It’s ironic: the arduous way I originally began this post perfectly illustrates the theme I sought to discuss: that because of my fear of making mistakes, my drawing process had become too painstaking and constrained; and, in resuming drawing, I intend to adapt a “freer and easier” approach. I retreated from drawing for years because my inner standards had climbed to a level I no longer cared to sustain. I’d worn myself out with my perfectionism. I remained as capable as ever; but drawing had become nerve-racking and exhausting for me.
My perfectionist traits, however, aren’t limited to that one corner of my life. I’m prone to “overdo it” in whichever pursuit I begin. Take for instance, writing: I worry over each word and agonizingly massage each phrase. (And don’t get me started on the effort I put into a whole paragraph!) I began this particular post intending to highlight the freed-up drawing style of figurative artist, Richard Diebenkorn, as a touchstone for how I want to approach my work. But, before I even realized it, I was halfway through an entire report on a recent Diebenkorn exhibit!
So, as you might imagine, I also feel wary approaching a new writing project or blog post. Rather than “letting it happen” in a more organic way (because I recognize I naturally write pretty well), I’m hyper-vigilant about making mistakes. That tends to lead me off on all sorts of tangents; and I end up missing–if not entirely forgetting–my original point.
Which remains a clear and present danger with this very post … so I’ll return to my original theme: my goal to loosen up how I practice drawing.
As I mentioned, I attended a Diebenkorn exhibit at the Richmond Art Center, a longtime East San Francisco Bay Area institution. During Diebenkorn’s life (he died in 1993), the Center maintained an ongoing, and mutually beneficial, relationship with the Berkeley-based artist. Its new exhibit, ” Closely Considered – Diebenkorn in Berkeley,” focuses on that long association. ‘Nuff said: if you care to learn more about the exhibit, follow the preceding link (where you can also learn about the Richmond Art Center’s prominent role in promoting Bay Area arts). For more on Diebenkorn, click here.
As an abstract expressionist, Diebenkorn lent his figurative drawings and paintings varying degrees of recognizability (though none of his figurative drawings or paintings approach “realistic”). In many works he created between the mid-1950s to ’60s, Diebenkorn rendered his subjects in loose outline and bright hues applied with rapid brushstrokes; the effect is more suggestive than overtly descriptive of familiar details. To me, Diebenkorn’s art from this period–whether the work is a figure study or landscape–appears lively and spontaneous.
Take for example, Diebenkorn’s abstract landscape, “Yellow Porch,” and his study, “Seated Woman Drinking From A Cup.” When I study these images, I feel inspired to adopt a freer, more spontaneous approach toward creating my own artwork. From such non-traditional but creatively convincing works of art, I infer a powerful message: Don’t get hung up on the details. Focus on one’s overall creative vision.
That’s my goal in this personal artistic journey I’ve begun: to gradually bring into focus and reflect my creative vision; and allow the fine details to remain a little messy.