The Art of Illusion

transits 122, photograph

“I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.”

– William Scott

All art is illusion since it is a (mis)representation of reality in some way – unless you consider it as a physical object in it’s own right (a bit of paper or canvas, some pigment or emulsion). But the art always stands for something else and it can never be that thing entirely.

I like to bring that quality to the surface of my work so that when you look at it, it’s apparent that I’m not simply trying to replicate reality. I’m inviting you into the illusion, allowing you to add your own interpretation, to construct your own reality out of the sketchy elements I offer up.

It can be a little unsettling and it requires a bit more effort to create the story, and all good art comes with a story, either entirely personal or more communal. Sometimes the material I provide doesn’t inspire your imagination to engage, other times it sparks an unexpected journey.

Either outcome is fine, I just ask that you keep looking.

Creating the Story

transits 123, photograph

“We become who we are by virtue of the choices we make … about which parts belong to the story, and which parts can be left out.”

– Ted Orland, The View from the Studio Door

Orland describes a bit about how consciousness happens – five times a second or so, we take a snapshot of the most plausible reality we can from what our senses offer us. We have to gather these discrete snippets from the blizzard of perception coming at us at all times or we’d be overwhelmed.

Each time one of these electronic impulses causes us to sample reality, we “paint the foreground, mute the background”, we “separate  the specific from the general”. We fit together the pieces we can and set aside the rest. We decide which parts belong to the story and which do not.

This process is duplicated when we take a photograph. We create the story by using various techniques to bring certain things to the forefront while simultaneously de-emphasizing others. We do this through composition and design, through selective focus, through dodging and burning, and myriad other strategies.

Making art is our way of recreating a personal world in much the same manner that we all create our everyday worlds. Here our choices are more conscious and controlled. It’s a way to dip into the ever rushing stream of reality and slow it down enough to enjoy and reflect upon it.

What is Real?

hands 4, photograph

“They are imbeciles who call my work abstract. That which they call abstract is the most realistic, because what is real is not the exterior but the idea, the essence of things”.

– Constantin Brancusi

Smart people in many fields, ranging from classical philosophy (Plato) to modern physics to Kashmir Shaivism and Buddhism, point out that external appearances are not real in some fundamental way. They are transient, illusory, a deception.

We have it backwards – what we think of abstract is real and what we perceive of as real is abstract. Of course, it’s hard to live one’s everyday life with this perspective. But, as artists, we have the freedom to entertain this viewpoint in our work.

This is why most of my photography explores a shadow world, a level or two below what we think of as reality. It’s like the part of the iceberg below the waterline – there’s much more there to explore than what’s on the surface. That volume has extraordinary dimension. It is from there that the parts we see emerge above the surface.

It’s reassuring to know that there is so much more in the abstract world beneath the surface of things – no end to what we can explore!

 

 

Why, not How…

hands 3, photograph

“The moment a man begins to talk about technique that’s proof that he is fresh out of ideas.”

– Raymond Chandler

I really don’t like to talk to people about how I’ve done a particular shot. You might have gathered that from reading this blog, where I rarely if ever discuss how the photograph was made. This is definitely not a how-to type of blog…

It’s not that I’m protecting some great secret, I just think it’s beside the point. The point is how the photography makes you feel, what emotional or intellectual response does it elicit, not technical details about what camera or lens was used, what lighting, exposure, etc. When I get into that kind of discussion with someone, I know they’re not really seeing the photograph.

Since I tend to shoot images that involve a fair amount of technique, some of it unusual, I’m opening myself up to more than my share of such questions and conversations. And I accept that – but I do relish the times when someone talks to me about how they feel about the image. And I feel myself deflate a bit each time I hear “how did you do that?”.

 

Representin’

hands 3, photograph

“I wished to copy nature. I could not. But I was satisfied when I discovered the sun, for instance, could not be reproduced, but only represented by something else.”

– Paul Cezanne

Another worthy distinction to bear in mind as an artist – the difference between reproduction and representation.

As a creator and as a viewer of art, I find representation much more interesting – and, of course, as Cezanne says, you really can’t reproduce another thing anyway!

There are many choices that go into deciding how to represent something. You have to make decisions about how your approach will be like and how it will be different from the thing represented. This provides ample room for interpretation and expression. There are an infinite number of ways to represent something, a very finite (perhaps singular) number of ways to reproduce it. As a viewer of art, trying to understand how and why the work represents it’s subject offers a visual and intellectual challenge that engages me.

When I think about representing, I am forced to consider what are the essential qualities of the thing so I can attempt to make those more evident in the piece. This deepens my understanding and experience of my subject in a way that simply reproducing it does not.

Just another way that artmaking is so much about the process, not just the end result.

Planning to Improvise

smoking nude 2, photograph

“Careful planning, and brilliant improvisation.”

– Sergi Eisenstein

The yin and the yang of making art. Years of practice, hours or even days of careful preparation for a specific piece and then ultimately the surrender to the creative spirit. Planning gives way to improvisation.

As in all things, the key is finding the right balance. Planning without improvisation produces nothing or work that is static, lifeless. Improvisation without planning may lead to an occasional success but lacks consistency and dimension.

