Harley Brown's eternal truths....

[Sonni]

Some profound thoughts, here, Harley. I have no idea who is reading this thread either, but if you look at the number of hits at the beginning of the thread on the right side, I'd say quite a few. They are listening, but not talking or asking questions. I do not know why, other than it is human nature to think a famous artist would not have a nickel for someone grasping at straws in the cosmos of art. It's more comfortable to be in awe and listen. I was that way once.

I am now paying more attention to my "inner mind" and am finding it knows a bad composition before the conscious mind can figure out what's wrong with the painting. Not there yet, but working on it--trying to get the two together. Right now it seems to be either/or.

What holds me back, and I think others as well, is that we hang on --almost for dear life-- to concepts we've formed because we feel they are safe. AKA "preconceived ideas" which the conscious mind seems to nourish. Worse, we try to force them to work for us. Just getting over that hump would be a gift of giant proportion.

Keep on talking....

[rugman]

Im still here, reading and re-reading over and over. In a way, I feel I have made friends with the famous Harley Brown! Thank you, Harley.

On the conscious/subconscious. Many of my freshest, spirited paintings have come from the quicky, 2 hour (or less) paintings, on scrap paper, using references not from myself. PAINTING FOR THE SAKE OF THE JOY OF PAINTING. No emotional attachment to reference, or worry about ruining expensive paper. These are those subconscious dominated pieces for me, I think. So much fun. As time goes by, I feel I am getting better at keeping this state of mind on the longer, more complex paintings, the balance of the two (consciouness), like you say. Great fun, this is.

[johndill01]

Many of us feel that we need to just read and absorb what is happening here. I personally have read and re-read many of these posts and slowly, but surely, things are changing in my art. For one thing, I no longer worry about what a peer feels about my art, good or bad. I worry about making my next painting my best ever and letting the subconscious mind do it's magic. I also feel that through this forum, I have acquired a new friend. The sharing of these artistic concepts is very much appreciated.

John

[makinart]

THE NEWS IS GOOD ...........3

I'll take this in parts because it is important.

My friend Joe and I had long discourses on how the art mind works......and this is a couple of blokes who took no psychology in school. Just the reasoning and observations as a couple of guys who have lived art all our lives.

We howled with laughter at the image of little imps on our shoulders; each one trying yo get our attention. One saying, "hey, put a little more splashy effect into this area; THEY'LL love it!" And the other imp imploring the artist to keep it natural, honest, allow what's "in" to come "out."

As mentioned here, Joe and I spent the better part of a day, (7AM to 2AM the next morning,) talking about the first stoke of a painting.......what goes on in the mind just before that beginning stroke.

In many ways, the mind is simple, (I speak here of my male brain; I continue to be in total awe of the female mind.) (My psychiatrist said she pretty well had me figured out, on the surface, within a few moments.) But getting into the subconscious was another matter. AND how that subconscious works the conscious arena. Plus unseen idiosyncrasies.

The subconscious doesn't mind taking a flourishing gamble if it has been fed to the brim. This is why we see such great feats done in sports and adventure. Done by people who have prepared themselves.

No one will really understand Picasso's mind. He was quite accomplished in his mid teens. Later he was quite influenced by various schools of art and gave them his own approach. There's much he did that I still don't quite get but once in a while he'd hit a high note that rang many bells. Because he was deeply talented and nourished a strong confidence in what he was after. Like many artists, I admire them sometimes as much or more than their art.

The subconscious, "SC," can react at lightening speed, and the good ole conscious, "C," plods along. Yet, let's not underestimate the power of the C.
I have them work together under my benevolent guidance.
More.
-Harley-

[Sonni]

On one of the front pages of the book, The Alienist, that best selling novel in the 90s, is a quote that I think has tremendous bearing on how we make art. I've saved it (actually saved the novel) and think on it periodically:

"Whilst part of what we perceive comes through our senses from the object before us, another part (and it may be the larger part) always comes out of our own mind."

William James
The Principles of Psychology

"own mind" I presume is our subconscious?.

I have thoughts on Picasso, too, but I'll keep them to myself..

[makinart]

THE NEWS IS GOOD.............4

A quick note on Picasso. My thoughts about him, (back a ways,) were how I would, once in a while, see his works come right from his innards. That simply sent a message to me like my friend Bob Kuhn would say, "it's my painting and I can do what I want with it." In other words, each of us OWNS our own work. Back in my late twenties, I was fascinated, (fascinated does not always mean adoration,) by artists who APPEARED not to give a dang. Part of that fascination included Rauchenberg, Jasper Johns, Picasso, Post-Impressionist Gauguin, de Kooning and so forth.

