Counsel no 9 : be an artist
One must assume the role of artist in order to be recognized as one or to make inroads in the art world. But what does it mean to be an artist? Are we artists simply by virtue of the fact that we make art? Is it more that art is the name that we give to the things that we make? What comes first: the artist or the art? The egg or the chicken? Is everything that an artist does art? That depends - sometimes yes, sometimes no.
There are artists who nourish a practice in a very precise way, who operate almost mechanically and produce magic. Others are perpetually contaminated by their artistic "state", living a right-brained life seated in intuition, creativity and mystical ecstasy. Others ally themselves adroitly with their rational side, pragmatic and left-brained. It doesn't matter how eccentric the behavior of a self-titled artist, he or she will find dignity in being considered so as soon as they cultivate a practice. This is the notion of the ethic of the workshop/studio. By casting a phenomenological look at the question, we discover that it is not the artist or the art that takes precedence, but moreover it is the maintenance of an artistic practice. We can observe a practice; it stands between an artist and his work.
When we say "this is art", are we thinking of a particular work? It is perhaps more as if we conceptualize the principle of art. What is it that we understand by this principle?
- beauty
- the sublime
- the accomplished
- substance
- resonance
The artist is he or she who is devoted to an artistic practice, who nourishes and cultivates a creative space, like an alchemist or a sage. This practice (often) involves research and discovery. The exercise of producing plastic propositions - and this applies to a variety of disciplines, from performance to painting, video, photography, sculpture and happenings - permits us to generate some "proofs" of our concepts. Some "proofs" prove to be more conclusive or satisfying than others. What I find interesting is to step back from one's work (an individual piece) and to see the entirety of a series or corpus of work, keeping in mind one's notions of development and progress. The practice, in progress, in becoming, is the heart of art, the anchor towards which we must return and from which we derive satisfaction. Not in glory or fame, or even success (commercial or otherwise). This way we guard against certain deceptions, maintaining a distance from the illusory and vain world of renown, that can never satisfy, and is like an unquenchable thirst.
But what then are we progressing towards? What is the end-game of an artistic process? There are as many answers to that as there are artistic practices; the processes themselves are muted by mixed motives, and above all by a subjectivity that is sovereign, rendering a work unique and attractive. The viewer, perhaps not sensitive to the vulnerability inherent in all art works offered up to the world, cannot but be softened by the spectacle. This tenderness arises from the echo of the subjectivity of the work, and brings one to reflect, to feel, to question etc. And this is one of the man reasons for continuing to produce art: the potential for all works to touch the heart of the viewer, so that she may rediscover her own subjectivity, vulnerability, humanity ...
We should be proud to be artists, whether or not that fact is respected by our immediate entourage; whether or not we are recognized as such by our significant other.. We live in an era of "presumption of culture", or art which is at the same time consumed as commodity, and denigrated, the moment it is not the "cup of tea" of the audience, or not in good taste. Picasso once said "Good taste is the enemy of creativity". From the moment we cultivate a practice and that we are engaged in this living process which is the making of art, do not doubt that we are artists. It isn't necessary to be represented by a gallery, or even to sell works. If you ask me, it is preferable to integrate oneself into a community of artists, to share our practice, to exhibit regularly and to take part in other types of artistic endeavors. Most of all, it is crucial to find a way to integrate our practice into our lives, and to accord it a place of importance.
Finally, because not everything smells of roses in the art world; we will find there jealousies, betrayals, mockeries, isolation and exclusion, it is important to learn how to be diplomatic. We can try to avoid cultivating the animosity that can arise between individuals of our tribe, this very small milieu of artists. We need to learn as well how to defend our metier, when the opportunity comes up, to those who are not of the art world. We cannot convert the public is one fell swoop. We need to find the arguments that will best explain why art is important and why it is necessary to continue this axis of civilization that is art. We will resist the pressures that want to shut us down. They exist. Without having to draw too much attention to them, we should proudly embark on this mission.
- Translation by Judith Brisson