If
the student upon entering the confines of the Art Institution does not possess
a strong constitution that is gained through traumatically tragic personal
events, the student’s way as a painter or to be will result in personal destruction.
Attending Art School is for the avid learner who seeks to put his life on the
line in order to experience firsthand the horrors that are inflicted upon the
pupil. While the analysis of the Art institution may seem critical and harsh,
the closer one gets to the truth the harder the mind takes hold of the
information, the farther away from truth the byproduct of lies helps to keep the
mind at ease only to rot it over time, these ideas are not finite for this is
to use the way as no way.
Within
the rudimentary aspects of an interconnectedness of a learning struggle between
teacher, student, and peers coexist an infinite array of discussion named the
critic. Through the procession, the instructor manipulates the flow of
discussion geared specifically to the teacher’s way of thinking, always trying
to keep the path in check; however the path is faulty for it relies too much on
scientific methods that bring us away from humanity. For within the critic it
is no easy task for dilettantes and professors to describe and pin point the
faults of a painting. It has been heard, but it is not taken seriously that
painting is another language, not to be left just at that notion for it is not
a spoken one but one that entails a different level, for it is a visual
language. If many things are lost in the translation of German to Chinese, just
imagine what is lost in translating painting the visual into English, meanwhile
noting all the dialects of a language which adds a further struggle in the
great talk. Yet, the instructor of the institution when confronted by the
critic in order to not lose face, he resorts to the understandable for an
insolent excuse of clarity that he arrives at by utilizing science to measure
something against its own measure. All the meanwhile the truest way to describe
and discuss a painting is through the use of poetry for it is a more versatile
language of flexibility derivative of the soul. Unfortunately most instructors
find poetry is not a clear enough method to bring ideas across to students. Advocates
of communication are traitors against communication that don’t allow true
expression that is difficult to understand. As an interlocutor of the
institutional critic of art the most commonly popular areas dominated by the
scientific mind revolved around the use of color, composition, texture,
proportions, and size. Discussion of emotion, spirit, truth, or lies was
handled by a bewildered gaze and quick disregard for they are all topics in
relation to painting that are far too humanly difficult to understand for the hypertonic
molecule’s of students and teachers. Man
is petty in art school he wants answers to questions even if they take him into
no depth. For the scientific mind that only sees components of a painting the picture
plane is on the surface, but for the human mind the picture plane is in the
imagination.
When
the painters spirit becomes weak as is often the case when the artist has lost
a battle against a painting, the institution demands to see work, however the
painter cannot bear to make work at the moment. Resulting in the abdication of
painting and embracing of post modern work that concentrates on installation,
video, and performance. For the weak spirited this path becomes ineluctable,
truly a tragic result of the art institution. The more art expels the pre-established,
the more it is thrown back on what falsely claims to get it by. Post-modern
work only helps to promote the barbaric culture it is against. In regards to
performance art the much lauded play acting of modern artist, their
exhibitionism, is the gesture whereby they put themselves as goods on the
market.
While
there are many inimical dangers in Art School, the most inane idea inflicted
upon the student is the hope to make money from art. The truest works are the
most ephemeral, yet teachers will promote to students the idea to create works
that have a long life expectancy. As soon as artworks make a fetish of their
hope of duration, they begin to suffer from their sickness unto death. Almost
hand in hand with making money is the encouragement of working larger by
instructors. Only the artist knows what
size is right for him, when money dictates size the artist has already failed
by betraying the work before he has even made it. Size is inversely related to
the spirit of the artist, an artist must judge for himself how much spirit he
has for a painting, if the painting is too large and he runs out of spirit,
that artist will be painting without soul. That artist that paints without
spirit because the work is too large will become susceptible to the negative energy
of the painting, placing that artist mind in great danger.
Foolish professors will advocate seeing
as many artists as possible in order to obtain a larger scope of the world of
painting. However it must be warned that in trying to see every film, read
every best seller, see every art show, there is a catastrophe at hand. Trying
to see everything in the hopes that you will have a wider perspective on life
only makes it more unimaginable to find one’s way. The world becomes like a
gigantic department store were one looks out for a guide, the population simply
waits for their leader. In a world that gets warmer but the people only get
colder one must become a critical thinker in order to see that the leader they
find will not lead them to their demise even sooner than expected. A crab has
eight legs and two claws, yet if there is no hole made by an eel or snake; it
will have no safe place to live, because its mind moves in every direction at
once. One only needs to study one painting every six months. When you study one
single blade of grass you will know about every blade of grass. The earnest
student must learn through the personal experience that is painting, and adamantly
read text in regards to art, he may see many works, but commit himself to study
only one at a time. When the artist is stuck and can go no further he must
remember that doubt itself becomes a form.
Never be stumped by trying to create
the new when faced by adversity in Art School. Painting is not a T.V where you
can be in a new channel at the click of a button. The Egyptians used one method
to arrive at the figure for over three thousand years before evolution of
painting took place. It was not about a constant struggle to find new spirit
through innovation of artworks. There was merely a byproduct, of long and arduous
reflecting process of trying to meet and immerse themselves in the spiritual
mind of their community within their life time. If your only thinking of the
problem of trying to create a new original work. Then you mentality only sees
objects, and as mere obstacles. You’re no longer thinking of art, but are
halted at the gates of whether or not you can actually think.
Spirit is dealt with great blithe by
the Institutions of art, teachers will tell you to deal with spirit on your own
time, and discussion about the matter ceases to exist. They are cowards that
fear they might be brought into a religious conversation because of spirit. The
spirit of painting does don’t stem from religion for spirit is energy, and
energy is the movement of life. A student once looked up and asked his teacher,
“are the leaves moving or is the wind moving”, the teacher did not look up but
said, “no what is moving is your mind and body”. At this moment man does not
know benevolent energy for he has hardly experienced it, but we are experts in
negative and neutral energy. Meaning that all the paintings up to date are
composed of their own levels of negative spirit, since we are ourselves mainly composed
of negative energy. An admonition too many young scholars of art is to not try
and do “good” with a paintings based on malignant spirit, simply let the
painting be. Remember a tree needs to lose its leaves many times in order to
grow taller that is true creativity, the rest is the idea.
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