(Slightly) Forward

Application of forward momentum in a walk. From Richard William’s bible of animation, The Animator’s Survival Kit.

In animation, we all understand what it means to take into account forward momentum; things naturally move foward in space and time. As a body in motion travels, it goes along a path of action in a direction where its weight falls foward which is then anticipated by the planting of a foot ahead of the body just in time to catch itself. If forward momentum is lacking there is no advancement, when there’s too much it becomes too difficult to maintain balance and the body falls. When our weight is “slightly” forward, we can maintain both balance and forward propulsion. Moving slightly forward is living with control.

“The more opinions you have, the less you see.” — Wim Wenders, Filmmaker

Of course, what I’m getting at here is the psychological step forward, something much more difficult for the human mind to both understand and apply in practice. We prefer to hold onto things. Such is the brain’s capacity: it’s a collector/collator of data, a memory bank capable of both storage and recall of information. Unfortunately, the holding on of old data — and all data is old — can sometimes hinder the individual not to mention the fact that memory recall in humans is highly suspect in general. But faulty memories aside, knowledge is generally useful until it isn’t. Having beliefs and opinions is a perfect example of that. It’s indeed hard to let go of the “hands that hold” — our self-conscious mind is both adept and addicted to holding on to what we think we know. Many people experience this as the constantly chattering brain that never rests.

“We cannot live authentic lives unless we accept the constant presence of risk.” —
Anne Dufourmantelle, Philosopher

A noisy mind is very harmful for the artist and prevents him from trying new things because what is generally recalled by the brain is fear, insufficiency and anxiety — all that rational data is just an excuse. But to make art, we must accept a certain amount of risk, logic be damned. That’s what art entails, making something new. It’s what going forward always entails — a dive into the unknown hoping we might still land on our feet. But artists need this. It is, in fact, what makes us uniquely human: in exploring we discover, in discovery we live and learn. If we skip this process and go right to finished product there would be no human involvement. There would be no joy or meaning and hence, no real happiness.

“No one ever said it was going to be comfortable to be a human being.” — Terence McKenna, Ethnobotanist

Of course, this was never supposed to be easy. We will fail. That is guaranteed. But through trial and tribulation we learn to do. We begin to understand. We don’t jump in the water, we never learn how to swim. Working with students for almost two decades, it’s easy to see that the only way a person can learn is by the dual application of intense study and attentive doing. We need to learn the concepts and then apply them, often over and over again. Afterall, quality practice makes for quality performance. Competence only arrives when knowledge is fully incorporated and called upon into action only when necessary and applicable. All skills are intuitive. Rather than being a burden to carry (via obsessive thinking or memorization), the techniques and intelligence he’s acquired become as weightless as the sky; he’s free to make art that connects.

“Don’t try to make the right decision (which you can never make), make the decision right.” Dr. Ellen Langer, Psychologist

Sometimes, our goals are not always clear, our visions incomplete. This is normal. It’s a sign we’re taking on something new and challenging. Truth is, we never know for sure if we are doing the right thing, in art or in life. It’s actually impossible to do so most of the time. But what we can do, is do things right. This is where the foundations of learning matter. Having a solid workflow. Owning a dutiful and moral mindset. Focusing on solving problems instead of fretting about them. These are things that the true artist turns his attention to.

“Human beings are not at the mercy of mythical emotion circuits buried deep within animalistic parts of our highly evolved brain: we are architects of our own experience…. Emotions are not reactions to the world; they are your constructions of the world.” — Lisa Feldman Barrett, Psychologist

Moving forward will always be emotional. Your mind will ensure that you feel uneasy or scared. But know this: your attitude is always within your control. We only need to re-focus. It helps to think of your mind as a handheld camera — you choose where to point it, you choose what level of focus. When you realize this, even the seemingly scariest things aren’t so scary. Whether it’s learning a new skill like anatomy or animation or even how to build a better relationship, no task is too daunting when the mindset is right. Just do it in a manageable way; keep your momentum slightly forward, towards that untravelled road, one step at a time.

“Henceforth, I postpone no more, whimper no more, need nothing. Done with indoor complaints, libraries, querulous criticisms, strong and content, I travel the open road.” — Walt Whitman, Poet

What does it take to make good Art?

The Albertina. Painting by Miro.

What make art? What makes an artist?

These are questions that cross the minds of all creative individuals the world over. No methodology or formula seems complete and the far fetched notion that artists just whip up their artistry out of sheer destiny, luck or madness no longer holds despite the marketing effectiveness of modern entertainment media, galleries or book dealers.

“Start with freedom, not burden” — J. Krishnamurti, Philosopher

The heart of the matter really lies in the intent of the artist combined with the quality of his work. If he’s driven from or by factors outside himself — ideas of what he should make or be — then he’s already at a loss. Ideas (and its associated culture symbols) have no significance in mankind’s search for meaning. The artist has to discover his own way by looking from within. He can not derive his purpose for existence from the external. When he finds reason to create, then his art can, when executed with precision and courage, make culture rather than be made by it.

“Art is what we do, culture is what is done to us.” — Carl Andre, Sculptor

So let’s look at what enables the artist to become who he needs to be and to make what he wishes to make.

Passion 

First and foremost there must be an unmistakable drive that comes from the deep love of something. This is the authentic self exercising that undefinable, unmeasurable force upon us. It’s often mistaken for irrational emotion but it’s far more sophisticated. It’s not a conditioned response nor an experience to be fulfilled. This energy — which is benevolent — comes from the inside. It’s not top down but bottom up, a feeling that won’t leave you, prods and nags you regardless of your efforts to ignore or suppress it. It’s what mystics/psychics refer to as intuition, sixth sense vibes or gut feeling. I suspect those who do shove down or bury these strong feelings end up sick, in either the body, mind or both. (Remember, Hitler chose to join the army instead of re-apply to architecture school; leading a fascist regime was apparently easier). And without this deep urge to create even the most gifted artist will fail to persevere throught the trials of becoming a master artist. If you don’t want it bad enough, you won’t do it or stay with ityou will succumb to your fears.

“Our passion for what we most want must exceed our fear, anxiety, and self-doubt. Discard pessimism. Clear it away. Put your eyes fixed on the prize. Let yourself be silently drawn by the stronger pull of what you really love.” — Rumi, Poet

Time

The most common complaint from the modern day artist is the lack of time — time to think, to explore and to play. The artist’s ability to designate and allow for time to work its magic is the artist that makes work that matters. Rushing and efficiency-oriented thinking has an uncanny ability to turn everything into crap. Know this: all good things take time and anything worth doing takes time. So stop trying to save time because it’s a mindset that leads to the most effective way of wasting it. Those artists and organizations that continue to enforce machine-like productivity will get machine-like results; standard fare that’s forgettable in every way. Instead of chasing success focus on building things, focus on adding value which takes time, effort and patience. The late great director David Lynch once lamented that he couldn’t make movies under such rigid and rushed schedules for he needed “space to think and to dream.”

“Be a man of value rather than a man of success.” — Albert Einstein, Physicist

Skill

There’s perhaps nothing that imprisons the artist more than his lack of ability. Complain about pressure, time or lack of rersources all you want but nothing is more constraining than weak skills and poor understanding of one’s craft. Having a strong foundation matters. Good design ability matters. These things must be learned and mastered so the artist is then free and confident to create and reach higher ground. With sufficient skill the craftsman can dare to be simple. But this simply can’t be bought or bypassed; money won’t save you here and neither can technology; skill has to be earned. In fact, having unlimited resources and easy accessibility often weakens one’s ability and mental resolve. For example, witness the many artists today who lack appealing design and structure because they neither draw nor understand anatomy or, even worse, the animator who panics when he doesn’t have video reference to copy from. Confidence can’t be faked. Never forget that foregoing quick and easy solutions enables innovation and resourcefulness. Challenging ourselves raises our abilities to take on challenges.

“You’re only kidding yourself if you put creativity before craft. Craft is where our best efforts begin.” — Twyla Tharp, Dancer

Solitude

Our culture condemns being alone. Citing studies of misery, depression and even violent outbreaks as evidence, modern media tells us solitude is something to avoid if not dread. This is very wrong. Having lived around the world and in some of the biggest cities, I’ve seen more loneliness, fear and unhappiness in places populated with people, things and activities than anywhere else. Amongst all that chaos and noise how can anyone hear you? how can you hear yourself? In quiet places, usually amongst nature, the calming, harmonizing rhythms of the universe can be seen and felt. This relaxes the mind. It’s important to note that being alone is not the same as being lonely. Isolation can heal. Purposeful time alone gives us time and space to wonder about things, to find clarity and re-gain sanity. All great and original art has been made during lucid contemplative states — they are rarely, if ever, the byproduct of luck (or drunkenness). Furthermore, all art is ultimately a private affair.

“No one yet has made a list of places where the extraordinary may happen and where it may not. Still, there are indications. Among crowds, in drawing rooms, among easements and comforts and pleasures, it is seldom seen. It likes the out-of-doors. It likes the concentrating mind. It likes solitude.” — Mary Oliver, Poet

Spirit of lightness

It’s not good to take stuff too seriously and especially those things outside of our control. It doesn’t mean we must escape from the horrible and dangerous realities of our plethora of human problems or be ignorant of them — that would be irresponsible and stupid — but we must be careful that we don’t let things outside our agency drain our spirit. Life is hard enough. There’s so much distraction in our technologically and commerically obsessed world that being organically human seems almost impossible. So put down your smart phones, take a reprieve from the news. Touch and smells things that are real. Find a lightness to living and to making your art. Be free from fear, free from your thoughts. Let your mind and body breathe, otherwise your art can’t. Laugh more if only for the saking of laughing (laughing is a great way of incorporating deep breathing.) Drop things that weigh you down. It’s hard to do anything joyfully when the heart is heavy, burdened by what’s on our minds. Remember, thought is always on the outside and often offside.

“LIfe is wasted when we make it more terrifying, precisely because it is so easy to do so.” — René Magritte, Artist

Labour

It’s pretty simple: do the work. Forget fancy tools, shortcuts or the latest and greatest tech solutions designed to bypass the work. We artists are workmen, we put in the elbow grease. The bullshit notion that it’s passé for the artist to do the actual work is only a propaganda ploy to promote hacks and purely conceptual art (if one can even buy into that!) With the inevitable advancements in Artitifical Intelligence, purveyors of such ideas will soon be out in full force trying, as they might, to redefine what art or an artist is. The future is yet to be seen and only time will tell what we will value. That said, those who know and understand art now, know better, after all those who don’t swim can’t really understanding swimming nor be good swimmers. Genuine artists know that art is not a thing but a process, a practice, a way of living, being, doing and making that opens our eyes and minds, joining us together on the great journey of understanding all the while finding joy and beauty along the way. This only happens with labour. Ideas, afterall, are cheap. Thinking isn’t living. They might steal our art but they can never take away our joy and pride from making it.

“If you don’t live the only life you have, you won’t live some other life, you won’t live any life at all.” — James Baldwin, Writer