I've been reflecting on a conversation I recently had with artist Derek Chan.
Chan raised the notion of taking painting to another level and ideas about stretching canvas in non-rectangular shapes and canvas displayed on the floor in the manner of a rug were expressed. Our conversation also covered notions of knowing when a painting is finished and new directions for our work. This inspired some thinking about execution versus contemplation in my own work.
In my process, there are currently two activities in creation -contemplation (the planning, studying and actual thinking that go into any creation) and execution (the act of painting, performing, filming, and so on). For myself, I consider these to be two very separate activities. Cy Twombly, who is a primary influence of mine, has mentioned that he might think about a piece for several hours, but the execution is rather quick, maybe 15 minutes and everything is finished. I also strive for this separation of analysis and creation.
If I am too careful with something and it begins to take too long, it will be discarded. That always happens as a result of an overlap between contemplation and execution, where contemplation overpowers the execution of a piece. This applies to music as well as visual art. I might spend 15 hours contemplating a work via a combination of sketching, journaling, and reading. But when a piece takes me 15 hours to complete, it bores me to death and I move on to something else before it is finished. One of the alluring aspects of visual art over musical composition is that visual art has a potential to be incredibly direct and incredibly expressive, perhaps even more emotional than a lot of music can be, which often relies on clichés and preconceptions about emotion and expression (slow blues, love ballad, minor keys are associated with sorrow, etc.)
One of the major flaws in the human animal, is that of overthinking. I strive to be more machine-like, but not entirely mechanical -that is to say unstoppable in the directness of its executions, radically indifferent to its own creations, and a human being completely of its era. Chan said something about Gerhard Richter being the quintessential postmodernist and I admit that I strive to be the equivalent in our own hypermodernist era -an extension of my machinery rather than the master of my hardware and software. I want to be useless as an artist without the technology that makes it possible, an endeavor that will take years to achieve and that is taking things to the next level for me.