Skip to main content

Shhh-Listen to the Painting





Gathering Light 13   60x60"  oil on canvas © 2014 Janice Mason Steeves



I struggled with a painting I was working on the other day.   It’s a large one, 60x60”.  I kept getting unwanted lines. Nothing was blending or flowing.  I am always aware of how the painting is going, what it’s saying to me as I work on it and I try to follow that.  What I didn’t realize is that I was trying to control the painting more than I knew. As I  struggled, I talked to myself a little.  I told myself that I could always add  another layer on it tomorrow. That’s normally the way I work, layer upon layer, gradually building up the surface day by day, in thin transparent layers. I worked this one over and over, back and forth, trying to blend it, going in different directions, adding more paint.

I tried to stay in a calm meditative place but after several hours of this, I needed a break. 

I stepped back, sat on my comfy chair and took a sip of tea.  Then I turned to look at the painting again.  In the space of my moving away from the painting and sipping my tea, the painting had changed!  While I normally move back and forth to get a different perspective on my work, I was farther away here and could see it differently.  The unblended layers had opened up another way of working.  It looked like a crystal waterfall.  It needed more darks, more depth.  But I could easily change that now that I had come to appreciate what was going on and move in step with the painting.

There’s a fine line between moving with the painting and trying to form it.  This painting felt as though it had a life of it’s own.  It moved to another place ahead of me, as though it were directing the action and that I needed to let go and catch up. Not all paintings work in this magical way. But one thing that it did teach me, once again, is to get myself out of the way, to let go of expectations and plans and make room for something greater than myself to enter.  That’s when magic happens.

" Ah but, don't think you now have knowledge--the answer to how to paint", the painting seemed to whisper to me as I stood there smugly thinking I now knew a secret. In the next few days, I tried again listening closely to the next painting I was working on.  There is no formula.  What worked for three paintings in a row, now was not working and I had to let go even of those ideas. 

In Natalie Goldberg's book, "The True Secret of Writing" , she quotes the Zen Buddhist teacher Dogen, "Do not suppose that what you realize becomes your knowledge and is grasped by your consciousness."  Goldberg says, "You have it; you don't have it.  You are free."

Comments

  1. It's beautiful, Janice. Your thoughts on process are spot on. Getting out of the way of your own work as it develops is so challenging, but also so rewarding.

    ReplyDelete

Post a Comment

Popular posts from this blog

Meet the Owners of a Scottish Castle

Anne Tristine Nguyen, Ali Orr Ewing, their children, Ava, Atticus and  their dog, Harriet Beecher Stowe. Dunskey Estate, Portpatrick, Scotland Anne Tristine Nguyen and her husband, Alistair Orr Ewing are the owners of Dunskey Estate near Portpatrick, Scotland where I will teach a painting workshop in September. Dunskey is a splendid Edwardian castle on 2000 acres of ocean-front land with miles of walking trails. As well as daily workshop sessions in the studio on the top floor of the castle, our small group of artists will enjoy breathtaking hikes, superb accommodation and fabulous meals.  Not having met owners of a castle before, I asked Anne if I could interview her to hear a little of their background story and that of the castle. Can you tell me a little of your personal story and that of your husband, Alistair Orr Ewing? Anne emigrated to America when she was ten years old, but it was at an art gallery in Saigon, her birthplace, where she met Al

The Importance of Silence in Art

Gathering Light 60x60"  Oil on canvas © 2014 Janice Mason Steeves  Michael David Rosenberg, the musician known as Passenger, sings, "See all I need is a whisper in a world that only shouts." In the workshops I teach, I find that one of the most common problems with paintings is that they shout. Most have too much going on: too many small shapes, too much texture, extremes of colour, too many lines, too much, too much. One thing I say most often as I walk around the classroom working with students individually, is 'make bigger shapes'.  But not only bigger shapes. Quiet shapes.  Where can your eye go and rest in the painting? That isn't a consideration in much of contemporary painting or much of contemporary life.  Ours is a noisy world both visually and auditorily.  Ours is a world that shouts.  People are afraid of silence. I wrote a blog post  3 years ago about planning a retreat in my own home, where I shut off the computer and the phon

Liminal Time

 The word liminal comes from the Latin, limen meaning threshold. an in-between place, a place of transition, a time of waiting and not knowing. Dawn and dusk are considered liminal places. Crepuscular animals, like foxes and coyotes are most active at this time of day, a time that is considered a magical time in Celtic spirituality and to Indigenous people which is perhaps the origin of their designation as tricksters.   As I write this, the northern hemisphere has just passed the vernal equinox, where day and night are of equal length.We are in a liminal space between winter and spring right now, unsure if we will have one more storm or snowfall before spring finally settles in. We're also in a liminal place as we live through this pandemic with the  anxiety and discomfort of not  knowing. A  time of great transition for the entire world, wondering what we've learned from this and what lessons we'll carry forward.     Author and Franciscan friar Richard Rohr describes limi