Category: 2024

The metaphor of the oarsman vividly captures the essence of how fear can be self-defeating, steering us directly into the obstacles we desperately try to avoid. This is a powerful reminder of the counterproductive nature of fear in the creative process.  I recall struggling to draw in my high school art class due to a fear of not achieving perfection compared to my classmates. This mindset prevented me from creating work that reflected my true capabilities.

I particularly resonate with the section on imperfection and how it is integral to art. The ceramics teacher’s experiment is a brilliant example of how the pursuit of quantity can inadvertently lead to quality, underscoring the importance of process over perfection. It challenges the common misconception that perfect conditions are required for great art, reminding us that it is through trial, error, and persistence that we often find true expression and improvement.

The discussion on talent and the notion of magical ingredients in artmaking also strikes a chord. It demystifies the romanticized view of art as something that flows from a mystical source, which can be both isolating and discouraging for artists. By debunking this, the text encourages a more accessible and relatable view of art as a craft that can be developed and honed, rather than a rare gift bestowed upon a chosen few.

This encourages us to focus on our work without the paralyzing pursuit of perfection or the fear of external judgment. The idea that our next piece of work lies in the imperfections of our current one is particularly liberating. It suggests a continuous dialogue with our creations, where each piece informs and inspires the next.

I like the emphasis on making in this reading. As a non-art person, I am usually very averse to making art, since the few times I tried to do it in the past was met with harsh words. The structure of this class seems to follow this reading quite nicely: we just make stuff first, then we use those experience making to do a final project (our magnum opus if you will). It definitely feels like simply making stuff and exploring different mediums have made me more open to the idea of me making some sort of art, whereas before I couldn’t even imagine the possibility.

It’s great to see how an artist group is quite different to an independent artist (more projects, larger portfolio, more streamlined process). Since a lot of their works are commissions, it does feel like there is less ‘resonance’ between the artists and the final piece (perhaps because each person works on one small part and it is not as personal), but the end products are all very high quality. It’s a bit sad in a way since a lot of studios like these I will never hear about unless I go out of my way to look for credits (or take a related course).

I really appreciated the technical aspect of their work and how they utilized advanced software, some of which I have used before. It was interesting to see all the different possibilities for using these tools that I hadn’t considered before. I would have liked to see more of the process behind their artwork and possibly view more of their projects if they had them available at their studio.

This reading discussed how perfectionism can hold us back and emphasized that to produce good work, you must create a lot. The process of creating is the best way to learn which direction to take with your work. I found the phrase “whatever you have is what you need to produce your best work” particularly resonant. It’s easy to create a list of things you need to learn or become before you can start, but this phrase offers an interesting perspective: your best work isn’t a fixed point to be reached but something that evolves and grows with you. Although I’m not trying to be an artist, I found this reading motivating. Many of the ideas presented can be applied to life in general.

This section of the book resonates with my personal experiences and work habits. As a master procrastinator who often worries about public perception, I sometimes doubt my talent and whether I deserve the opportunities I’ve received. Following the book’s advice, I am actively trying to overcome this mindset.

However, I find certain aspects of the reading confusing. First, in the section about “pretending”, by focusing on the process of making art, the book indirectly implies that one must not focus too much on public feedback. Yet, in the “Talent” section, talented individuals who don’t gain recognition are shunned by the world, implying that public opinion does matter.

Additionally, the book’s advice in the “annihilation” section to simply produce art seems to contradict the principles of lateral thinking, which warns that such behavior can create mental patterns that limit creativity.

Moreover, I disagree with the book’s argument that “Art is human, error is human; ergo, art is error.” This analogy can be manipulated to support any viewpoint. For example, saying “Progress is human, error is human; ergo, progress is error” would suggest we halt all human advancements, which is clearly not advisable. Therefore, I find this argument unconvincing.

Impressions of FIELD

I was thoroughly impressed by their projects, though I was disappointed that there weren’t any demonstrations. The studio visit stood out from previous artist visits in that it clearly showed teamwork. While the other artists certainly have teams they collaborate with, they only mention them in passing. However, the FIELD team in the background certainly boosted their presence. Also, gaining insights into the business aspects of ‘making’, like planning projects, work division and meeting deadlines, reminded me of what to expect in the future.

