Showing posts with label creativity. Show all posts
Showing posts with label creativity. Show all posts

Saturday, June 28, 2014

What Airplanes Taught me About Creativity

This week I am working on a new 36 x 48 inch painting of Organ Pipe Cacti...cacti that perhaps fall under that shadow of the more famous and iconic Saguaro, but one which is still very much a treasured part of the ecosystem of the Sonoran Desert.  Also, it should be noted that Organ Pipe National Monument, which is home to many such cacti, has been long regarded as one of the more dangerous National Monuments to visit.  It sits right on the border with Mexico, and I certainly hope that, in the future, it can become a more peaceful and visitor friendly place - where the whims of mankind would do better to give safer harbor to our natural treasures.

I should say also that I never write blogs to suit my own vanity.  I write them when I feel that I have something worthy to say, or share about my work or the arts in general.  And something that has occupied my mind more and more lately is a strange artistic comparison that I feel between airplanes, and creativity.  I thought this might be worth exploring...

On the surface it might not appear that aircraft are acts of creativity.  But I think that they very much are.  Most especially military aircraft.  When conditions present themselves where an airplane needs to have a certain kind of capability to do what is required of it, a great deal of creativity - and one might even say, counter-creativity is needed in order to make an airplane that can do things that have never been done before.  Or one that does known things better, faster, or in wartime - a more lethal way.  This is not to congratulate warmongers for the great rivers of misery and destruction that they have wrought on the world.  That is an abhorrent feature of human nature.  Rather, this is simply to contemplate how aircraft represent creative solutions to problems posed.

One of the most stirring examples is the World War II era German Messerschmidt 262, - the world's first fully operational jet fighter.  In the dying throes of the Nazi regime in 1944-1945, it is well known that Hitler and his regime turned to what he called "Wonder weapons" that could somehow salvage a German victory against overwhelming odds.  As German cities were pounded night and day by British and American bombers, German engineers pressed into service the Messerschmidt 262, in hopes that it could stem the tide that was then turning against Germany.  With untold thousands of piston engined fighters and bombers numbering the skies all around the world at that time - suddenly there appeared the Me 262 jet fighter, which could outrun the American P-51 Mustang by a full 100 miles per hour.


I have long been fascinated by this airplane and even built a model of it.  When I am in need of reflection I sometimes even hold it and look at it, and allow myself to think about it as a kind of catalyst for contemplating new solutions to problems - even in painting.  It is a question worth thinking about; how then do we create new solutions that change the paradigm entirely - without borrowing from the past?  What happens when we disregard the old rule book, throw that sucker out and just write a new one?  The Me 262 is an interesting thing to contemplate because it represented, in aviation, the act of throwing the rule book out.  That there have been essential and pivotal times when that act was necessary.  There are countless aircraft that prove this.

Fortunately, the disgusting, racist, and inhuman regime of the Nazis did indeed suffer the inevitable defeat that was necessary for human civilization to stand a chance at flourishing.  I can say with no hesitation that the marvels of German aircraft engineering in all their breadth and scope would never excuse or erase the terrible cruelty exhibited on Jews, and others, by the Nazi regime.  I take great satisfaction in knowing the great fleets of Mustangs and Spitfires proved too much for even the modest numbers of Me-262s that saw combat.  But the presence of that airplane did not go unnoticed, and some may not be aware that there were very well organized British, American, and Soviet efforts at procuring German technology, including the Me 262, after the war was over.  The moment they had defeated Germany - they wanted to get their hands on this aircraft, and others.

Part of being a good artist is to be able to comfortably allow the flow of creative insights, from whatever source.  Many artists I know are into music deeply, because they feel that cross pollination with musical inspiration.  But when I hold my model of the Me-262 somehow I gain the courage to sometimes throw the rule book out, and try to rewrite a new one.  The confidence to put that first line to that first new page, of a book that has not yet been written - that is what it really means to be an artist.

www.neilmyersart.com 


Thursday, May 9, 2013

Creativity Blog # 3, Artist Ken Christensen

 Welcome to creativity blog #3, this one featuring California based painter Ken Christensen.  I have always been a great fan of Ken's work, and I even have one of his paintings hanging on the wall of our family room - alongside the best works of my artist friends.  Ken has an extensive body of work and throughout his paintings I have always felt that he was one of the best at striking a near perfect 'tension of details', as I like to call it.  By that I mean he adds just enough detail to preserve the visual scene, but his works still show traces of the joyful spontenaiety of a sketch.  Ken was integral in the creation of the "New Fauves" group of artists - which I might add is the only group of artists that I have formally affilliated myself with in my entire art career.  This is a group of painters who all feel their roots in Fauvism and Expressionism - who sense, as I do, the great debt that we owe to artists like Van Gogh and the Fauvist painters that followed him.  I was also delighted to find that Ken knew of and appreciated the work of my mentor and friend, the artist Jean-Claude Quilici.

