MayaRefugee wrote:
Up till now my art has been depictions/observations of Maya - I am learning my depictions/observations are cloaked with personal inferences/biases/prejudices and I want to get rid of them and "tell it how it is" so to speak.
I'm interested in the proper treatment of the paint that sits idle on the pallete i.e. my bank of unmanifest thought-forms.
I ask myself:
- how much paint should be on the pallete?
- what's the right type/qulaity of paint to have on the pallete?
- what's the right intention to have when moving this paint from the pallete to the canvas?
- what purpose is there to move paint from a pallete onto a canvas?
- what are the repurcussions of moving paint from a pallete to a canvas?
- is there really a need to have a pallete of paint?
- is it possible to not have a pallete of paint?
- etc
I guess this stuff ties in with cultivating right thought and right speech.
To address the language/vocabulary issue:
When I was little and I repeated curse words I was told to "watch my language".
Curse words could exist in my mind/vocabulary and I wouldn't be punished but if I manifested/verbalised them as sounds I would be punished - as long as contentious items in my vocabulary remained unmanifest I was right - being conscious of what thought-forms I chose from my vocabulary to verbalize was watching my "language".
Language to me (at the moment) would be a selected thought-form or selection of thought-forms that have/has been taken from this bank/vocabulary and construed in such a manner i.e. given a certain form to communicate something interpersonally via the sense-organs (then through the mind-door) - sort of an out-there thing as opposed to in-here thing.
To use the paint analogy language appears to be like the paint or mixture of paint that's shifted states from being paint sitting idle on the pallete to now being paint that is a component of a painting, it is something other than idle paint.
Another example would be a thought-form represented by the manifestation of a word/symbol.
I guess what I'm trying to communicate is at the moment I understand language to be manifested communicable form(s) of the contents of ones "vocabulary", - if theres a better word to use than vocabulary please let me know.
I'm not certain about this stuff so if you see any cracks in my understanding or if you think theres something I should learn please don't hesitate to let me know.
Peace.
Since you ask for it, I shall share some thoughts, otherwise I would have hesitated.
For one reason:
You got corrected in your childhood, -I assume like all of us, -but you seem to have reacted with analysing your every move, perhaps because otherwise punishment would have been impending.
Which leave you less spontaneous than might be good for you.
I may be way off base, I'm just sharing a thought that arose while reading your post, but sometimes admonitions can have a "wing-clipping" effect on a sensitive nature.
If you compare your thoughts about your palette with the vigourous and self confident way in which a Picasso was creative, or a Michelangelo intensely immersed into their art, then you seem to be too absorbed with unnecessary contemplations such as:
- how much paint should be on the pallete?
- what's the right type/quality of paint to have on the pallete?
- what's the right intention to have when moving this paint from the pallete to the canvas?
- what purpose is there to move paint from a pallete onto a canvas?
- what are the repurcussions of moving paint from a pallete to a canvas?
- is there really a need to have a pallete of paint?
- is it possible to not have a pallete of paint?
If you don't mind my saying so, which I try to do to your benefit and with loving kindness, -but I think you have unnecessary fear and concern.
Again, I may be wrong, and then I apologize, but why in all heavens would you think such things?
What came to mind is: An idle mind is the devil's workshop,."
And I'm saying this because of this:
Artistic talent is most often prevalent in persons with very fine and sharp senses.
They perceive the world as it is, and can reproduce it. For this, enormous awareness is necessary.
This also entails a rsik.
Fine senses can get overstrained, and genius can border on illness.
No. I'm not saying that about you, don't get me wrong!
Not at all.
But I think you need to liberate yourself and free yourself of all concerns if you are doing things right or wrong.
Being an artist means to NOT let the analytic brainhalf rule, it will become a hindrance, let the other one rule which is creative and intuitive.
If you are a very good artist, you'll work with both brain halves in a good synchronicity, but if you are a guy, your pons (bridge) between the 2 will be thinner than a womans, so do leave too much analyzation away if you want to do your art.
Just do it
Up till now my art has been depictions/observations of Maya - I am learning my depictions/observations are cloaked with personal inferences/biases/prejudices and I want to get rid of them and "tell it how it is" so to speak.
BUT THIS IS WHAT ART IS ABOUT!
It's personal! It's unmistakably individual!
You would always recognize the unique style of a Renoir, a Picasso, a Degas, a Monet, a Dali, right?
I think with this approach you're trying to make a square round.
If you want to tell it how it is, take an orchid, place it on sand, and write OM into it.
That is pure, because I think you are aiming at purity.
Right?
And: Let go of all fear, express yourself.
Ideally, in a creative process, you are so concentrated on the material, that you can't remember a single thought after you're done.
Like: There is no mountain, and no climber, only 'climbing'.
Shanti