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I believe that sheer
enthusiasm is not enough to be a good artist but it is important to me to see
my work on a more profound background derived from continuous reflection upon
the interaction of art itself and its various processes (practical and
theoretical), seen in the context of history of art and philosophy. Some may
disagree that this is a requirement; I, however, consider this the necessary
basis for an artist to be able to produce meaningful work: he then has
something to say and knows how to say it.
These conscious thought
processes are beyond straight forward and essential artistic instinct or
individual style, which simply "happen" while working. They should not
influence the immediate and spontaneous relation to one's artistic work and its
growth. I do think, however, that there is a positive influence in terms of
one's general direction or at least a different grip on the assimilation and
utilisation of some of the more sub-conscious or unfathomable elements that
modify one's individuality. Thought processes tend to affect the "digestion" of
in-flowing perceptions and aid the transformation or translation of an idea
into the matter of other dimensions...
Comprehension of the
inter-relation of all the above elements and of formation, structure and
relative existence of various aspects of art-or any singular of its
products-appears to be what establishes an artist's flexibility to acknowledge
and embrace more than one (mostly : the own...) viewpoint in the understanding
of art. This in turn facilitates differentiating perception of varying works of
art, distinct expression (including verbalisation) within artistic method and,
as well as good judgement. I.e. a fair judgement permitting success of artistic
work beyond the subtleties of ideological legitimacy of contemporary
convention.
I aim to achieve progress on my path of ever-learning with
the help of the understanding I can only hope I have begun to develop employing
the above, simple processes which should help to form or channel, but never to
impede the immediate truth that lies in the spontaneous "doing" in art; the
"doing" is ideally a straight connection between 'knowingness' and creation.
Better understanding inevitably leads to simplicity. The former, 'knowingness',
- associated with the level of pure being and where life is truly granted to
'be'-, is finest simplicity in itself and leads to my simplest objective: to
rediscover, and create again vibrant élan vital and its expression in
art-the living, quiet aura of one piece, of one work.
T e a c h
i n g
A good artist is not necessarily an equally good
teacher-or for that matter, perhaps does not wish to be. In the same way a
teacher's certificate says nothing about the aptitude of a teacher or artist to
teach art.
I believe that teaching art requires motivation and ability
as well as the enjoyment of communicating knowledge, techniques and experience
to others.
I love teaching and having taught at
the College for Adult
Education, East Grinstead, originally I now run my
own school, with a teaching experience of 11 years.
Teaching does
not only help me to finance my studio, but it also
brings focus and perspective
to my own work.
The above described processes seem to me the crucial
ones for artist and teacher alike. The artist is always his own best -and
mostly worst-critic, and this is what a teacher should be to his pupil; 'the
best' because he is perceptive and encouraging, acknowledging a students
success, while the artist rather seems to derive his incentive to persist from
his personal elation about a finished work or at least its working parts; 'the
worst critic' -in the sense that nothing should miss the teacher's perception
of where improvement is needed. This leaves one difference: a teacher can offer
various immediate, constructive answers of why, and ways of how to achieve the
desired improvement.
I aim to achieve improvement in my students with
the help of an understanding I hope I have begun to develop employing the
above, simple processes. I think I have a workable approach to teaching that
combines learning through practical work while stimulating the student's
reflective capacity by exposing him or her to related exercises, concepts,
viewpoints and perceptions. I believe that the learning of an art ability can
and should be accompanied by understanding. Any degree of grasp inevitably
leads to increased simplicity -and therefore to improved practical
performance. |
