Tag Archives: Jacob Rowan
The official definition of creativity (according to the New Oxford American Dictionary) is: the use of the imagination or original ideas, especially in the production of an artistic work.
I would like to suggest an alternative definition.
Creativity is the structuring of the chaos and brokenness of our world into some kind of order.
Within that definition everyone from air traffic controllers and bankers to painters and bakers are engaged in creative activity.
The back and front of an element that will be cut out and included on the 4’x2′ cathedral painting I’m working on.
The following is paraphrased from Roland Barthes’ The Wisdom of Art.
Whenever we look at a painting the question is, “what is happening here?” The picture is a kind of theater, the curtain parts, we watch, we wait, we receive, we understand, and when the scene is over and the picture gone, we remember. In a painting there occurs a fact, an accident, an outcome, a surprise, and an action.
The fact is the tangible substance we see. We imbue everything we see with meaning; the alchemy of painting is that despite the meaning the materials also remain stubbornly things (facts). Even if the painting is a result of precise calculation, there is still the impression of accident. We sometimes call this inspiration, a creative force that is the euphoria of chance. The fact and the accident together created an outcome, which is the overall effect of the work. This effect can not be located or described in a series of details. The outcome creates a surprise. In the Christian tradition we would call this illumination, a kind of mental shock which grants access, regardless of all known intellectual means, to truth. Last is the action, which is the viewer’s engagement with the painting. One can engage the painting from a place of culture (a familiarity with the references contained), from a place of specialization (an awareness of the historical and technical tradition), from a place of pleasure (aesthetic or conceptual enjoyment), from a place of memory (the ghost that follows the viewer long after they have left the painting), and from a place of production (the desire to re-produce the work that arises from an awareness of how the work was made).
I was looking through Cirlot’s Dictionary of Symbols and found this description of Alchemy:
Alchemy is a symbolic technique which seeks to materialize spiritual truths. It is a poetic, religious, and scientific endeavor. The goal is to experience material phenomena as symbols which point to a complete theory of the universe and the destiny of the soul (the secret of discovering gold would be a mark of divine favor and thus success). [paraphrased from my notes and memory rather than quoted word for word]
While it’s not a perfect metaphor, the notion of Alchemy is a helpful model for my own artistic process.
I’ve discovered I like applying paint by dabbing masked-off areas with a sponge. This creates a flat, slightly textured area of color with no brushstrokes. Once the paint dries I will flip the frosted mylar over and you will be able to see the color through the layers of drawing.