This chapter really calls out all the insecurities I’ve felt about my own artistic abilities and identity. The idea that we’re all just “pretenders” trying to seem like real artists while privately doubting ourselves sounds like something I could relate to.

The discussion about our culture’s obsession with identifying true “talents” from an early age also strikes a chord. I remember being asked “Are you the artistic one?” when I was a kid, as if that would define my entire future path. The pressure to prove you were born with an innate gift is intense.

The metaphor of art being a “life-or-death” undertaking where you risk “annihilation” if you fail is extreme, but there’s truth there too. Putting your creative self out to be judged by the world does feel like you’re exposing your soul to potential destruction.

At the same time, I’m almost relieved to have these feelings validated as normal and universal for artists. As unhealthy as it is, there’s comfort in not being alone with the relentless self-criticism and fear of not measuring up.

Thought on https://field.io/

I really enjoyed our class trip to the FIELD studio. It was quite different from the other artists we’ve encountered so far. At FIELD, the atmosphere felt more like a business setting, with deadlines, schedules, and specific requirements. This contrasted with the other artists we’ve met, who seemed to have more freedom and flexibility in their work. Despite these differences, it was fascinating to see how a more structured environment can still produce creative and innovative art.

I was impressed that they managed to use generative AI in a way that actually looks pretty cool and they’re not trying to hide it. I like how they tailor their designs for each client and yet maintain a nice overall style. cool people, liked their vibe.

One thing the author mentioned that I really liked is that sometimes it’s the myth of the extraordinary that limits us, I’ve never thought of it that way. After reading this chapter and introspecting on the lessons passed by the author, I realized that It’s almost always our own self criticism and the expectations we set for ourselves that limit us and paralyze the art making process, if we were to quiet the doubts in our heads and the thoughts that tell us that our art will never live up, we’d be able to make amazing work. I also really liked the story about the clay making groups, it really put into perspective what happens when we hyperfixate on things. This reminds me of my freshman year when I was doing the first year writing seminar. The essays I spent the most time perfecting always got the lowest grades whereas the ones I procrastinated and had very little time to work on got the best grades. It’s because I didn’t have time to overthink every single detail to the point that I turned it into chaos. That being said, I’m not saying that rushing through things is the answer, but rather letting go of the idea that everything needs to be perfected and just trying.

“When you act out of fear, your fears come true.”

I think the state of our technology and our ease of access to it has unfortunately deterred much of my generation from pursuing something they love deep down.

For example, the amount of gorgeous illustrations you can find on my Twitter feed is insane. I think a lot of people look at art like that and lose their morale. They tell themselves that they’ll never be able to create something like that, and that’s exactly what happens.

This wouldn’t happen nearly as much just a few decades ago. Even if 50% of the world are skilled artists than yourself, it would never possibly kill your morale because you wouldn’t be exposed to it if not for the modern internet. To the untrained mind, looking at good art can be extremely unmotivating, and it doesn’t matter if it’s visual arts, audio arts, or any form of creative work. It just sucks when you see millions of people better than you. 

“While you may feel like you’re pretending to be an artist, there’s no way to pretend you’re making art.”

I wish this book came to me one or two years ago when I needed to hear it. I feel like a lot of takeaways from this book feel like a repeat of what one of my favorite YouTubers, Marc Brunet says. There’s a good chance he’s probably read Art & Fear before as an art instructor but I think I prefer the way he presents it to me humorously through a YouTube video. 

It’s kinda weird to read this book because a lot of this mindset they preach has already been drilled into me in some other shape or form elsewhere. However, I like the section on “Magic.” This was a pretty interesting section because of what the author mentions about flukes and omens.

If you did good, it’s nothing but a fluke.

If you mess up, it’s an omen.

“Buying into magic leaves you feeling less capable each time another artist’s qualities are praised.” 

I think the only thing one can do for themselves when they see art that blows their mind is to not idolize it and see it as magic. Once someone genuinely believes it’s magic then they’ve removed themselves from any responsibility to work harder.  At least that’s my reading of this chapter.