Even though many of us didn't quite "get it" with so many of these artists, they did hit us subliminally whether we liked it or not. Their art movements were massive throughout the free world and influenced so many....right or wrong.

For a period, in my young days, I was convinced that my portraiture was not the highest form of art. I loved doing it but was given a hassle by many of my contemporaries for my "mundane" artwork.

(For a short time, I went through an "abstract period," but that's another
story.)

Lucky for me that my heart couldn't be turned; figures and portraits remained my Love. But my "fascination" lingered through the years for those who went down different pathways. As mentioned re Picasso, I admired many of those artists more than their actual art.

To put it another way, if I was allowed to see one major retrospective of either Ilya Repin or Pablo Picasso........I would put everything aside immediately to see the Repins.

We consider the inner and "outer" minds and how they serve our purposes. It was at a remembered moment that it all clicked with me. When I understood how my inner mind would work with me.

I needn't tell anyone how unbelievably complex it is but that is one of the reasons I don't often "question" it's stand. This doesn't mean that it leads me around by the ear. No, my conscious mind still makes it's mind up WHAT I'll be doing that day........the inner mind guides HOW I'll do it. BUT co-ordinated by the conscious mind.

Hard to explain but as I said before, do a flowing sketch without stopping to think about it........let it glide from you. In those moments, you will be in touch with the subconscious.
-Harley-

[fritzie]

Harley, I am one who reads your thread when I can but does not comment. I will say that I have what seems the same experience you do of letting the "flow" do it's thing while the conscious mind guides but is smart enough not to get in the way.

[makinart]

THE NEWS IS GOOD.........5

There are those who probably think that things I harp on are endless
Blather. Well, actually, I wouldn't be spending the time to write about them if I
thought they weren't important. Things like shapes, light, shadow, basic, design, understanding of color, (Munsell,) sketching, acquiring an iron will, (always Possible,) having a personal, undiluted opinion, knowing where to go for genuine critiques and understanding them, etc, etc, etc and understanding the absolute POWER of the mind.....in ALL of us.

One thing that can hold us back is ourselves. I have great knowledge on that.
AND the turnaround can happen within 5 seconds.......not NECESSARILY in gradual steps. The Turnaround is not the absolute answer in itself, but it is the ABSOLUTE beginning of the answer. I say this directly from the depths.
-Harley-

[makinart]

THE NEWS IS GOOD..........6

Certainly I have doubts; moments of uncertainty. "Human" things that cling through life. I'm fascinated by those personal, hard to characterize, disparate bits that set each of us apart. At the same time, we have variable needs to belong, to be part of the mainstream. Belonging to what can be hard to define.......and can change without warning. Still, our differences are part of what "make" us as we genially mix with others.

There are a few things that give stability in my life; that allow me to go off the beaten track as "normal" parts of my day. Up near the top is that I'm comfortable with myself as an artist. Yes, I call myself an artist..... in a rather friendly, casual way. (Can't think of another word, offhand.)

(I recall way, way, way back when the art aristocracy told us "unproven" ones that we had to first EARN the right to call ourselves artists. We obediently accepted this edict. But as time went on, alone in my studio, I wondered who, indeed, would finally stand before me and hand me my ARTIST certificate. Never happened.)

Ah, now I'm comfortable with who and what I am. But under this seemingly steely exterior are little building blocks that periodically need repairing. Between fix-ups, they allow me a feeling of contentment as I sit on my lawn chair and watch the clouds pleasantly drift by.

What are those Building Blocks?
-Harley-

[seejay]

Hi Harley, I'm still following along. Thanks for being the tour guide.

I don't call myself an artist at the moment, usually referring to myself as a sketcher since I mainly work in my sketch books. I am slowly building up my drawing/observation skills, and also developing my vision of what I like to do, so one day I will give myself an upgrade to artist. No rush, I'm enjoying the journey.

I wonder what your building blocks are. I find if I miss a day or two of sketching that I slip back down the slope...are you referring to this temporary loss of skill/vision/belief? I will stay tuned to find out where you are heading.

Cheers

[makinart]

THE NEWS IS GOOD.........7

When my dad got me drawing at age 7, it was a starter......pencil, paper, subject, (cat, fire hydrant, pot, etc) and draw. No big theories at the beginning; just look and draw. It soon became so natural that I couldn't stop. Even during school classes, I'd be drawing in my notebooks. The teachers couldn't help but notice right away and we had parent/teacher discussions. My dad kept me sketching and I'd watch him draw. He was terrific; I have some of his works in my studio.

