“The object, which is back of every true work of art, is the attainment of a state of being, a state of high functioning, a more than ordinary moment of existence. In such moments activity is inevitable, and whether this activity is with brush, pen, chisel, or tongue, its result is but a by-product of the state, a trace, the footprint of the state.” — Robert Henri
In a cult of productivity and consumption — the preoccupation of our times — it’s all too easy to lose sight of our state of mind. What do we mean by this? Well, it means that we’re rarely aware of what and how we’re actually feeling when we’re doing what we’re doing.
For instance, we can be so busy trying to hit a deadline, to satisfy others or even to meet a pre-concieved expectation that we have of ourselves that we lose sight of the act itself. We’re animating/painting/writing etcetera but we’re really not because we’re not present. Instead we’re racing ahead. We mustn’t forget that the event itself is both unique and most important, just as the materials and tools themselves are, the creative challenges at hand, and the atmosphere in which the work takes place. To embrace it all physically first, then mentally, is what it means to be fully attentive, fully present.
“I want the hand to be, if not ahead of the mind, at least simultaneous.” — Philip Guston
It’s dangerous to have the head too far ahead of the body. When that happens, we’re no longer connected to the act. It’s one of the reasons why preparation is so important; once prepared and practiced, the artist can just “do”. The professional athlete in the heat of the moment has little to no time for thinking; all his/her energy is required to hit that ball when it comes, when it counts. When his mind gets too involved, he misses. An effective mind is a clear mind, one that is calm, engaged and proactive. That’s also when operates at its best.
“Separate thinking from doing. Man is a thinking reed but his greatest works are done when he is not calculating and thinking.” — Suzuki Daisetsu
Sometimes, the best thing to do when we catch ourselves thinking during the act is to stop. Calm the whole thing down. Re-align mind and body. Stopping things is also an opportunity for asking the right questions, like if the action we’re about to take is even relevant — that is, are we even making the right/best choice. Pain, either physical or psychological, like the pain of failure can also be, is a signal that it’s time to stop. Remember, it’s just as bad an idea to waste time worrying about doing the wrong thing as it is to keep rushing head doing the wrong thing. The artist that’s in sync doesn’t rush towards his goals nor does he avoid or escape his problems. He looks and reacts. Despite adversity, there’s self trust and acceptance.
“I can’t go on, I’ll go on.” — Samuel Beckett
Our state of mind defines the quality of our engagement. If we’re nervous, fearful or excessively ambitious, our work will reflect that since a muddled mind leads to muddied results. I experience this personally with my students and clients all the time. Their work tells me everything; I merely translate what I see to the artist who’s not quite ready to see it themselves.
“The eyes can see only what the mind is prepared to comprehend.” — Henri Bergson
In closing, remember this: attention is the key. The quality of one’s experience depends entirely on the qaulity of our attention and so, too, the outcome of our actions.