PRACTICAL PAINTING

General tips for myself and others painting

DO NOT FORCE YOURSELF    As the only compulsion conducive to the practice in painting is Your inner imperative. This in pure form happens to give voice to Your own unique essence, Your joy and will to exist, and the intention to strengthen this existence. The compulsion most often appears as a fragile fleeting desire, a not-precisely defined need. If you do not satisfy this fragile desire at the moment of its appearance, it will irretrievably go by, and your existence  - in this aspect – will weaken.

Reacting positively, you have an opportunity to give voice to your interest, passion or fascination in your work. You will record your observations; you will write down your thoughts as nobody has ever done before you. You can write down you own thought !!! While examining own works, you gain then an opportunity to learn yourself, to look at yourself at a distance, as if you were a mirror for you yourself. It is the mirror of your potential abilities. It depends on your care how useful this tool becomes. Thanks to it you can be either less or more.

Each time you allow this natural and fragile desire to flow away, you lose an opportunity to enter the higher level of relationship to the world. This level is the state in which you have a constant conversation with everything surrounding you, the conversation through own performances. Works following next works allow you to brush up the language of this conversation. By perfecting the means, you become somebody indispensable for its continuity - you draw on it true satisfaction or sometimes simply experience the feeling of happiness.

Not many people take pains to practice in painting; much more simply deal with painting. What is the difference? Well, dealing with painting reminds me of doing the shopping in a big shop. The goods manufactured a long time ago are quietly lying on shelves and waiting, while you are walking between bookshelves focusing only on seemingly knowable, tame and own things. Stunned with plentitude, you forget that you cannot influence what you are looking at; you are only active on the outside by moving your body. Most often your mind settles for the very flicker and abundance of phenomena. To deal with painting in such a way, you do not have to either own or use any painting technique; there is no need for you to have a studio, paints or easels. You are free of any doubts and suspense that accompany any individual quest. Dealing with painting means working with things performed by other or yourself in the past. While trying to read and understand pictures created by others, you can also create, formulate own ideas - you can enrich the interpretation. You can also find a lot of satisfaction in it. You can at last earn some money. But you are in the danger of getting stuck in the history of art that is, in a sense, a graveyard for ideas, the rubble of works and their fragments, both alien to you.

Alienation and overwhelming multitude of output of generations is a kind of trap laid by history. They might cause losing one’s bearings, falling into confusion, sinking into decline, in spite of a chance the man has by living here and now. Of course, the past is a source of inspiring energies and worth drawing on it to find constantly vivid powers.

Active approach to painting and problems of a picture change you into a subject of any activities. Not only are your a seller of images but also their producer, deliverer, wholesaler, and finally the President of the company managing pictures that you propose and present to the world. Due to this active approach you start changing your environment; you influence it positively by changing and enriching. You perceive yourself as an indispensable part of the world, being – as all its elements – running. You participate in energy transformations, in creating spiritual values. You do not concentrate on images from the past but - with joy - you design and perform new ones.

Painters are specialists in image creation. Most often, a young man takes pains and a risk connected with creating new, original ground for expression within the confines of painting. Yet, if he or she more or less succeeds, and there is adequate public reception, the painter often quits practice in painting and start cultivating his painting, that is repeating previously painted pictures. By taking care of sophisticated aesthesis and form cohesion, he develops a style understood as a necessary manifestation of so-called personality. And yet I say that personality is a false appearance, a tool for social constraint and pressure and, as I see it, has nothing in common with art. A trainee in painting should, first of all, deal with the potency of visual language and creation of new concepts. The need for their existence has been incessantly germinating in reality.

RESPOND TO IMPULSES       
When you feel an impulse to paint something, have some - even if most modest - painting materials (support, brushes, paints) prepared beforehand, have them near at hand to be able to satisfy your need at the moment of its appearance. Having no professional materials, reach for what you have near at hand, use objects from your surroundings in a new way. Do not be hampered with their common usage. Use chosen means boldly and decidedly. Work fast and with determination but not for a long time in the first attempt. Take your time for calm and kind self-observation.

THINK AND ACT          
A painting person may immerse himself in a picture. The immersion means momentary voluntary resignation from total control over the world during the very process of creating a picture. At that moment, the painting person intentionally suspends critical abilities of own mind, somehow diving into illusory, potential and boundless space of the picture he is creating. It is accompanied by momentary (sometimes for a split second) break-up with practical side of reality. Turning braking control off just allows to act in an unhampered way, with no inhibition and without shame. When we turn down an inhibitory need for constant comparison, without any pains we will discover that painting is simple, because everything is a picture. An experience of surprising with a picture is a practical result of this discovery. Here a painting person is the first one to be surprised with what he has done.

Pictures are born in mind, and unidentified matter of the mind is their support. Even though there is no definition, the mind can be recognized or remain in emotional blackout. Unrecognized mind cannot be free; it is not the place for creating pictures that directly emerge from the area of potency. It is therefore so crucial to turn mind in a sense into one of applied tools.

If a painting person wants to paint pictures free from randomness and to experience surprises of universal nature only, he or she should master own painting ability in practice. This notion has in store three skills that everybody can develop.

I SKILL OF OBSERVATION                  
The thing is to use physiological ability of the sense of vision. The vision makes us not only see but perceive what we see. We perceive energetic features of objects and creatures. We also perceive their symbolic potencial not in isolation but in full unification. Expressing it directly, it is this moment when we do not observe any difference between eye and perception.

II AWARENESS OF A CAUSE             
Are we aware why we practice painting? We always try to experience what we work with in its all. We know what causes us to feel the most profound satisfaction in painting. We simultaneously wish others would find satisfaction in our works and experience positive impressions.

III SKILLS OF TECHNIQUE                   
They are designed for preparation, selection and adequate application of materials adequate for less or more conscious cause of painting.  Having these skills mixed with intuition, we are able to perform what we want. And it means that, first of all, we are able to improvise during the work with a picture.

Skills of technique are too often put in the first place as the most important value of an artwork. It is most often accompanied by forgetting about the first two fundamental skills: perception and cause. A trainee should strive for equilibrium of these three skills.

Only the achievement of all the three skill at an equal level and maintaining them in a state of dynamic, unconstrained balance would open to a painting person the possibility to perform pictures as significant acts of freedom.

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