Other people say it’s good, but you think it’s awful. What do you do with it?
|Spruces and pines on the Brook Trail, by Carol L. Douglas. This is more or less where my mark-making is today.|
Last week I listened to a fellow artist grumble about her painting. I really couldn’t see anything wrong with it; it was quite good, and I told her so. “But it’s not what I set out to do!” she answered. The wind, the rain, and the changing light had robbed her scene of the vivacity she’d first envisioned.
That causes a funny sort of brain cramp in artists. Our vision is so deeply overlaid with the pattern of what we want to say that the gap bothers us. We can’t see the strengths in our work because we’re focused on what is missing. In this case, my friend couldn’t see her strong composition and the brooding quality of the painting because she was mourning the light that had escaped behind clouds. “I can’t even remember what attracted me to this scene in the first place,” she said sadly.
|Hedgerow in Paradise is from a time when I was hiding behind fraudulent brushwork. The only thing wrong with it was that it was fundamentally dishonest.|
I was curious about this phenomenon so when I got home I asked a musician if this ever happens to him. “Oh, all the time,” he laughed. He told me that he’d just finished composing and recording an album and to him it was totally rotten, because he hadn’t achieved his goals for the project. Still, he published it, and then he started something new.
A long time ago, Marilyn Fairman told me that the longer she painted, the less satisfied she was with her work. I’ve noticed the same thing. If you’ve never been blindsided by the gap between your inner vision and the results, I suspect you’re not challenging yourself enough.
|Spring Allee is another painting from the same period. The marks are better, perhaps because it's a deeply autobiographical painting.|
I struggled for many years with hating my own brushwork. I visualized long, sinuous lines of paint. Instead, my finish was always short, abrupt, and energetic. Because of that, I frequently overworked the finish in an attempt to obliterate my own handwriting. That invariably muddied what had started as a strong painting.
Finally, I realized this was a kind of self-loathing. It was akin to always hating yourself in photos (which, I confess, I do). I stopped fussing and forced myself to leave my brushwork alone.
|Then I spent a long time in the wilderness. I eventually threw out this painting of Letchworth Gorge because it was so muddy.|
If it were someone else’s, I concluded, I would be fine with it. I might even love its jumping energy. But it told me something true about myself that I didn’t understand and found uncomfortable. I felt as if I had to hide this unexamined truth. That’s ironic, because painting is supposed to be forthright, and that was the most authentically honest thing about my work.
What do you do with that dissatisfaction? This is where wiping out bad paintings is a bad practice. It steals the opportunity to study what has just happened. I’ve learned to leave those canvases alone, carry them home, rack them to dry, and then revisit the work at a later date. By then, my memory of my ambition has faded. I can see the new painting in its own merits. Often, I’m shocked to realize that I love the ones I once hated, and the ones that seemed to be easy successes now bore me.
Join me for Sea and Sky at Schoodic, August 5-10. We’re strictly limited to twelve, but there are still seats open.