Nurturing the Inner Artist

Hope does spring eternal. I assumed that once I was back at home from my hospital stay, I would soon be able to get back to creating art. Not quite so, I discover! An arm sling and other medical "accoutrements", plus a good dose of rummaged-around nerves and muscles don't yet make it easy to pick up pencil, silver stylus or paint brush.

Nonetheless, one does not just turn off the artist's eye. As I first walk into our house, the golden, crystalline late afternoon light floods across the marshes and water in front of us, and I marvel. Still waters reflect a heron's white body catching the rose-orange glow of setting sun as it flies across the creek. At early sunrise, the next morning, the eastern sky's brilliance allowed enough light to sparkle rings of water in the creek below us: the otters were fishing for breakfast. At each of these marvellous moments, I find myself trying to remember, to store up the images so that later, they can, somehow, show up in my art, so that I can share these wonders with others.

Late afternoon view from our home in coastal Georgia

Another view from our home in coastal Georgia

Within the house, I look afresh at things I have not seen for ten days. Shapes of orchid petals, shadowed into sculpture, tillandsia flowers which have fully opened in my absence into elegant rhythms amid their undulating tendrils of ephiphyte energy, shadows of ornaments lengthened in the morning sun. These are all aspects of life that can be woven into art-making, I hope.

Tillandsia recurvata  Flowers, silverpoint and white gouache highlights, Jeannine Cook artist

As I delight in the beautiful natural world in which I am so fortunate to live, I am also reminded of the diversity of optics that artists have on the very concept of making art. Catching up on the March issue of ARTNews, I found a remark which resonated : "Duchamp made it quite clear a long time ago, and so did Warhol, that art isn't an inherent form but a lens and a set of tools to interpret the world around us". (my emphasis). This was a remark made by Nato Thompson, chief curator of the non-profit public arts organisation, Creative Time, in rebuttal against questions and criticisms about whether works about community or social change are art. Carly Berwick was examining "A Different Way to make a Difference" in public art, methods that are poles away from my personal approach to art, but which are meeting the needs for socially engaged art, particularly in urban settings. The article reminded me forcefully that we are all very diverse as artists, with reactions and concepts that vary enormously, not only because of our surroundings but because of the stage in our individual life experience. So it is normal, and indeed vital, that each of us, as an artist, speak in our own voice, because society needs our diversity of inspiration and creation to help interpret and celebrate the world.

Art and Oxygen

Yesterday, I was listening to a doctor talk about the value of oxygen for someone who is suffering from heart problems and resultant breathing difficulties, even if it is just creating a "bubble" of enriched oxygen around the mouth and nose of the patient. Better breathing, a heart that feels more functional and thus an increased feeling of well-being – a simple, but important path to an improved quality of life. But of course, in order to have the supply of this extra oxygen, you have to set up either a tank or machine, and take the time to get the oxygen treatment.

Today, I was reading the December edition of ARTNews, with a feature article on Marina Abramovic and her upcoming presence at MOMA, New York. She was quoted as saying, "Artists have to serve as oxygen to society." Her objective is to get people to stop and gain a sense of time through her performance art, and thereby alter their perspective and perception of their surroundings, world and life in general. In essence, she becomes the oxygen tank.

Marina Abramovic

I think that just about every form of art - visual, performance, musical, whatever - can have this intrinsic value of causing people to stop, even momentarily, and thus alter their perception of the world around them. Perhaps that is why people have created "cabinets de curiosités" and then museums full of wonders – they provide the oxygen to allow societies to breathe deeply, reflect, learn and enrich life. A beautiful photograph, a wonderful painting, a drawing, a piece of music - I know that my life has been made rich beyond belief by seeing or hearing such art, and that frequently the image or the sound has stayed with me long after.

No wonder Ms. Abramovic used such a metaphor of how to maintain or engender a healthy life or a healthy society.

Definitions of Art

In June's issue of ARTNews, there is a long article about art which only happens once because you, the participant-viewer, happen to be experiencing it. Without you, there is no art. In other words, countless artists today are challenging the definitions of art way beyond the video, performance, installation, happening – all the diverse art creations we have seen proliferate.

