The Painter’s Keys)
One of the most painful issues for anyone in the arts is the feeling that the muse has gone. All inspiration has dried up. The art is continuing but with a lack of passion. Only the motions are taking place. Creativity is proceeding on automatic pilot. This is the moment when many artists ponder succumbing to panic. Will art remain forever in a state of mechanical practice? Will those exhilarating feelings of profound inspiration ever return? Can the muse be lured back?
Point one is not to panic. Panic will only compound everything. Waiting for Fairies.com says, “My muse is a fickle creature. She dresses in moonlight and shadows and lives quietly in a forest glade, far from the reach of mortal thought.” Waiting for Fairies suggests that on occasion the muse “can be lured out with the promise of chocolate, or a new toy to play with.” Chocolate relieves many problems, including panic. Muses probably crave chocolate as much as the rest of us. Definitely, worth a try if all else fails.
The author of SpillingInk.com suggests those moments of heady oneness with the muse are the rarity and states that for her, writing is “as much business as it is art.” “None of that luring the muse nonsense,” will work. Art as business does not stop and start on the whims of a fickle muse. Art must carry on with or without the muse. When muse is present, rejoice and enjoy the moment. The rest of the time, continue making art. The show must go on, with or without the muse.
When feeling the lack of the elusive muse, there are two possible options to be tried. First, go for bribery. Chocolate is an appealing allurement. It is a well-known fact that much fickleness is cured with chocolate. However if the muse is particularly stubborn, and you aren’t in the mood for bribery, forget the muse. Drive the train without her. Like Spring, she’ll come back when she’s ready. In the meantime, eat the chocolate yourself. If nothing else, you’ll feel better.
“We must jump into the unknown to gain new insight.” Nicoletta Baumeister (from The Painter’s Keys)
Artists are frequently accused of being flighty, flakey or daydreamers by analytical reasoning types. The accusation is not intended to be flattering. The artistic daydreamer is completely misunderstood by the analytical reasoner. New research is pointing out the misconception in this thinking and the fact that the daydreamer may actually be in the process of coming to a place of new insight. According to this latest research, those “Aha” moments of insight are actually the direct result of allowing the brain to wander off into unstructured daydreaming.
The Wall Street Journal featured an article on the latest neuroscience studies into the precise mechanism of how the brain arrives at the creative “Aha” moment that results in new and often complex insight. The article’s author, Robert Lee Hotz, states the research has shown, “People who solve problems through insight generate different patterns of brain waves than those who solve problems analytically.” The researchers, Hotz points out, found the brain of the daydreamers to be actively involved in complex problem solving while appearing to be lost in wandering thought. The brains of the daydreamers have actually solved the problem about eight seconds before the “aha” moment arrives in conscious thought.
There you have it! Daydreaming is a good thing so go ahead and indulge yourself. Ruminate with the butterflies. Relax in a sunny meadow and mediate on the clouds drifting by. Sit by a stream and tune in to the water bubbling over rocks. Wandering off into the unknown thought world may actually be the process of jumping into new insight. According to the Journal article, Post-its, ice cream cones and Velcro were all the result of minds allowed to meander into the unknown abyss of daydreams. Those mental meanderings could possibly be on the road to an epiphany. You never know what insight might be developing. It’s doubtful any of the so-called analytical thinkers would ever have the insight to come up with Velcro.
“Serendipity is God’s way of remaining anonymous.” Author Unknown (from The Painter’s Keys)
Everyone wants to lay claim to serendipity. Search for artists and serendipity and the return is pages and pages of artists using the term “serendipity” in association with their work. A number of art galleries also go by the name “Serendipity.” Is serendipity actually present in the work of all the many artists using the name? Is all art serendipitous? Is the Hand of some entity other than human, guiding the direction of art? It likely depends on whether or not a person is open to the possibility.
One website claims to be “mapping serendipity.” The Merrriam- Webster Dictionary defines serendipity as, “luck that takes the form of finding valuable or agreeable things not sought for. If you are searching a website and one thing leads to another, is that really serendipity? The website would have to be so disorganized that finding anything would be purely by luck to make it truly serendipitous. It does sound like it has made things easier to find. But serendipity?
Many sources credit the coining of the term “serendipity” to Horace Walpole in 1742. Walpole described serendipity as a “fortuitous happenstance” or a “pleasant surprise.” Happenstances and surprises cannot be planned for. They cannot be mapped. Surprises are not found by feeding quarters into a slot machine until eventually the jackpot hits. Serendipity does not occur because a person wants it to.
