A Process of Discovery

Austin Kleon’s blog post for October 15 is entitled “Art takes you where it wants you to go,” which is a paraphrase of a statement by 93-year-old quilt artist Laverne Brackens.  Kleon goes on to quote other artists:  textile artist and print maker Anni Albers, poet Ciaran Carson, quilt artist Bisa Butler. All say pretty much the same thing, as does Kleon himself. The materials lead the artist, not the other way around.  If you examine the writings of other artists you will find much the same idea repeated over and over.  And it doesn’t matter much which materials an artist is working with.

For example, sculptors in wood or stone must work with the grain of the material if they are not to risk destroying the piece before it is realized. Naturally, working with the grain will require some changes be made in the finished product, so the resultant work is not so much a work of the sculptor’s imagination as it is a cooperative effort of the sculptor and the material.

Actors also often bend to the material. Upon first reading, they may think they know the character and exactly how the lines need to be delivered. However, once those actors delve into serious script analysis and exchange dialog with their colleagues, new readings emerge; the character morphs because of the influences that were not apparent in the first reading. It’s called character “development’ for a reason, and the actor often ends up with a performance that is very different from the one they envisioned when they first picked up the script.

Filmmakers and stage directors have a similar situation. The actors who are cast determine which way a character will go, which, in turn, influences which way the film itself will go. For example, Rebecca Onion writing for Slate.com points out that by casting two very attractive people who are nearly the same age as leads, the producers of the new Rebecca on Netflix have dramatically altered the dynamic between the two main characters from Daphne du Maurier’s 1938 novel, and with that single change have altered the meaning and substance of the artifact.  Another issue in film and stage is that the chemistry that does or does not develop among the actors as they work can also influence the outcome of the final product. A good director will often get what they want in terms of a final artifact, but they may have to arrive at it a much different way than they planned.

And of course we are all familiar with Bob Ross’ “happy accidents” in painting. Painters not only have to work with accidents, happy and otherwise, but must deal with the viscosity of the paint, with the surface of the substrate, not to mention humidity and temperature—and the condition of the brushes and knives. So there are a number of factors that can influence the outcome as well as the artist’s intention.

Almost all photographers will acknowledge the contribution of a good model to the outcome of a shoot. Sometimes, the photographer not only gets what they want but many other excellent images as well—all because of the ideas that the model brings to the shoot. Sometimes the best images are completely unexpected and are the direct result of collaboration between model and photographer.

Writers, whether they are poets, writers of fiction, or non-fiction authors consistently talk about how they think they know where they are going, but the words lead them in a different direction, and the stories, and essays and articles turn out differently than their creators originally imagined. The written work becomes organic and takes on a life of its own. The writer sometimes just keeps putting words down to find out where they are going.

Most artists, regardless of the medium in which they work, agree that when the artist listens to the material, the results are far better than when the writer tries to force their will on the material. That’s because the creative process is not what many people think it is; rather, the creative process is really a process of discovery.

Date: Monday, 26. October 2020 0:07
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