Here is the Q and A with Ken, enjoy!





Ken Christensen
Artist - Writer

http://www.kenchristensen.net/pages




1) What personal habits do you have that you feel make you more creative?

One of the things that keeps me creative is going for long walks. Everything you need to know is in nature. Nature reveals its secrets slowly so you have to be patient. You can pass by the same scene many times but at one special moment a new vision of the same thing can be revealed. It's impossible to find a subject to paint by driving around in a car. I have to see things on foot, one step at a time. And in art light is always the real subject. So at every time of day, when the light is different there is always a different subject. There can be nothing at one time of day to paint and at another time when the sun is in a different position something remarkable may reveal itself.
We are always standing on the shoulder of giants and most good ideas spring out of something earlier by someone else.
Another habit that feeds my creativity is sketching. Sketching is art in its purest form. When I sketch I'm not thinking of sales or finished work; I'm just having fun. When you're having fun, good things happen. When I sketch I am being more personal in what I choose to portray. It is the personal in art that really sets the greats apart. One must have a unique vision and art succeeds as much as you are being yourself. Sketching whatever catches your eye allows this personal vision to flourish.

2) Who are the creative artists, in any field, that inspire you the most?

I'm a huge Neil Young fan. In literature Henry Miller has had a huge influence on me. In art, Van Gogh has been my hero since childhood, not only for his art but for his life and convictions. His letters are one of the great works of world literature and very inspiring. The artist I've known personally that has influenced me the most is my friend Manuel Gil in Paris. Manuel is Spanish but has lived in Paris thirty years or more. He showed me what a true artist is. He has an energy and enthusiasm for art that I have rarely encountered. It reminds me of what I know of Picasso who could create art out of anything, by picking up whatever was at hand. Manuel turned me on to other techniques like woodblock printing, pastel portraits, monotypes, and other things. Like Picasso, Manuel is also an original thinker with surprising opinions on a wide range of subjects. He is a wild bohemian but also a true nobleman who has a sensitivity and insight beyond the majority.

3)  What do you do when you are not feeling creative?  Or - how to you get yourself back to a point where you are feeling creative?

As I was saying, the first step in trying to find the urge to paint or some creativity is to go for a long walk. A very long walk will always sort things out. The other thing I do is to switch techniques. If I'm getting burned out or bored with oil painting I will switch to watercolor for a week or weeks. I also go back to sketching , the source for all further creative endeavors. Lastly, if I'm still stuck I will force myself to do something. Just working will release my creative juices. Without fail I always feel better by doing something, anything. Just doing something will snap you out of your lethargy and get the juices flowing.

4)  What are some creative outlets that you enjoy outside your own respective creative field?

I write. I've written five books. I just finished another one, "Between the Covers: Reading, Writing, and Romance" which is a memoir told through my connection to books, reading, collecting, running a bookstore, and writing.

5)  For someone who has talent in a creative field, how would you suggest they go about converting that talent into something original - something that stands out from the crowd?

As I said, great art is always personal. It sounds too simple but the ultimate advice is to be yourself. Trust yourself that your idle thoughts are worthy of developing. There is room at the top for any style in any field if it is original. It depends if your goal is to create art or to make money. They are often very different. In terms of creativity and quality art then one must trust oneself and do whatever you damn please.





Links 

Official website:  http://www.kenchristensen.net/pages

New Fauves website:  http://www.newfauves.com/pages


 


Thursday, March 28, 2013

Creativity Blog # 2, Arizona Photographer Paul Gill

 A few years ago when I stumbled across the photographs of Paul Gill, I was a bit overwhelmed.  I had the feeling like I had discovered a photographer with something of the same sensibility as what I had hoped to bring to my own best paintings.  A sense of design.  A sense of the extreme variations of color captured in the desert - if one knew the land well enough to have a sense of timing and urgency to find the land at its highest point of expression.  I actually felt like Paul saw the scenes that he photographed much like some of the best painters I knew.  It was clear that to him an image is more than a digital click - it has all the potential to be a piece of art.  Paul Gill, more than any other Arizona photographer I am aware of, makes photographs rise to the level of fine art.