Serendipity happens when least expected. The scientific world is littered with the stories of how many great discoveries happened “accidently.” The only way to plan for serendipity is to be open to chance. Max Ernst said, “All good ideas arrive by chance.” Though it sounds like the thing to do is sit out in the garden until serendipity arrives, that is not the case at all. Serendipity arrives during the busy-ness of life. Serendipity happens while art is being created, not before. It pops in unexpectedly. The only way serendipity can be facilitated is to remain open to chance. When chance flits in, grab it!! That is the essence of true Serendipity! It won’t have to be proclaimed. It will be obvious.
“People need to know their life is worthwhile.” Barbara Esrig
On a rainy evening, coming back from seeing a patient, Barbara Esrig , a psychiatric homecare nurse,at the time came face to face with an oncoming car which was trying to pass four or five other cars when they wouldn’t let him back in the lane. The head-on collision resulted in an accident injuring her so badly she was deemed a fatality at the scene. Barbara survived with 164 broken bones and paralyzed vocal cords. She attributes much of her amazing recovery to not only a remarkable staff of surgeons and medical staff but equally to her many friends who were both traditional and non-traditional medical people, and some friends who happened to be artists in the Shands Arts in Medicine (AIM) program (now called UFHealth.Arts in Medicine).
Barbara Esrig, writer
Both arms and both legs broken, on a respirator with only a pointing board for communication, Barbara’s hospital room at Alachua General Hospital became the place to be. People decorated every inch of her room with art, including the IV poles. Members of the AIM program, still in its infancy at the time, came by regularly to sing to her. As Barbara describes it, her room was transformed into an “amazing healing environment.” Word spread and soon doctors, nurses and others were hanging out in Barbara’s room. Barbara says, “As bad as I was, the room was a really positive place.”
Unable to speak above a whisper for two years and in a wheelchair for three, Barbara came to the realization at the age of 50, that she would never be a nurse again. Barbara had been writing since the age of ten and had a degree in Cultural Anthropology as well as a nursing degree. During her recovery, Barbara turned back to her first love of writing. Writing and listening to people’s stories became her sustenance throughout her long recovery.
While she was recovering, Shands Hospital acquired Alachua General Hospital where Barbara had been and where she was introduced to the magic of the Arts in Medicine program. Lauren Arce, then Office Manager for the AIM program called Barbara and asked her to come to their meeting. Lauren asked Barbara to bring some of her writings to share with the others in the program. After that first meeting, Barbara was asked to join the AIM program as a writer at Alachua General Hospital. She did and a new career was born.
Barbara says she sees the world in stories and loves to listen to the stories of people’s lives. She began to visit patients in their room to hear their stories because “it’s important for them to remember who they are when they’re not in a hospital gown.” According to Barbara, “People have amazing stories. It’s like hitchhiking. You never know who you’ll pick up.” “Disguised in a hospital gown may be a scientist, a maker of moonshine, a CEO, you never know.” Barbara says over the years she has heard stories of survival, escape from war torn countries, ancestors arrival in the new country, childhood customs, traditional foods and more. As an avid cook, Barbara particularly loves to hear the stories of family recipes and special holiday foods, occasionally going home to recreate the foods and bring them back to the patient.
From nurse to writer of oral histories, a life -changing event led Barbara Esrig to a new life direction. Today, she takes the oral histories of patients at UF Health/Shands Hospital and transcribes them in the patient’s voice with no editing. She provides both a written copy and a CD recording to the patient or family. Barbara points out that she purposely does not edit. When an unedited story is provided to the patient’s family, they recognize the patient’s voice and not the edited voice of the listener, an important difference distinguishing an oral history from a biography.
Many hospital patients often feel reduced to “The Heart” in room 2412, or “the diabetic in room 3400.” Oral histories let patients, families and hospital staff see more than a disease. Oral histories show the amazing person rather than the diagnosis. Barbara Esrig is there to tell the world about as many amazing people as she can on a day-to-day basis. She says, “you go along in a certain direction in your life, then something suddenly happens and all that changes.” She says fifteen years ago she,”came in through the back door as a patient,” to the Arts in Medicine program. From life-changing event to a new life, Barbara Esrig now supports others through their life changing events by giving them a voice. Barbara assists patients to tell others who they are as a person and not as a disease.
Read more about Barbara’s wonderful work at the following link:
