Pastel Journal - USA (2019-08)

(Antfer) #1

Editor’sNote


Putting Power


in the Painting


W


henI thinkaboutmy
earliestinteractions
withart,mythoughts
travelimmediatelybacktothe
captivatingillustrationsthat
grabbedmyimaginationinmy
favoritepicturebooks.I recall,
inparticular,EzraJackKeats’
fantasticillustrationsforthe
book,JohnHenry:AnAmerican
Legend, a folktalethatpitsourheroandhishammer
ina raceagainsta steam-poweredmachine.Keats’
captivatingpaint-and-collagecreationsaren’tmerely
descriptive;theyevokemoodsandemotionsthatmove
readersbeyondthepageandthestorytelling.These
powerfulimagesburnedontomy6-year-oldbrainand
havestayedwithmealltheseyears.
ThecelebratedlandscapeartistSkipWhitcomb
talkedtocontributingwriterandartistAaronSchuerr
aboutthepowerofartina conversationthatinformed
thearticleonpage24.ForWhitcomb,paintingisnever
aboutduplicat-
ingthescenein
frontofhim.It’s
aboutattempting
toconveyanidea
thatgoesbeyond
whattheeyecan
see.Schuerrwrites
that,insteadof
racingagainstthe
elementstoget
somethingdown,“Whitcombwouldratherslowdown,
lookattentivelyandletthequestionsflow.”Thefirst
andmostessentialquestionis:“Whatarethechords
thatthislandscapestrikeswithinme?”Andthen,
“HowdoI makea statementaboutthat?”
Noartistwantstoproducemachine-likeoutput—to
workina mannerthat’stoopracticedorautomatic.That’s
whytheconceptualworkthatWhitcombtalksaboutis so
critical.Whenpaintersspendtimeworkingthroughthe
motivationbehindwhattheycreate,thefinalresultsare
muchmorelikelytoconveynotjustthehandoftheartist,
buttheheadandtheheartaswell.PJ

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“Where the spirit


does not work


with the hand,


there is no art.”
— LEONARDO DA VINCI

2 Pastel Journal AUGUST 2019

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