Moving from one phase to the next is hard. It’s sort of a left brain/right brain kind of transition. It requires a shift in focus that requires a leap of faith – faith that the planning has laid the foundation from which the improv will flourish.

The piece above, part of a new series for me, is a case in point. I photograph smoke and independently I photograph figures in motion. Both require a lot of technique, lighting setups, creative use of exposure, etc. Lots and lots of shots to get some that work. The improvisation comes when I start combining them into image collages, looking for complementary forms and motion. I enjoy the discipline needed at the beginning and the freedom to play at the end.

The yin and the yang.

 

 

Everyone Likes a Good Mystery

transient 3, photograph

“The job of the artist is always to deepen the mystery.”

– Francis Bacon

I’m not very interested in using photography in some of it’s more common forms – to explain, document or reveal. Rather I’d rather put it to work in the service of mystery.

Mystery arouses curiosity and speculation, which allows for a greater range of meaning. In fact, since photography is so well suited to literal description, the use of ambiguity can be even more compelling.

Perhaps an apt  analogy is between a documentary film and film which is fiction. While good documentaries can be fascinating, they usually don’t involve the viewers imagination and emotion in as complex a fashion. Documentary film and photography brings you face to face with reality – the impact of that reality can be powerful. But non-documentary film and photography invite you to create your own reality, make up your own story.

Deepening the mystery is an important way for me to pen my own reality…

Abstraction vs. Representation

transits 65, photograph

“Why not acknowledge that all representation is an act of abstraction and that all abstraction must be conveyed through the act of representation and be done with it?”

– Peter London, No More Secondhand Art

And with that London puts to rest one of the ongoing debates in the art world! And he’s right, of course.

The process of taking an actual object and depicting it as an art piece involves a complex act of abstraction. All sorts of decisions go into what to include or exclude and ultimately the art is not as “complete” as the real object. Which is what can make it more interesting to us because we are invited to react to the unique way the artist has decided to abstract the reality into his/her work.

Then there are many qualities which do not manifest in the world as any specific object: intimacy, longing, consummation, delicacy, rarity, etc. The artist has to invent images to portray these immaterial qualities. What is abstract, without reference to a specific object in time and place, must be given form through an act of representation.

So every work of art has elements of abstraction and representation in it. With this understanding, perhaps the artist will not feel compelled to identify with one camp or the other and needlessly limit their mode of expression.

In fact, your willingness to explore both sides of this coin will expand your ability to create your world and your place within it, and that’s what it’s all about!

Productive Patterns

transits 39, photograph

“A piece of art is the surface expression of a life lived within productive patterns.”

David Bayles and Ted Orland, Art & Fear

Do you have productive patterns in your life that enable you to more produce art more easily?

The authors emphasize the importance of making a lot of art, quantity breeds quality and perfection is an aim that gets in the way. This is certainly true in photography – good photographers shoot all the time. Your own work teaches you what you need to do next, that’s it’s main purpose in fact.

So it’s a good idea to figure out what strategies, techniques, tricks, habits and rituals facilitate you making more art. It might be something very idiosynchratic that seems a little obsessive-compulsive. It might be a particular form that is the gateway for you to make art. The authors cite Chopin’s fascination with Mazurkas – some might have advised him to try something else, but the consistency of the form allowed him freedom to roam creatively and prodigiously. Making a series, photographing the same subject over and over in different ways, is another method of expediting production.

Constraint can be an impetus to creativity. You don’t have to reinvent yourself with each piece, you can narrow the focus of your imagination, honing it’s edge so it cuts through the inevitable impediments that arise in the face of artmaking.

Of course, just making a lot of art, while necessary, isn’t sufficient. You have to examine what you create, look for what has worked and what hasn’t. Everything you need to know to make your next piece of art is contained in all the art you’ve made so far. No one else can teach you more than is there.

The Effort of Craft and Vision

transits 37, photograph

 

“Writing is easy: all you do is sit staring at a blank sheet of paper until the drops of blood form on your forehead.”

– Gene Fowler

I had to laugh when I read this quote which is the intro to one of my favorite art books that I’m currently re-reading, Art and Fear by David Bayles and Ted Orland. It captures so wryly the contrast between the seeming simplicity of artmaking and the difficulty of it’s actual achievement.

But it made me think about the various people I know and their approach to making art. Is it a struggle for everyone? I can think of two distinct ways in which it can be.

First is that of craft – all of us must learn the techniques required by our chosen medium, and inherent in this process is challenge and frustration. Some continue the learning process their whole lives, others reach a stage where they are satisfied with what they know. The second is that of vision – trying to figure out the meaning of what we’re creating and how to express it effectively to others. This issue is of paramount importance to some, of little interest to others, with most of us somewhere in between. How often do you ask yourself about your vision?

People make art for many reasons. Some do it for their own enjoyment, as an escape, while others pursue a more complex purpose. Even those who choose the latter path will find themselves sometimes making art just for fun, or as diversion. These aims are all perfectly legitimate.

But making art is like most other things we do – the wider the scope of our aspirations, the more we extend our reach, the more we will be rewarded. Those drops of blood will eventually fall, filling the page with our words, words which will resonate more for all the effort behind them.