creative process

There is a part of creativity that is about showing up prepared. That means setting up your writing station and putting bum-to-chair. Or pulling out a canvas and placing it on the easel. Then putting a brush in your hand at a regularly scheduled time to paint. Or it means putting your camera bag on your shoulder and heading out everyday to take the photograph that is there to be taken. Each of us practicing our creative craft will engage in some form of preparation. If you are a musician or a dancer or a woodcarver you will know exactly what to do to show up prepared.

After doing a few warm up exercises, I find there is a second part to most creative processes. This is waiting to be invited. There is a pause or suspension of expectation or a kind of taut readiness. Mind, body and spirit seem to align and, there it is – the invitation. We know intuitively exactly what we need to do next. We proceed.

This is my intention for the week ahead. I have a half-finished painting and few canvases of various sizes that I picked up last week. I am going to set aside the time each day, be prepared, do my warm up exercises, stilling my mind and wait to be invited.

This is what happened when I took these two photographs at the Japanese garden on Friday morning. As the rain came down, I visited with a friend who is moving away. We were sitting on a sheltered bench. I had taken my camera even though the day was heavily clouded and didn’t show much promise.

First, this invite was extended to me.

And then this one.

I remembered my manners and said “thank you.”

And here are a couple of things you may find inspiring:

Last Tuesday, we slipped into Victoria B.C. and attended the IMAX theatre for the most impressive Van Gogh brush with Genius . Well worth seeing if you ever get the chance. Thank you Sherwin, from Shower Wisdom, for making such a compelling recommendation in your comment to last Monday’s post.

While we were in town we went to a couple of art galleries. At the new Madrona Gallery we saw a 3 X 4 foot acrylic painting by Karel Doruyler of a mature, dense west coast forest. His skill with light is outstanding. The work we saw was Thoughts of Summer. Doruyler has developed a heavily textured approach so that the tree trunks are significantly raised off the surface of the painting. Doruyler has been painting professionally for 40 years and is now 70 years old. His work leaves me with such a sense of possibility for my own continued development as an artist.

All the best in your creative endeavors!

Sprout question: Where are you showing up prepared to be invited?

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

View Karl Isakson’s 1918 painting “Nature morte” as part of Wikimedia Commons.

I posted the process I used to paint my first oil painting in 30 years yesterday. “East Point Cliffs” is a rugged painting and rough around the edges, however, it is done. I need to begin again as I trust that not all learning is accomplished on one canvas. Yet, I couldn’t even consider painting the exact same image again, and then again. It is just not in my nature. It is an esteemed practice though. I have on my bookshelf from many years ago Complete Course in Oil Painting: Combined Edition – Four Volumes in One (1960) by Olle Nordmark. On page 123 he states the following:

“Beginners are inclined to think that experienced painters get their effects easily, without travail. This is not so. Great masters are great because they are willing to take infinite pains and do the work over again an indefinite number of times at any stage of the painting. Willingness to erase, or to start all over again on a clean painting surface is essential to good painting, whether you are a beginner or an artist of established reputation.”

Nordmark provides an example of Swedish painter Karl Isakson (1878-1922) known for his exact precision of tone. Isakson often discarded as many as 30 paintings of one subject before he was willing to show anyone his canvas. Thirty times. Thirty times painting the same subject again and again until the artist felt he had mastered his subject. As someone who loves colour, the results take my breath away. The pieces are timeless.

View Karl Isakson’s 1919 Udsigt över Svaneke at ArtNet.

I have provided two examples. To see some of Isakson’s other work explore this Google image search here. I even noticed more than one painting that has survive of the same subject.

So… I am publicly making a commitment to paint 30 paintings by the end of 2010 on the theme of Sea, Land and Time. I will, as much as my vulnerability will allow, let you look over my shoulder as I do so.

Sprout Question: Whose creative work before 1940 do you admire and what have you learned from them?

Note: If you, as some of you I know do, have a practice of creating from the same subject many times please feel free to provide a link to your work and tell us what you have learned in the process.

Best of the weekend to you:) Terrill

Liberal usage granted with written permission. See “About” for details.

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada