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'When it takes so much to get going.'Copyright © 2007-2008 Celeste VarleyMost artists I know haven't the luxury of making art full time. I know I don't. Like most of us, you probably have to fit art into other obligations and everyday activities. Maybe you cannot afford to work at your art every day. But does this mean that you aren't a "real" artist, or that art has to be "merely" a hobby or frill for you? You probably have inspirations for works you'd love to explore, and dreams of grace and beauty in the making. Swans are birds of grace and beauty, at least when they glide along on the water. But when you finally do make some delicious time for your art, how much energy does it take before you are actually flying? There's assembling the appropriate canvas, paper, wood, clay, instruments, and other media. Then there's the long, still, contemplation period to tap into the heart of your interest. This may require much drawing, even measuring, envisioning, meditating, mixing, and so on, to get this flight underway. For an elegant bird like a swan to take off and achieve flight, it takes far more effort and energy in the first few seconds than it takes for most of the time on the wing. Have you ever watched a swan, a duck, or a goose trying to overcome the drag and achieve lift-off? There's a great splashing and galloping of legs, great beating of wings lifting, lifting, fighting the water's drag. And then, on the best of days, finally, finally, you have lift-off. Then you're flying and all is well. Some birds can ride across continents or oceans, without flapping their wings, riding thermal lifts which come from below. As long as they trim their wings in equal balance, they can continue to glide. But if they lose the updraft, and speed slows beyond a certain point, they stall. Once stalled, they will fall unless they flap their wings again. It's the same with art making. Once the huge effort of beginning is accomplished, it can be relatively smooth gliding. Of course, there are always places where it's good to pause on purpose, or be stalled by the work itself. A short eye rest, looking at distant things, a walk or cup of tea doesn't interrupt the flow of your work, and you can return refreshed. You can grab another updraft, find another thermal, ride another jet stream, as long as this piece is still in the making. You may have noticed that the longer you paint, draw, throw pots, write articles, play music, write poetry, the more ideas and inspirations come to you. While you're in the midst of one of these wonderful adventures, when an idea alights, grab it! Hidden somewhere in your present work lie the seeds of your next work. It might be somewhat related, or it might come out of a challenge within the present piece that you want to face head-on. Or both. Make a note of your vision or idea to make a related piece. Actually make a tiny start on this new idea, if you can. A brief note, a quick sketch, or a drawing during a break can give you the brief rest you need. Then you can return to the main work with fresh eyes. Eventually, hours or days later, these transatlantic, transcontinental birds need to land. Landing on water looks like water skiing, with wings thrown into reverse thrust. The last bit, when they drop softly into the water takes less effort than the original take-off. But as the breast is lowered to rest, they've hit the bottom of the cycle. No more flying is possible without that great kafuffle of lift-off. Eventually, hours, days, weeks, or months later, your artwork will be finished. That's the part I dislike; when it's over. It's the let down of the end of the adventure. It's the empty nest syndrome. You'll need to sign it, clean up your media, frame it, or whatever you do with a finished piece. But these tasks only cover your mood of dropping the flow of creative energy. It's still over. Do you know this secret to avoiding drag and drop? There is a way to avoid the initial effort of take-off and the let down at the end too. If the greatest effort is needed to get started, then why not stay aloft? If you kept some note of all the inspirations that came to you out of the work that was in progress, then there will be no need to completely land. No need to go through that superhuman effort of fighting drag again and again. It's a good idea to have at least two pieces underway, or at least started at the same time. Then with a necessary break at the end of one, your next work will be waiting for you, already underway. When you next get a chance to fly, all you'll need do is start flapping your wings, and you'll soon be soaring again. Celeste Varley About The Author:
*** Digital Reprint Rights *** *** Author Notification *** We ask that you notify the author of publication of his or her work. Celeste Varley can be reached at: celeste.varley@thephantomwriters.com *** Print Publication Reprint Rights *** If you desire to publish this article in a PRINT publication, you must contact the author directly for Print Permission at: celeste.varley@thephantomwriters.com
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