Looking for some ideas how to put my FMP together in a logical as well as a creative way and while reading this weeks publication suggestions, I read considerations for publication and watched guest lecture by Victoria Forest.https://falmouthflexible.instructure.com/courses/249/pages/guest-lecture-victoria-forrest-june-18?module_item_id=12753

She is very bright and knowledgeable about design and format. Everything she spoke about made sense. When the opportunity comes my way, I would work with her in a heartbeat. Her video gave me some ideas how to format a publication, but also leads me to believe that I need a way to format my FMP. I will be going out to-morrow to scout the entrance of HWY 138 East to do some preliminary shots.

I also watched the talk by Annie Leibowitz. A few teeny bits of information was gleaned, but not very much.  She is not very good at answering questions, nor is she proficient talking about her craft and practice. I say this because very shortly after talking, she switched to the audience questions. She did not have much confidence answering questions either, to which she alluded a few times. Not my kind of photographer or photography in any way shape of form. There is ‘zero’ connection there with anything she had to say or show.

This week I looked at the work looked of Hans Hofmann Artist/Teacher, I find him to be a very interesting man for a number of reasons. Firstly, he managed to elevate himself from teacher to artist very late in his life after teaching for some twenty years.


His philosophy was: “Experiment, explore and dare.” I like this approach very much, as it leads to discovery by the unexpected, and goes hand in hand with my belief that true art is inspired, and from the outside, and by the help of a transcendental other. So, be it from a muse or by accident, the essence of it is, it from from without. Real art, true art, the real and only new.  All the rest is a copy.

Something still drives me to search deeper, I have had a brush with it, scratched the surface, of the transcendental other, so I know how it feels, and know that it exists on a personal level.  Or, as the old adage goes, it only takes ONE miracle to know that a hundred exist. Once this experience has occurred, compared to appropriation, or building on the past or the back and sweat of others, it is like a sighted person seeing the colour red as opposed to a blind person having the color red explained to them.  The gap or the chasm is so deep, and so wide, that without that experience, that gap can never be crossed.

But for now, it’s going to have to incubate for a while. Even if it means waiting another decade, that’s okay by me. The one who’s name is mentioned here, has cut the path, has set prescience. From this I can deduce that it is possible. He invented is own painting theory of ‘Push and Pull.’ Perspective by colour. That the space is as important, if not more important than the object.  Through line and if one has the ability to “Look” at something the right way, it is possible to see all kinds of form. That may not be apparent to everyone looking at an image.  These theories and practices are very applicable to the photographer.  Learning how to see and how to look is more than just going to a place and looking around, one has got to be able to see the invisible, and make it visible for the enjoyment of the viewer, by transforming  a metaphor into a visual emotion.

Annie Leibowitz https://falmouthflexible.instructure.com/courses/249/pages/presentation-annie-leibowitz?module_item_id=7980

Hans Hofmann. Reference: Amazon.com Hans Hofman: Artist/Teacher, Teacher/Artist.

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