![]() ![]() By understanding our intention, we can understand where we are and where we are going and thus determine what we need to do. This is the basis of real critique, not to be mistaken or exchanged for criticism. These so-called “mistakes” can be our greatest teachers. These opportunities for change and growth all contain something revealing – perhaps unique and beautiful in their own way – the wabi-sabi nature of things, the perfection of imperfection. It doesn’t matter whether your intention is “I want to just play with color, push it around and see what happens” or, “I want to capture the feeling for this landscape using a composition based on the golden section in a high key that is uplifting and moves people to feel joyous.” It’s your intention and there are no mistakes, only opportunities that show you where you are in relation to your intention. This statement is not said with the design to establish a hierarchy of work but rather to emphasize the importance of intention within the creative process and the role of improvisation. ![]() To create extraordinary works that have the power to move most people is actually quite rare. It is a real paradox of the artistic journey that we have to learn and master our craft in order to transcend it. It is part of the process of being an artist, and of course, is related to intention. We have all seen works that may have great, admirable, and technical prowess but perhaps lack a certain something that propels them from the ordinary to the extraordinary – I am certainly responsible for creating my fair share of these. From the choice of tools, medium and ground, to composition, values, tonal key, paint application, details, etc., a piece “works” when the various elements are in alignment with, (or at least don’t detract from) the intention. It creates what I like to call “the energy field” of the piece and it is the foundation on which all other elements rest. When I teach workshops I always emphasize how intention is the most important factor in the artistic process. It was a cloudy day so I had the opportunity to work on it for 4 to 5 hours straight and bring it to a place where it felt complete while working on location. I tried to capture that in this painting. I have always felt an affinity for waterfalls – both awe at the raw power of nature and the sublime beauty and mystery they evoke. Regis Falls, Adirondacks, a few years ago. “Her Beauty and Power” (oil on linen, 24 x 30 in.) is a plein air painting done at the Saranac Lake Plein Air Festival in St. is given shape by its container – or lack thereof – and by the energy that moves it. The shape of water, like air or vapor, etc. In that situation, you are dealing primarily with reflection, transparency, and translucence – plenty to deal with. The exception is a totally still body of water, like a mountain lake without wind. Like clouds, sunsets, and many natural phenomena, they are constantly moving. Painting water and water in motion is always a challenge. In addition to technique, your intention and ability to improvise play a key role in painting waterfalls and waves, and in creativity.
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