Agnes Martin on Inspiration

Artist Agnes Martin on Inspiration, Interruptions, Cultivating a Creative Atmosphere, and the Only Type of Person You Should Allow Into Your Studio

(reposted from http://www.brainpickings.org )

“The development of sensibility is the most important thing for children and adults alike, but is much more possible for children…. Adults are very busy, taught to run all the time. You cannot run and be very aware of your inspirations.”

By Maria Popova

During my annual surrender to a week of forced extroversion, I was acutely reminded of the perils of interruption in creative work. Although studies of the psychology of the optimal creative environment indicate that some artists and writers thrive when surrounded by stimulation, most creative work requires unburdened space and uninterrupted time for what Mary Oliver calls “that wild, silky part of ourselves” — also known by its commonplace name, inspiration — to reveal itself.
The nature of that wild, silky part and the conditions that best coax it forth is what the great artist Agnes Martin (March 22, 1912–December 16, 2004) examines with uncommon insight in her handwritten notes for a student lecture, included in the magnificent monograph Agnes Martin: Paintings, Writings, Remembrances (public library), edited by Martin’s longtime friend and Pace Gallery founder Arne Glimcher.

Agnes Martin at her studio in New Mexico, 1953 (Photograph: Mildred Tolbert)

Martin begins with the often troublesome relationship between the artist’s ego and the artist’s art:

I have sometimes, in my mind, put myself ahead of my work and have suffered in consequence. I thought me, me and I suffered and the work suffered and for that I suffered more. I thought I was important. I was taught to think that. I looked very big and the work small. But now I see it quite differently. To think I am big and the work big, the position of pride, is not possible and to think I am small and the work small, the position of modesty, is not possible.

The only possible position for creative work, Martin suggests, is the position of inspiration, which she considers “the beginning and end of all art work.” For this notoriously elusive grab-bag concept she offers the crispest yet most expansive definition I have yet encountered:

An inspiration is a happy moment that takes us by surprise.
Many people are so startled by an inspiration or a condition of inspiration, which is so different from daily care, that they think that they are unique in having had it. Nothing could be further from the truth. Inspiration is there all the time for anyone whose mind is not covered over with thoughts and concerns, and [it is] used by everyone whether they realize it or not.
[…]
It is an untroubled state of mind. Of course, we know that an untroubled state of mind cannot last, so we say that inspiration comes and goes, but it is there all the time waiting for us to be untroubled again. We can therefore say that it is pervasive.

In a sentiment that echoes and adds dimension to Picasso’s famous proclamation that every child is an artist, Martin considers how our relationship with inspiration evolves over the course of a lifetime:

Young children have more time in which they are untroubled than adults. They have therefore more inspirations than adults. The moments of inspiration added together make what we refer to as sensibility — defined in the dictionary as “response to higher feelings.” The development of sensibility is the most important thing for children and adults alike, but is much more possible for children.

But inspiration, Martin argues, cannot be controlled or willed — it can only be surrendered to. She illustrates this by way of the child:

What is the experience of the small child in the dirt? He suddenly feels happy, rolls in the dirt probably, feels free, laughs and runs and falls. His face is shining… “The light was extraordinary, the feeling was extraordinary” is the way in which many adults describe moments of inspiration. Although they have had them all their lives they never really recall them and are always taken by surprise. Adults are very busy, taught to run all the time. You cannot run and be very aware of your inspirations.

It’s a sentiment that pierces our modern condition and calls Kierkegaard to mind — as he contemplated our greatest source of unhappiness more than a century earlier, the Danish philosopher lamented: “Of all ridiculous things the most ridiculous seems to me, to be busy — to be a man who is brisk about his food and his work.” To counter this ridiculousness, Martin urges artists to create a sanctuary for inspiration — a space devoid of busyness and dedicated to unburdened clarity of mind, with “no telephone,” where one is “to be disturbed only if the house is burning.” A century and a half after Delacroix admonished against social distractions in creative work, she counsels aspiring artists:

A studio is not a place in which to talk to friends. You will hate your friends if they destroy the atmosphere of your studio. As an artist you will have to try and live with inspiration. You are not like the little boy in the dirt free and open. The whole world which you now know intrudes. It is almost hopeless to expect clarity of mind. It is hopeless if your studio atmosphere cannot be preserved.