He is also one of the very few photographers whom I have sought out for permission to paint from his images (A reminder to all artists, you should not be painting from other people's photographs without permission.  Paul and I made an arrangement by which I could paint from his images ).  A handful of some of my own best paintings of the desert, mostly in spring themes, have been highly stylized versions of Paul Gill images.

A short bio on his website says it best:

" A native of the Arizona desert, Paul’s photographs have appeared on the cover and pages of Arizona Highways magazine, calendars and books along with Natures Best magazine and many scenic publications, calendars and books as well as displayed in fine art galleries. Paul received his bachelors of fine arts from Arizona State University and had worked as a art director for 17 years. before turning all of his attention to photographing the grandeur of nature."





Paul Gill
Photographer











Official website:
http://paulgill.photoshelter.com

Below is the website for the book "Wild in Arizona" by Paul Gill and Colleen Miniuk-Sperry.   I HIGHLY recommend this book.  It is a great resource for everyone, whether you are interested in photography, or if you are a painter looking for amazing spring blooms! Click below:
http://www.wildinarizona.com/index.htm

Facebook:
https://www.facebook.com/paulgillphoto


Below are Paul's responses to my "creativity" questions...

 
1) What personal habits do you have that you feel make you more creative?

Previsualization is the key for me to take elements that I have seen from a location or subject matter and find a story of what it is I want to say about it. I then can create a image in my head making decisions about time of day and light direction to tell the story. Sometimes I will remember past images I have seen and will try and think of a ways to change the image to fit my vision. This is always a driving force to get me to a place where I want to create, funny thing is I almost never find that previsualised image but it do’s influence how and what I see.


2) Who are the creative artists, in any field, that inspire you the most?

I was originally inspired by Maxfield Parish and his great sense of light. My photography is inspired by the Father of near-far David Munch and Tucson's own Pulitzer prize photographer Jack Dykinga both of whom I have had the great honor to photograph with in my earlier years. 


3) What do you do when you are not feeling creative?  Or - how to you get yourself back to a point where you are feeling creative?

To be inspired I try and place myself into beautiful light locations and that triggers the creative spark but that's not always possible so to start creating I will make that first image this helps me get in touch with my surroundings and I will start seeing line shape and light, which leads to finding compositions that I can come back to when the optimal light is on them. If nothing is working I will stop trying to force it to happen then come back latter and take that first step by making an image. 


4) What are some creative outlets that you enjoy outside your own respective creative field? 

Music is always my catalyst with upbeat positive tunes to pump me up before a shoot and relaxing background sounds to slow me down so I can concentrate on what is in front of me giving me the ability to focus on one subject at a time and break down a scene to its most simple components. This helps me block out the world around me.


5) For someone who has talent in a creative field, how would you suggest they go about converting that talent into something original - something that stands out from the crowd?

We all have distinctive visions and directions to move our images but sometimes seeing other artists work can help direct our own originality by filtering out what we do and don't like. I found that the more time I spent with professionals the more I developed my own look and personality to my imagery. And it was only then that I was able to explore and experiment with the talent I have which looks nothing like the photographers that originally inspired me. 
For someone just starting out in the creative field and not sure about their direction I like the book: 

Steal Like an Artist: 10 Things Nobody Told You About Being Creative. Austin Kleon 

I wish this book was out when I was just starting out.


 




















           (This image, "Ponderosa Bloom" is featured in the permanent collection of the Smithsonian)

 http://paulgill.photoshelter.com



 www.neilmyersart.com

Wednesday, March 6, 2013

Creativity Blog # 1, Singer-Songwriter Joanna Smith

Creativity.  It means a lot of different things to different people.  I have begun to realize, the longer I have been an artist, that creativity is really what most interests me - above and beyond the technical capabilities of being able to paint a hand perfectly, or play a scale on guitar, or write a coherent paragraph - or act out those compelling lines.  At some point it occurred to me; since I have been fortunate enough to have some personal contacts with highly creative people in various fields - ie, the arts, music, etc, I thought it might be interesting to write up a set of questions on creativity and ask those same questions to different people.  So we could see the variations in their creative processes and how they view the act of being creative.

This is the first profile in what I hope will be an extended series of blogs on creativity!
 
