The painter is condemned to please*. The practice of art is cruel. And therefore the artist is terribly romantic and inscrutable; obscure and deliciously mysterious. Art practice becomes even more obscure and informed by glorious muses and the void beyond reason (and so on). This is what they gave us with their history books and their slides. This is what they gave us with their documentaries and biographies. This is what they gave us at art school.
The institution of art school is a strange notion in itself. But I find myself more interested in what it has done to me – and perhaps what I’m doing for it now. I have never really stopped what they started. I am rolling along, absurdly, caught up in my own miseries and the romance of art-induced angst. Do I believe in the myth of the artist? Do I believe in the myth of art-making?
The romance of a torturous, tragic existence is very powerful. Some get so caught up in it, they never leave. Ofcourse, some disregard it completely, but it’s always lurking in the dark corners. While performing the painter, I find myself a little ridiculous. Then I get drawn into the old self and the other rhetoric. And so, I am a romantic soul again. It is a nice self-contained cycle of pleasure and pain.
I am condemned. To please. To give pleasure. Inadvertently, I am condemned to torture. If one is to believe this mythical position, then one must believe in one’s greatness in the larger scheme of things. This causes (in my opinion) a kind of psychological conflict. In this world, there seems to be no time for sentimental introspection. It defeats the purpose of practical techniques and form. In this world, there also seems to be all the time for sentimental introspection. Content must be loaded with profound meaning. In performing the painter (or the artist), one is fucked, really.
The tortured soul of this mythical artist must then be put on display. It must be curated to appear in all its glorious intensity. It must be seen, viewed and taken apart with words and more pictures. It must represent and reflect and “change” something. It must be loaded with meaning, content and comments. The intimidating walls of the gallery consume this tortured, pleasing entity. Or, it is displayed in public to be seen as some kind of effrontry or a tribute to humility. It must define space and time. It must be courageous or cowardly or merely introspective. It is given names like political, psychotic, personal, sentimental, gay, sexual, sexless, present, absent…In this crowd of words and meaning, the myth of the artist and the personal mythology of the artist become one and the same. Or maybe it’s just me. The myth of the artist wears you down something awful.
Inspiration: Arousal of the mind to special unusual activity or creativity.
When you’ve got paper, you can draw faces. When you’ve got leeches, you can draw blood.
Disclaimer: I started writing this post with an intention to rant about art practice and then it twisted itself into wild introspection. I still don’t know what the practice of art demands from me. I have stopped hoping I will ever know for longer than those moments when I seem to know what it wants. Then we all fall down.
* from The Cruel Practice of Art by George Bataille