Art420 | Sublime Refinement, A New Direction.

Throughout the progression of this module, the overall aim and direction has changed. I feel the intended audience has opened up as my content gains direction. The invitation of other narratives was essential to satisfy the typical use of deep-mapping, documenting experience to benefit others. The theme of chance became instantly less relevant, the focus is now  primarily land.

https://katieiwatk.wixsite.com/mylittleartblog/post/art422-land

I’m reflecting on previous notes from ART422, in particular the text by Simon Morley “A Short History of the Sublime”. My main takeaway from this text was “Feeling on the edge. The edge of processing and understanding.”

https://thereader.mitpress.mit.edu/a-short-history-of-the-sublime/#:~:text=The%20passion%20caused%20by%20the,acting%20and%20reasoning%20as%20fear.

I resonate with this. I want to know more, to experience more, whilst painting to deep-map family movements I am researching. Observing, processing, listening, understanding.

Morley comments on a text by Longinus, an anonymous Roman author. He summarises that “the threatening and unknown” may be seen as admirable, “noble”. How sacrifice or alteration of “capacity”, can “refine” a creative outcome. 

The Oxford dictionary defines “refine”, as a process to “remove impurities or unwanted elements”. There is an uncountable number of opinions of what is admirable about art. As artists, we consistently make decisions, edits and choices to refine our work. We are taught that art can achieve all sorts of outcomes, which implies that all art does achieve something.. Whether intended or not, all art and art/ artists are noble by default.

 If refining is an act to edit and curate, then all creations are refined after the first choice is made. The concept of knowledge (and the understanding of that knowledge) being noble is uplifting. Providing approval that creation is power, provoking deep, progressive responses. 

My decision to deep-map locations with painting is a choice, a refinement of all of my thoughts and ideas, or anyone else's.  Each painting will be an ongoing representation of my growing understanding, and an attempt to share that knowledge. This is making me think of the well known expression of “those who cannot do, teach”. If sharing knowledge is to teach, then are these paintings a lesson, as I was not there and did not do? (Meaning that the paintings will invoke other peoples memories of actions, whereas my actions are limited to the paintings production, not the location). 

Is a painting less admirable when it’s inspired by someone else’s thoughts?

Capacity as a creative variable is equally important to challenge as a mindset. Again, the choices made within creation are only limited by one's personal limitations and desire. The idea that capacity is a choice interests me, it gives the impression of self confidence and wanting to explore.

I was particularly inspired by this when creating the piece titled “The River Usk”. I faced mobility limitations due to a recent surgery, and therefore worked from a reference image rather than outside. This generated new points of inspiration, allowing me to work from memories in addition to reference.

 When reflecting on the nobility of refinement and therefore limitations, I decided to add further limitations to this piece. Using only one brush throughout the entire process to purposefully create struggle, but more importantly create solutions and unpredicted layers and levels of thought and meaning. 

From partaking in this challenge, I’ve realised that I have subconsciously placed value on art based on details and realism. Using 1 brush, the result is different, stylized and holds more character than I could have expected to create having had more options. 

Revisiting my initial take from Simon Morley's text, ““Feeling on the edge. The edge of processing and understanding.”. Using these simple prompts I have pushed the potential of my work. I now have a higher value for understanding and the act of refinement through choices.