But there is one kind of person who should be allowed, even invited, into the artist’s studio — the kind that calls to mind Patti Smith’s notion of those who magnify your spirit. Martin writes:

There are some people to be allowed into the studio, however, who will not destroy the atmosphere but will bring encouragement and who are an absolute necessity in the field of art. They are not personal friends. Personal friends are a different thing entirely and should be met in cafés. They are Friends of Art.
Friends of art are people with very highly developed sensibilities whose inspiration leads them to devote their lives to the promotion of art work and to bringing it before the public.

Such “friends of art,” Martin argues, bring with them a highly attuned intuition — intuition being, of course, merely the accretion of experience-encoded discernment — which can help guide the artist closer to his or her own truth:

When they come to see the work it is not to judge it but to enjoy it… When these friends of art come to your studio they should be treated as honored guests, otherwise you will destroy the atmosphere of your studio yourself. If you are not ready to do this, be sure to wait till you are ready. The premature showing of work when you are perhaps struggling and even fighting is an unnecessary suffering. You will know when you are really ready.

Because the studio should be a sacred space for the untroubled mind, Martin recommends avoiding physical clutter in order to prevent mental clutter:

You must clean and arrange your studio in a way that will forward a quiet state of mind. This cautious care of atmosphere is really needed to show respect for the work. Respect for art work and everything connected with it, one’s own and that of everyone else, must be maintained and forwarded. No disrespect, carelessness or ego [and] selfishness must be allowed to interfere if it can be prevented. Indifference and antagonism are easily detected — you should take such people out immediately. Just turning the paintings to the wall is not enough. You yourself should not go to your studio in an indifferent or fighting mood.

Spirit.

Why do you write?

The general answers may vary, but I am convinced that people write specifically because they are animated by a guiding spirit. It's what fires their typing fingers and speeds their pens. Something deep within you keeps you burning the midnight oil to keep writing on long after the initial fervor burns out. It's something which is invisible, yet produces page after page of highly visible words- stories- tale: A Vision, meant to be shared with the world.

What you do, as a writer (go ahead, dare to call yourself one) is special. If you're still a bit timid about calling yourself a writer, then here- take a knee (internally or otherwise). I've taken up my sword letter opener from my desk! By the spirit within you, I dub you Writer of words. Rise a Writer, or not at all! Beware the naysayer and self-doubt- but be quick to safeguard others, by word and by deed. Write! and fear no darkness! For your words are Powerful - and even more so as you continue to hone your craft and art unto perfection.

Rise a Writer.
Rise a fellow Adventurer into the Realms yet unknown.
Writer so that others, too, shall take up the pen and the keyboard, and with their imagination, heart, and guiding spirit, inspire others to take heart in their own journeys.

May the pain of your next writer's block ever remind you of your oath.

Welcome, fellow Writer!

 

Louis Borges on Writing...

 Poet Jorge Luis Borges once wrote,

"It’s possible that the fact that literature has been commercialized now in a way it never was before has had an influence. That is, the fact that people now talk about “bestsellers,” that fashion has an influence (something that didn’t use to happen). I remember that when I began to write, we never thought about the success or failure of a book. What’s called “success” now didn’t exist at that time. And what’s called “failure” was taken for granted. One wrote for oneself and, maybe, as Stevenson used to say, for a small group of friends. On the other hand, one now thinks of sales. I know there are writers who publicly announce they’ve had their fifth, sixth, or seventh edition released and that they’ve earned such and such an amount of money. All that would have appeared totally ridiculous when I was a young man; it would have appeared incredible. People would have thought that a writer who talks about what he earns on his books is implying: “I know what I write is bad but I do it for financial reasons or because I have to support my family.” So I view that attitude almost as a form of modesty. Or of plain foolishness."

As I'm preparing to publish my first two works, Rienspel and The Grey Isle Tale, I've been furiously studying other authors' suggestion on the process. But something kept bugging me the whole time... see, I'm not writing to get rich (Sure, it would be nice...) - but because I simply love what I write, and write what I love. Trying to figure out the whole process has been a bit intimidating, sure. I don't really feel like I have the zillions of dollars to simply bankroll my way through hiring an agent - and I don't really think I have any notable connections with the publishing world, either. I'm not exactly a household name, nor do I have anything remarkable to really contribute to the twittersphere, either. 

But that's ok. Perfectly ok, actually. I am writing what I love. I hope if you read what I write, you enjoy it too. That's it. That's all I'm going for here. CS Lewis also said something encouraging about originality, which helped keep me going too:

 "Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often is has been told before) you will, nine times out of ten, become original without ever having noticed in."

