Jaz by Jane
I recently watched the video (circulated by Tom) of the Perceptual Painters from Pennsylvania for the third time and I want to use the blog this week to try and explain – at least to myself – why they have such appeal for me.
Painting is silent poetry. Apparently these are the words of Plutarch, but I didn’t know about this ancient link between poetry and painting. One of the perceptual painters talks about ‘the search for poetry in a direct and unmediated experience of looking’ and it struck me as an insight worthy of more thought. The artist also described the group’s shared preoccupation with painting from direct observation which I am now increasingly drawn to.
I am sceptical about the value of using photographs to inform painting. I recognize that they can enhance observation along with drawings, sketches, and memories but in my experience they are more likely to get in the way. The state of mind where we can make fullest use of our intellect, emotions, sub conscious and imagination is elusive and precious. The haiku poets would describe it as an almost meditative state.
The Pennsylvanian painters talk about painting as a journey towards a meaning that is not known in advance. They describe the creative process as an encounter. The artist is excited about what she is looking at and the response starts there, in that moment of time, rather than being dominated by a predetermined intention. Because the encounter is a dynamic in ‘real time’ the excitement is always accompanied by risk and therefore requires courage.
It didn't mention in the video whether these artists also use spatulas (see Tom’s last blog) but what they do have is a joyfulness about the way they use paint. And that pure pleasure in discovering what paint can do permeates their work. They come across as a refreshingly unpretentious bunch and seem happy to let their work speak for itself.
What light can these perceptual painters shed on our representations of Jaz?. In one life group recently, Jaz strolled around the room playing his guitar and singing. He is a talented and aspiring musician with very few opportunities in the current economic climate to fulfil his dreams and I always admire his professionalism, good humour and dignity. I love painting Jaz. Our collective representations indicate that many of us do. And consequently I think many of our paintings and drawings have a ‘realism’ and immediacy that irrespective of actual likeness communicate a convincing symbolic shared humanity. That’s where I begin to glimpse the poetry. In this vein, I particularly like Sandra’s sensitive and powerful drawing and the way Roger H has captured Jaz’s compelling combination of delicacy and strength. But then I also like Alex’s Jaz who appears to be hewn from stone and the electrical charges coming from Beatrice’s Jaz; and then Catherine’s use of colour reflects a multitude of moods. I will now forego the temptation to make a spatula joke and simply say I think Tom has caught the most complex and fleeting look of amusement in the moment, with the most luxurious and joyful use of paint – unpretentious poetry indeed.
by Jane Storr
Paintings and drawings by Alex, Barry, Beatrix, Catherine, Cathy, Charlotte, Dick, Hadyn, Patrick, Roger H, Roger S, Sandra, Sue, Tom, Tony and featured artist Jane.
