Speaking
Earlier this week I received an email from one of our readers, Dara Meunier who came across an article and quote by Luann Udell that she thought we all might enjoy …
“Take what speaks TO you; tranform it into what speaks OF you.”
I had to wholeheartedly agree with this sentiment. Whether we are cognizant of it or not, our art is a translation of the things we see and experience in this world, things we found that spoke to us in some way. Udell’s article is about this translation in the context of looking at other people’s art work. We see other artists doing something we really like and find ourselves inclined to want to either create the same work or do something quite similar. Of course, that pushes us towards the deep, dark realm of copying but not only that, it influences our own personal voice, the source of originality we could be instilling in our work.
I think looking at other polymer artists is important to expand our view of what is possible and as a means to inspire and motivate us. On the other hand, I do agree that we may let what we see influence us too greatly or more precisely, too directly. The art we find we would like to try our hand at should not be translated through just our skill set–that’s not really translating but more copying within the limitations of what we are presently capable of–rather we should filter inspiring work through who we are, our spirit and our particular view of the world. Let what you do “speak OF you”. Otherwise it is not art, as art by definition is personal expression; recreating someone else’s object of expression is just fabrication, nothing more, and certainly nothing that is uniquely you. And showing the unique you is where the true beauty of a piece will come from.
Jump over to Luann Udell’s very honest and down to earth article about these ideas.
Thanks, Dara, for sharing this with us.
This article implies that it is never OK to copy. Well I agree in principle but, we learn by copying. Why else are there YouTube videos, magazines and books? Yes, we should put our own original spin on things, but how else will we learn, if not to copy what others have learned.
Where would we be without a Skinner blend? I didn’t think of that, Judith Skinner did. That doesn’t mean I, and many others don’t use it. There are many other examples of this for example Mokume Gane. I didn’t think of it, but I use it.
Of course, I don’t consider myself and “artist”, I’m a crafter, and there is a difference.
Love your column and the magazine.
Perhaps there needs to be a more definitive word or re-defining of copying. A Skinner blend is really a skill like knowing how to properly reduce a cane or slicing mokume gane. Copying a design or project, however is a way to learn but not necessary. In art school we were never allowed to copy anything. We were taught a skill or approach and then we were required to develop our own designs and find our own inspiration and imagery. If you copied anything even just once, you failed the class. But yes, there are crafters and there are artists and both are valid and have their place. As long as the crafters don’t copy and sell work, damanging the original artist’s ability to make the income they should off their work and as long as people don’t claim designs as their own. I’ve always felt the truly important thing is that we are creating. I think creating on some level is as essential to being human as food, water, air, shelter and companionship. But that’s me … 🙂
“Steal Like an Artist” written by Austin Kleon spoke volumes to me. An excerpt was featured in American Craft magazine (june, july 2012 issue). Copying is the best stepping stone in the learning and developing process. Emulate, get the process down, then create with our own approach and signature. Whether we are an artist or a craftperson, there really is no joy in duplicating someone else’s work. We craft and we make because that is how we express ourselves, and that is where we will start to deviate, evolve and grow from inspirations. Visuals to me are trigger points, they are my fuel that get the creative cylinders going, I have admired Udell’s and Tory Hughes’ work for a long time. And because of what they have published, I was able to take faux bone to my corner and played with it. When the work is ready to be shown in public, I have often moved on to new pastures, ready to tackle new ideas. If I am worried about who will copy me, I am most likely not growing, not evolving with my art.