Dagogo welcomes Gordon Pryor as its Commentator.
(Pryor’s first Dagogo article marks the beginning of a series, which introduces the world of artistic creation to Dagogo and its readers. In the present article, Pryor shares his exploit with us , in the first part of “Art! The Perspective in the Creative Process”)
And this, my friends, is one of the many examples of the mind-set, that can suddenly ensconce itself upon one when in the midst of composing a piece. No matter what the medium: it’s the pulse, the pace, the very atmosphere of the moment. One allows the depth of things to surface. Utilize the tools one is presently using and begin, again, and alter, rearrange or don’t, but get on with it. Whatever it takes to make it work.
Personally, I find, in the visual medium, that the questions of “what if” and, “I wonder”, can gnaw too closely at times and be a detriment to the process (even though it is a part of the process), if one is not careful with over doing it. Reading too much into it, so to speak, will twitch you every which way but where you want to go. It can be a very fine line. That is one of the things that can manifest when taking the approach of starting with the ‘blank canvas’ or, having the exact picture in mind before one starts. You make a sketch of some kind initially, whether for out line or main presentation, in your head or upon the working surface. Of course there are a myriad of procedures used just as all individuals do not work in the same way, many if not most can speak of
the similar affects that can go on in the process.
Time is also a major factor inclusive (and even more so responsible), in determining just how far and at what pace working a piece can go. A commissioned piece, for example, usually has a dead line of some kind, set by the initial arrangement of the parties involved. Some individuals set their own pace / dead line (or simply
have one by a default, or acquired or evolved into, etc.), and ‘start, go, and stop’ as needed in time with nothing but getting the piece done. I know a number of people who work this way and not a two of them really do it the same. It is a very individual take on things if one were to watch some of the working procedures.
Suffice to say, it is not necessarily some kind of obtuse, metaphysically, thwarted brain smash-up that occurs for everyone when they are in the mode of composing a piece; however, it is definitely part of the process or effect for some. Of course, it is the results one is usually interested in that are the concern. And like so many other things in life, there is often more than one or two ways to get there.
Once you learn how to listen, you can hear it. Once you learn how to observe, you can see. Once you learn, then you can understand. That is one of the major things about Art. And in the second place, there will always be Art, and aren’t you glad. Glad that if you don’t think anything of it; and can’t figure the need for it, you will never have to concern yourself with being involved, because there are already others doing that anyway. Even involuntarily it takes some in to itself. It is indeed a place…
Perception is not in everyone’s eye.
Just as imagination is not in everyone’s brain…
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