This week's Q and A is with RCA Nashville recording artist Joanna Smith.  A few years back I stumbled onto several tracks by her on myspace.  I remember the first song I heard by her was a tune called "Let me Kiss You Again" and immediately I was hooked.  It was delicate, sweet, beautiful and crafty - and I found that she had an entire group of wonderful songs.  Perhaps my ultimate compliment to her is this - I am NOT a big country music fan.  I grew up in the south but was always a rock and 'southern rock' kind of guy.  But this girl had me hooked.  I always wanted to hear more.  And sure, she IS country - but she didn't hide behind any of the cliches of country music.  In fact she reinforced the fact that country, as a genre, is very wide and has room for all kinds of artists working under that stylistic umbrella.  She is an original.  When I first heard her I realized that, despite her being young in years, she was a very mature as a songwriter, and a very well polished performer.  And I have to say this too, she is an absolutely lovely person.  That matters a lot.  I met her at a show in Phoenix in 2011 and saw she was a charismatic performer, as well as being a natural with people one on one.  As a true artist herself, she was kind enough to answer my Q and A for our first blog on creativity...






Joanna Smith
Singer-Songwriter


Official website is: http://www.joannasmithofficial.com/us (This link has a direct link to her latest video, which is a must see, called "We Can't Be Friends".  Do check it out!)

Her music is also available on itunes!



1) What personal habits do you have that you feel make you more creative?
Caffeine!!!!  I love to have my morning cup of coffee and dig into a song idea I may have previously written down.  I get my brain going by first writing in my diary.


2) Who are the creative artists, in any field, that inspire you the most?
Springsteen, hands down.  Steinbeck.


3) What do you do when you are not feeling creative?  Or - how to you get yourself back to a point where you are feeling creative?
I hate that feeling!  I stress about it!  I feel like I'll never feel creative again, and surely it's the end of the world.  But then I remind myself.... it always comes back.


4) What are some creative outlets that you enjoy outside your own respective creative field? 
Studying others' creativity.  I love art of all kinds and it inspires me to make my own.


5) For someone who has talent in a creative field, how would you suggest they go about converting that talent into something original - something that stands out from the crowd?
Always, always be you.  Be open to the journey.  You may start by imitating others' work, then have what you do be criticized at which point make necessary changes as you see fit.  Be open to criticism but listen to your gut.  This is the most natural thing,  it takes time and years of experience to be better at it.  "It" being just being yourself.

Links and info:

Check out Joanna's latest release, the EP "Be What it Wants to Be" available on iTunes


Look for Joanna on tour with Maranda Lambert this spring!  Visit http://www.joannasmithofficial.com/us/home




Here is Joanna Smith's latest music video "We Can't be Friends"








www.neilmyersart.com





Sunday, February 10, 2013

Blinkers for an Artist

This week I am working on a new painting of Elephant Head Rock, a large formation in the Santa Rita Mountains just north of Tubac, AZ.  Yesterday I was at Cobalt Fine Arts in Tubac, painting in gallery for the Tubac arts festival.  A gloomy morning with snow on the ground gave way slowly to sunshine and a beautiful, cool day for the festival - which put smiles on the faces of most of the festival goers.

What I wanted to talk a bit about in this blog was something that has come up again and again in conversation with artists and collectors; and that's originality.  Of course the seeking of originality is as old as the arts - and I do not pretend to cover new ground with it, rather only to share a bit more and maybe shed a little light.

For some time Bobby Lee Krajnik and I talked yesterday about originality in the arts, and she mentioned something that I found very interesting.  She said that she had taken some workshops here and there, and heard some curious comments from instructors.  One instructor who saw her work told her that he didn't want to change her style and work that style out of her.  He felt that she had clearly arrived at something distinct, and he didn't want to change it by bending her too much to the instructor's will.  Bobby Lee also relayed that another instructor had told her that frequently artists will take course after course and so many workshops that whatever instinct for personal style they had before gets diluted, and in the course of being affected by the styles of work demonstrated by the instructors - they never really find a personal style. 

I shared with her what I have said to some other trusted people who were interested in how I devised the look of my own works; I told them that I do the reverse of taking courses and critiques and bouncing ideas off other artists.  I put on blinkers and work like a monk.  I try as hard as possible to shut out every other opinion of every other kind of art ever - and I try to answer the question: "How would I paint this scene?"  Bobby Lee and I pretty much agreed that too much input from other artists allow them into your head, and at some point, if you don't clarify where your influences are coming from, you yourself are not painting - you and some other people are painting.

Of course, we all have our influences.  When I look at other artist's work, I look primarily at Van Gogh and my friend Jean-Claude Quilici.  I too glean something from those who came before me.  I have found that other artists are wonderful in helping you learn the materiels needed to get certain effects, and with some of the kind of shop talk tips that are useful in the arts.  But as regards to style, I still think that is a personal search - instruction can teach you a certain skill set.  Style is a product of self reflection.  It is not easy...