What happened was historic for me: the teachers saw where I was going at that young age.......ART. They continued to push the academics but gave me "room" for my compulsion to draw. They all agreed, along with my folks, to nourish my enthusiasm. This continued all through elementary and high schools. I was equally involved with music. My teachers would give me an afternoon off once in a while to go to a movie, (by myself,) if it was an inspiring film about music or art.

Those days with that support was a massive building block. But not all kids are given such a golden opportunity. As I have said, there are other approaches. Approaches for those willing. (My Doctor decided to be a Doctor in her mid 40s. She is drawing extremely well, under my directions, after only a year.)

Amongst my next building blocks was the first sentence from an art college instructor. I heard it, it was simple; but it took me years to really figure it out.
-Harley-

[makinart]

THE NEWS IS GOOD.............8

The first sentence out of the instructor's mouth, (and you've heard this one before)......... "the most important thing you will learn here is HOW TO OBSERVE."

We thought, hey, we're here to be artists; we know how to see! What's with this observation stuff. Now, the instructor did put "weight" into his words to give them significance, but we were a smart bunch of freshmen and we thought, "yeah, okay maybe."

Bottom line? I'm still working on this project of OBSERVATION. And I think it is one of those things in life that we practice and learn to the end. My sense of
what I'm looking at has changed a bit over the years just as my physical and
mental nature are not precicely what they were decades ago.

To fill you in on my understanding of observation, it is indeed complex and fully understandable at the same time. We look and see the world around us
as does most everyone else. The difference is that over the years and years of
using my eyes, I now by pure habit look with the intensity of an eagle
scanning prey. Now, my eyes "own" what they are looking at.......to this level:
understanding the subtle values, shadows, hues, shapes even as they move. It
is, in two words, my life.

And how I interpret what I'm seeing has to do with the extent I've trained both my (1) acute observations and (2) ability to lay them on paper and canvas. The second part of that sentence doesn't exists without the first. And the first part is what that great instructor mentioned that first day of class.

These days, I'm not nearly as smart as I was that first morning of art college. Now, I "get it" how we humans acquire knowledge and skills. Actually a better way would be to say, "getting it."

Realizing that I'm in the process of "getting it" is the thrill ride of my life.
Believe me. This is not an art tip or principle; this is one of those few "ground
rules" as we walk on to that big welcoming field to to play our life-game.
-Harley-

[Colorfur Critters]

I've always got in trouble in school and work for sketching during class or a meeting. Even when I proved I was listening.

I keep drawing and sketching anyway.

[makinart]

THE NEWS IS GOOD...............9

Yes, I know, there's a lot of chatter coming from my finger tips. Look at it this way: I'm condensing decades of learning and thought. Might be that this is typical....then maybe not. It's my way.

I remember my mentors. A few of them would ramble on, giving more details than necessary, (at least I thought so at the time.) But I got to where I'd gleen the gold from their jolly lectures. And once gotten, firmly implanted in my mind.

In my "heavy lifting" learning years, (which included periods of NOT learning,) I had the side interest of watching others and how they went about developing their art. My observations were most interesting. Let me put it this way.....quite fascinating! I'll even take it a bit further: we humans and our peculiarities are worth a lifetime of delightful study.
-Harley-

[makinart]

THE NEWS IS GOOD..........10

I was going to chat about the ups and downs of today's wobbly art market. But I thought more about it and said to myself...."What will it prove!?"

It tells us something that has been a way of life for artists through all of history. We know the ups and downs. I discovered from the start that the "ups" made most negatives bearable. That might sound somewhat flippant but art is my SHAZAM.

Those building blocks from childhood on hold the key. And even though I was much too naive to really understand how my creative mind worked. It just simply did. Like when my dad showed me what a horizon was and how objects diminished in size going towards it. This included humans getting smaller as they "walked" into the distance.....but that their heads kept generally on the horizon line. Endless bits and pieces like that. Or "dulling" colors as they go into the distance. Or don't make all edges the same: some sharp, some soft, some get "lost" into the adjoining area. Vary shapes in a painting....some larger, some smaller. Or, don't guess at any part of a work.....no matter how "trivial" the area may seem. Or put less detail in objects going in to the distance.

Or.......well, the building blocks are endless wonders of visual art. Many are as old as the hills, just reworded for modern consumption. We sort them out and apply them with our own, unique Approach.
-Harley-