By these definitions, is the traditional "art-object" likely to go the way of the dodo? This whole issue has been wandering around in my head as I worked today on a silverpoint drawing. It is all a little ironic. I endeavour, like countless other artists, to create a piece of art that is not only predicated on concepts of art that have existed very nicely, thank you, for at least eight centuries, but I also try to be mindful of doing things in a way such that the archival qualities of the piece are assured to the maximum possible. I have read enough already about the expensive headaches that curators and conservators are having in many museums as they try to preserve the artwork done last century with all sorts of less than permanent materials. Today, too, we read of the technical problems museums and collectors are encountering when they purchase cutting edge videos and other technological marvels. Before too long, the ever-galloping changes in technology leave these pieces high and dry on the flood banks, out-of-date and unusable as the equipment not longer exists. Some collectors are getting careful about requiring the artist to guarantee that the lifespan of the art is ensured.

In our headlong world, I often feel that the actual quality of art has, in recent times, become of secondary importance to the new, the trendy, the cutting edge and thus the attractive flavour of the moment for those who have had lots of money to spend. Considerations of longevity of the art, let alone its potential "timelessness", have seemingly been cast aside on many occasions.

As one now reads of the continued strong market shown by blue chip Old Masters and work that has been done in the more traditional media, it makes one wonder : what next? The serious, educated collector will always exist for whatever definitions of art pertain. But what future lies ahead for those of us who quietly go on trying to create art that can, if deemed worthwhile, last for at least a hundred years? One has to hope there will always be enough diversity among the publics of the world to ensure support of all types of art. Always assuming that we are not all collectively shortening our viable time span on earth through climate change... If we are, it becomes pretty academic at some point as to what type of art each of us creates! Perhaps that is the very point of the art which only happens once, when one is lucky enough to exist to experience it. That is worth pondering.

Artists' dialogues with viewers

Defining yourself as an artist is really only one side of the equation in art. The other side is what each viewer brings to your art by way of life experiences which will influence that act of viewing. That mix of experience will complete the dialogue the artist started by creating a piece of art. Viewer and artist, the inseparable pair. And every dialogue will be different, which makes the whole process endlessly fascinating.

Ideally, an artist's vision will afford meanings and evocations of aspects of life far beyond the mere life-like rendering of whatever subject matter. But since each viewer's experience of life is individual, he or she will interpret the artist's work slightly differently. Often, when there is a great enough consensus about a piece of art, then it will be recognised as good art. However, as with everything else, each generation has a somewhat different set of criteria for art, based on that time, and so there are often revisions and fashions in esteem for art. As Sir Michael Levey, the late Director of Britain's National Gallery, was quoted in ArtNews (March 2009) as once remarking about the National Gallery's version of Van Gogh's Sunflowers, "It stands like a beacon of yellow fire, reminding us that outside the museum, art is always evolving – we only have to look" (my italics). Artists and viewers alike have to remember that those vital dialogues are endlessly changing and evolving as the years go by.

Fourth version, exhibited at the National Gallery, London, 1880s, Vincent v an Gogh, (Imae courtesy of the Van Gogh Museum)

On a personal basis, I have found it totally fascinating to work with other artists and see the diversity in the resultant art, even when using the same subject matter. The most obvious example is when a group shares a model for life drawing: each person's drawing will be utterly different. Similar diversities will occur when those drawings are viewed, for each viewer will dialogue with each drawing in an individual fashion. Each viewer may respond to the artist's intensity, vitality and power to evoke beyond the merely descriptive, but there will be a very personal resonance for each person. And yet, even within the narrow confines of life drawing as one aspect of art, there is an implicit message. For any art to endure, it must be true to the spirit of its own age. Today, that art needs to be able to sustain a dialogue with viewers who are saturated with vivid imagery from so many sources, digital or otherwise, and whose life experiences are vastly different from those of even the previous generation. Artists, implicitly, need to dig deeper and work harder than ever before to sustain a rich dialogue with viewers. Quite a challenge!