In college I loved the space the painters created in their studios. Small light filled cubicles that were overflowing with creativity. I loved to walk through the studio spaces and see painters at work – their canvases filled with color. I’d go to class and often find myself back strolling through the paint studios and would be amazed to find the canvases completely changed. I often wondered about all the art under the final painting. They had their short life in the light and they did their job well.
From watching the abstract artists at work those many years ago, I became a fan of abstract art. Perhaps appreciation was born from experiencing the creation.
My activity this past year on the artist trading card sites has drawn me back into making more art besides my regular drawings. Because of a collaborative journal exchange with some other artists there, I came across the term Outsider Art. Outsider Art (click to read about it on Wikipedia).
Jean Dubuffets "Monument au Phantom" in Houston. Photo by seoul polaris
French avant-garde painter, Jean Dubuffet, coined the term Art Brut – meaning raw art. Art that has been created by non traditionally trained people, working outside of the aesthetic norm. I think that most of us artists like to think we are working outside the aesthetic norm – but he specifically refers to art such as created by psychiatric patients, prisoners and even children. You’ll recognize Dubuffets work – here is a piece we have in Houston. It used to be down town in front of buildings but it recently moved to the fabulous new Discover Green Park downtown.
In 1972 an art critic began calling this raw art – outsider art. But this term is now used in a broader sense that includes self taught artists, naïve art makers and even some folk artists.
That is really putting it simply. But it is fascinating to view true raw art from institutionalized people that didn’t have formal training and art became an outlet, a friend, a path. Viewing it with the art of a formally trained artist, (one that’s calling themselves an outsider artist) – there is something different. I don’t know what exactly that one thing might be that is different, more intriguing. There is something beautiful about the untrained hand – like the style we see in childrens art that adults simply cannot recreate.
My absolute favorite is Judith Scott – fiber artist. Click to read the story on Wikipedia. Maybe it’s her story, maybe it’s the energy of the pieces that thrill me. I am enthralled with her work. Here is a photo of my favorite piece of hers. I don’t know why I love it. I urge you to seek out her incredible story – there is a book and a film.
Much of this art appeals to me. Until you have lifted a brush to a blank canvas you don’t know the feeling of letting go and letting it flow out of you. I don’t speak for all artists, but when I create I’m in a state of timelessness, the zone as it’s called. It’s a meditative thing. To achieve that though you also have to let go of all the emotional stuff – will it be good? Will anyone like it? Am I wasting my time? I’ve ruined it. Why did I think I could create this? (And by “blank canvas” I refer to all art – pen to paper, camera to subject, voice to sound, body to performance…)
But try as I might, I cannot create that look of true art brut. (Even ‘not’ trying.) But the exercise was a beautiful one, a meditation. A letting go. And that is always a good lesson.
Here is my try after first learning about outsider art - Watercolor, ink, pencil, 9"x12" Julie Howell
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