So if you're a writer- write. If you're a singer- sing. If you're a gamer- game. And leave all thought of public opinion and propriety in the dust where they belong.

-Ryan

Rienspelling the Morning Away...

I cannot wait until Rienspel is published.
Seriously.

I woke up this morning and the winds which punctuate these late midwestern storms like so many commas were blowing through my backyard's trees. Later on, still thinking about the indescribable feeling I get when I think about Rienspel - the feel which has grown up from one single simple map sketch into a raging torrent of words and pages into this singularly great story... oh, I'm excited for it to be published.

I've learned if I focus on it too long - like strong drink or heady perfume - the feel can fill me up and make me ache. Like I said - it's kinda hard to describe. I want you to know, faithful reader, how each page, each character was worked over carefully. I know most of those reading this post are not numbered among the very few beta-readers I use... but oh, you are in for a treat.

You've probably noticed how I'm working on a different novel right now... The Grey Isle (The Path of Flames ? - I dunno, I'm still working on a title). And you're probably asking yourself, right along with me, hey Ryan - why don't you just keep working on Rienspel? You know... we're all going to want to get our paws on book two of the Phoenix of Redd series once we're finished! Well, the truth is I can't right now. Oh sure, I mean I can physically sit down at my desk and write, for sure... but I can't write IT yet. Writing something like this, which means so terribly much to me (and you should hear how my wife, Steph, goes on about how I care too much about what I write...) takes something out of me. I have to recharge. I have to let my heart and spirit breathe after soaring so high into the starry heavens.

I want you to know that this story, which so many people have helped make possible for me to write and bring to you... (and please try to keep the eye-rolling to a minimum here) Rienspel WANTS to be written. It's like a sentient creature, or like some sort of tale whose particularly delicious aroma has wafted out over that tenuous wall which separates us from Faerie. (SHHHH. keep your thoughts down, will you! - or they'll hear!) Speak too loudly about even the idea and it vanishes. I'm serious. It's like the moment when you are dreaming and you fully realize it is a dream... and then the more you struggle to remain in dreamland the more rapidly you rise to waking. We adventure in perilous lands best left to unexpectedly lucky widow's sons.... lost princesses... and those who long... deep, deep in their hearts for something BETTER.

Rienspel is my shot at it. It's just a book, yes. But what a book! The ideas within them... the subtle presuppositions laced, layer over layer, beckon even me for something... some grand thing... which is deeper, higher and greater than we dare hope to realize...

But like I said, it's kinda hard to explain.

- Cheers

Ryan

ps- for a treat, check out the youtube playlist I arranged to get your Rienspeling whimsy going:

#whatgetsyouwriting:

#whatgetsyouwriting:

"Enlighten the people generally and tyranny and oppressions of the body and mind will vanish like evil spirits at the dawn of day."

- Thomas Jefferson

1816  

 

Rolling With the Unexpected

The flashing cursor. Just sitting there, taunting me.


As a writer, the only thing worse than flashing cursors is the sudden ADD impulse to get up from my laptop and go do anything else BUT write. Recently, I finished Rienspel and am toying, exploring, doing-battle-with, its sequel The Grey King. At first, of course, I continued with what I had written for Rienspel... because even as it's author, I HAD to know what happened next.

As I've continued this relentless writing adventure, I've learned a bit about my own writing style- and among other things (besides serially over using the em-dash ----), I've learned I don't like to plan things out ahead of time. I don't like it. It's against my nature, and I'll fight you street-brawl-style if you try and make me. I like to just sit down and keep writing- so I get to explore and feel the way out right along with the tale's own characters. Their excitement or terror is my own. I strive for immersive story-telling... plots and people which leap out of the page at you... scenes you can feel and move you... forests where you can smell the trees and land where you can feel the grass under your toes.

With this being said, I also nearly insist on writing with music on... especially if the emotional crecendoes are in-tune with the current scene or characters. When I eventually hit my first creative block by simply trying to continue writing where I had left off after Rienspel I was annoyed, but not surprised. I've learned by now about these pesky writer's block creatures, and I know a few tips and tricks to keep moving after encountering them. One such trick is one I call 'jumping tracks'. To perform Jumping Tracks, you need to identify the specific emotional style, or mood- the type of music or the generally predictable genre pattern you're in, and... Jump Tracks. For example - I obviously write in a specific fantasy-style (in case you haven't noticed from the theme and word usage of my posts here and on Facebook), recently, I decided to listen to classic rock instead of classical or instrumental game music... I opened up a different story stub I had begun and had abandoned some time ago, and started writing it again. And with what I knew needed to happen, generally, in The Grey King, I slowly realized this random story, with this completely different Western-High-Noon-style character gave me a brand new, fresh take on my story- simply by completely changing my ground-level point of view.

