Elizabeth Priddy on tue 2 mar 10
"imitate, assimilate, innovate"
I just got back from Austin, Texas where I taught a two day workshop on chi=
nese brushpainting. The workshop drew 20 people from all over Texas.
On the first day, I demonstrated and talked about how CBP is traditionally =
taught and learned. I explained how I would deviate from that by allowing =
questions and by repeating the information as needed.
I was using an ancient instrument, the compound brush, and modern materials=
, velvet underglazes that mix true unfired. The fusion of the two allows f=
or something new.
I told them in the lecture that all 2o of them would be painting something =
different by the end of day 2 and that their personal experience and likes =
would guide them toward their subjects to paint and that I would help them =
understand how to break them down into patterns to paint that would suggest=
their subjects rather than rendering them.
Many of them indicated that they could not draw. I told them it was ok, I =
was not relying on their drawing ability but rather their knowledge of thei=
r subjects. So choose something you love and understand to paint.
By day two, they were using the ancient tools and modern ceramic pigments t=
o share their love of something on clay media.
Each and every one of them chose something different from the others. Each=
of them created something new and unique.
I took the process of drawing and made it seem like something else, legitim=
ately changing their perception of their activity. They were drawing beaut=
ifully because I told them they were choosing shapes to represent objects, =
using he brush to create the shapes, and accurately placing the brush marks=
relying on their internalized perception of their subjects. So without dr=
awing, they were representing the images in their minds on the clay. No ne=
ed to draw at all.
Perception is everything. If you can break the hold that perception has on=
an activity, you can redefine the activity as something do-able. This is =
the essence of teaching difficult subjects, like painting.
I think that copying is a useful and important step in learning art, but I =
think that other methods should be used concurrently to keep the student fr=
om being overwhelmed by the vast amount of information they need to absorb =
and then return. Choosing subjects and painting from life or photographs i=
s the end goal, innovation, and so I want them building that muscle from th=
e start, rather than asking them to suddenly switch gears when they get to =
the real tasks.
I am rambling. I had a wonderful time in Texas and can recommend anyone lo=
oking for a place to do clay anywhere near Austin, "Clayways" run by Kit Ad=
ams. Her facilities are incredible and her attitude and energy make the cl=
ay center there an exciting environment. I cannot recommend it more highly=
.
Elizabeth
- ePriddy
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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