So my suggestion, if anyone might bother to ask - is that if you are one who likes to take courses, keep them in perspective in as much as they can increase your skill set and perhaps give you personal time with an excellent artist.  But I would also suggest that you construct a kind of art that has a style that is built on your own self reflections - and visions that do not belong to anybody else.

So yes, spend some time shading and learning how to paint that eye, or head, or tree - but spend a little time dreaming.  Spend some time, and a little paint and canvas, on that vision that is only yours.  That thing only you can create - and only your neglect can supress. 

www.neilmyersart.com

http://bobbyleekrajnik.blogspot.com/

Wednesday, December 14, 2011

Unknown Places

This week I am working on a 30 x 48 inch vertical Saguaro landscape for some clients in Scottsdale, AZ. I was never a great fan of narrow, vertical paintings but I find that I like them better and better the bigger the size gets. A 30 x 48, trusting you place the subject matter on canvas well, is a large, plunging vertical and it creates a great feel of size and verticality.

I wanted to be honest with folks reading this blog that the reason there are not thousands of blog posts by me is that I typically reserve my comments for when I actually have something that I think may be useful to say. These people who tweet or blog every time they brush their teeth or take out the trash just drive me nuts. I think that anytime you write something you should at least litmus test it in your mind to see if it's either vaguely amusing - therefore providing a little brightness to someone's day who could use it - or it should be useful and shed a little light.

I have written at great length about originality in art, and the need to seek and express new sensations that are both personal and universal at the same time. (Frequently, if a piece of music, literature, or art is only one of those things - it's not very good, in my opinion.) A couple of weeks ago I found myself enthralled by a book about the 1789 mutiny on the ship The Bounty. The book was the more recent title by Caroline Alexander. Though the book has some long, tiresome descriptions of the sailors captured and put on trial for their roles in the mutiny...what interested me most was what happened to the mutineers who went on to settle Pitcairn Island - a remote island outpost in the Pacific. It was very interesting to read about how a group of Englishmen, with some Tahitians that they essentially kidnapped - created a small society on this remote island, far detached from any part of what was the modern world at the time. What followed after those men settled on Pitcairn and burned the ship - was a fractious period where many of them killed one another, or were killed by the Tahitians that they settled the island with.

What I am getting at here was the realization that I had to admit to myself that one of the most interesting periods of history, in my eye, was the colonial period. One favor, however, that modern history and a common regard for human rights has given to us is to also realize that for Europeans to settle in places like America, Africa, South America, and the South Pacific, the wholesale disenfranchisement and often murder of the natives was required, and even celebrated by some. This should not be painted for anything other than what it was. Jared Diamond's fabulous book "Guns, Germs and Steel" did a great job telling this story. However there did emerge from the colonial period in history something unique and of use to everyone, including artists. The entering into spaces and places unknown to the Western World.

It is not, of course, that natives of all continents didn't do this as well. They have always done this - what was compelling in this case was what Europeans did when they ventured into new places with the technologies of their ocean going ships and the written languages and narratives that could capture and record what the far off world was really like, for the enthrallment of people of all nations.

If I had been alive then I might have been a willing participant in the age of exploration - but what was revealed to learned eyes came at the cost of the genocide and subjugation of entire regions full of native peoples. Whatever light was shed, cast a pall of darkness at the same time. I would have loved to explore and see such amazing places as they were being revealed - but I could not have raised my hand in anger against anyone who was there before me. Europeans had, far too often, convinced themselves that any kind of horror was justified if so called 'civilized' men were the culprits.

I should say also that my interests in 'unknown spaces' has found a great deal of enjoyment in the exploration of space and the planets. When a space probe opens it's lenses for the first time on planets like Mars, or moons like Titan - I am one of the first to want to see what they see.

Even when I was a kid I would explore wooded areas around where I lived for miles and miles. Until I knew every tree, and even until I could guide my friends great distances through the woods in the dark. It was all great fun to me...

However much a stretch the comparison might be - I think it is still useful. The same drive that would make someone disembark from a ship, or travel with Lewis and Clark across the American West, or penetrate the deepest jungles of Africa or the Pacific - the same interest and curiosity should exist within the heart of the artist. With all the world of knowledge at our backs, it seems to me that the canvas is still an unknown space, and we are getting to know our world, interior and exterior, each time we set out to explore that imagery.

Happy Holidays to Everyone!

www.neilmyersart.com