Jumping Tracks isn't just for clawing your way out of writer's block pits, though. You can use it while going to a particularly dreaded day at a boring, unfulfilling job, too! (and believe you me, I've had a couple of those before) See, I believe we are all actually characters in The Story. And so, if we are, we just have to Jump Tracks in our current story. The emotional humdrum mood we adopt when heading back into the daily grind is a sneaky version of the writer's block. We're 'stuck' from continuing our own story for an entire shift... or ARE we? Jump Tracks. Use your imagination to refresh yourself and take your situation from a brand new perspective and then go with it... and see where it takes you. You'll often find hidden magic along the way you would have probably never have otherwise even dreamed of.

I used to work at a gas station - and I hated it. That is, until I started trying to jump tracks, at least in my mental frame of mind... but, trying is half the battle in this case. I realized that working for long spells at the gas station made me assume everything was horrible in the world. And of course, anyone can discover with a few days off how simply untrue this is. So, if how I was feeling while working there did not mean what I thought it meant, then it could mean anything... anything! I started trying to identify vampires and revenants hiding in plain sight disguised as regulars! Once, as a joke, I anointed the doors with holy water and, I kid you not, some customers began literally being able to cross the threshold.... I guess my point is, there's a whole wide world we're living in. It REALLY IS magical. And more than a few of the old tales still hold true. We're apart of it, and if we want to continue discovering where our own stories lead, we have to get the ring to Rivendell- we have to seek out Yoda ourselves, we have to try and stop the Nazis from recovering the Ark of the Covenant.

We have to roll with the unexpected, and see our own story through.

-Ryan

thanks for reading!

How to Write Your Story.

How do you start writing that idea for a story you've harbored all those years?

 

Here's my thoughts:

That's awesome that you've got a book in mind... honestly, I just kept writing. 

Writing Rienspel wasn't all at once... there wasn't any set writing block...

- I just discovered that I like to write... whenever I'm done with 'what I'm supposed to be doing' whether it's homework or job stuff... I would write... however you need to do it, what ever it looks like- just write. 

Is it crappy? Write. 

Is it terrible never-going-to-be-published? Write. 

Is it secretly awesome? Write. 

Secondly, read. 

Read to be inspired. Read what you love. Not what you ought to love, but what you honestly could read all day. 

I actually started with a map... the map that's on the Rienspel page, actually. 

During college I was invited to go camping one weekend... but for some odd reason, I decided to pass. I found myself alone in my quiet dorm-room and just started drawing... a couple hours later there was this whole continent... and I thought to myself, well- it needs people. So I started dreaming up people. And then I knew there was a story there... .lots of stories! So I said, I'd better write them. 

And so I am. 

Simple. 

There's not a magic bullet answer for how to write a story- there's just writing and more writing- this is what's worked for me. 

In general, though- I suggest a couple of loose phases: Brainstorm- write up/draw up anything, everything- don't throw anything away- use friends to talk to/bother and focus solely on creating. Then take the general main elements which surface and research them. Anything- everything- Wikipedia is your friend! Also, for example, pay attention to repeating themes across other stories you love- you're probably noticing these re-occurring themes for a reason. go with it. Next, take what you've researched and as you're continuing to write, find ways to work it into your story. Next- keep reading and writing- but don't be afraid to explore other tangents. Find the main tangent, eventually, and focus on that one- otherwise you can lose momentum and start to rabbit trail (I did this). Re-write as many times as you need. You have an infinite amount of time- remember! Enjoy it. And if you're not enjoying it- take a break. But while you're forgetting about it- deep down, still remember. 

Surround yourself with influences which inspire you. Do whatever it takes to continually squelch the negative thoughts (that's what editors are for later). Eventually, you'll feel out how your own story concludes by where its process leads you. Go with it. I also highly recommend Patricia C Wrede's writing blog http://pcwrede.com/blog/ - feel free to bounce ideas off me anytime- too- here, on http://www.facebook.com/rienspel or at thephoenixofredd@aol.com.