As I painted I thought about how similar the onset of
this project is to when I get an idea for a novel. Usually a novel starts with
a specific character trait or a unique idea. Then, as I plot out the concept, I
watch as the book gradually comes to life.
I encountered surprising details and twists as I
brushed the seahorse to life on the wood. I didn’t know she’d end up with
swoopy tendrils on her head. As I thought about what to paint next, I took
hints from the knots and whorls in the wood. I find this happens a lot while
working on a novel. I’ll wake in the middle of the night struck by a fresh
idea. I’ll hear a conversation or conjure a memory and the pieces come
together. I follow the creativity to see where it’ll lead.
I took breaks from painting to google what actual
seahorses look like. Of course I veered from the actual depiction of a
seahorse, but that was part of the fun—knowing what I was veering from and
having a solid visual to begin with. One of my favorite things about my
vocation is that I consider reading novels a necessary part of my work. Research.
It’s pretty cool when you think about it. My creative
process shows up in everything I do. It’s more than a formula or a systematic
methodology. It’s a way of life. Painting a seahorse (this one in all her quirky glory) is a far cry from writing an entire full-length novel. Except my
approach to both felt amusingly familiar.
To
see a World in a Grain of Sand
And
a Heaven in a Wild Flower,
Hold
Infinity in the palm of your hand
And Eternity in an hour.
~ William Blake
Wonderful! I love it!
ReplyDeleteThanks! xoxo
Delete