Assignment 2 consists of 60 – 80 lines of poetry (or 1500 words of prose) with a 350 word reflection.
The Creative Pieces
The Creative Rush
Lifting my head, I mix ochre with moon-dust.
A little stroke upon the palette,
like close-knit friends
who haven’t yet met.
A heavy pause hangs in the air
I now feel somewhat hesitant
Unsure if that is
what I really meant
With a swirl, I surrender the pigment
to the expanse of white
with a frenzied might
But just as I am about to make the final motion
I feel a tingle and halt
I have learned to heed
this type of jolt.
Slowly, I lower my head and study with a trembling heart
Seeing patterns unseen before
to the newly-coloured floor.
With a deft stroke, I drown myself in vermillion
Darkening until it’s like blood
that’s dried deep
into hardened mud.
And finally with confident abandon
I rise again to the textured patch
And know that it
has met its match
The artist thinks this is all his doing
With his fumbling creative rush
But it’s really me, the inspiring one
For I am the paintbrush.
Glistening and pristine, flaunting its purity.
White, not like static but more like fresh bed sheets
With wefts and warps that warp themselves into tightly bound cloth.
Bound by the borders that edge so sharp, so straight
Framed and aligned tightly, swaddled like a baby
Yet not inflexible… it takes great effort to make it twitch.
With a diamond heart but a texture that itches for contact
Woven and coated, not a coat of arms yet the gesso still shields it from danger.
One step back and it gleams like glass but close inspection exposes its hemp heritage.
No stapled limitations for the painter, unsightly edges of overspill
Nor board with glue, glue that leaks and speaks and remains weak like a fake artist
Corners are wedged dove joints, joints that seek strength with calcium and vitamin D.
Emptiness everywhere, a vast expanse of nothingness
Awaiting the muse, or news, or views that expand upon its consciousness
A burgeoning blankness broadcasts volumes with its silence.
Digitalised art illusioned into analogue
The electronic prince, whose prints permeate walls of homes and galleries,
gathering warmth to the world of portraits and landscapes.
Expansion beyond the initial boundaries
Linking many pieces, portions of art collated by piecemeal
Less is not more, for more imagines a more eloquent picture.
Replete, complete. An artist stands back to gaze.
The critic examines; miniscule arguments raging within.
Art dealer displays, patron pays, and the cycle begins once more.
I am the Wall
Creative Rush began while using artwork as visual stimuli. When looking at art, I was struck more by the process of creation than the individual artworks themselves. One thing they all had in common was the “creative muse” as an inspiration source. I dissected the elements of a painting and liked the concepts of equipment – paintbrush, canvas, paints, artist, stool etc. “Creative Rush” flowed quickly at this time, and was made up of 25 lines of 3 lined stanzas. Later, while editing, I added stanzas and removed some, picking the best ones to explain the journey of the paintbrush. Eventually, I reworked it to such an extent it became a 4 line per stanza poem.
Expanding the concept further was needed to meet the assignment requirements. Using wordlists as shown in earlier weeks (including word pools of association) “Canvas” began to emerge. “Canvas” was a hard poem to create, finding word-leaps that go with the term ‘canvas’ were limited and I wanted something slightly abstract. I invented the word ‘illusioned’ for this piece as it seemed appropriate. Extensive editing of word choice (touch became contact, shows became exposes, speaks became broadcasts, etc) helped to build the piece, using alliteration and leapfrog association where possible (eg: coated… coat of arms… shield). Embodying some of the technical aspects of canvas was important to give it authenticity. “Wefts and warps”, “diamond heart”, “gesso” etc are terms relating to the canvas’ creation – the joints are sealed before stapling with glue (CaCO3) that includes calcium and is dried in the sun (calcium and vitamin D).
‘I am the Wall’ came to me a week later, as a visual poem, without any obvious trigger. However, I realised that the wall was, in fact, the most crucial part. A painting will have no effect – no story to tell – if it isn’t displayed. The wall was absolutely essential to the creative muse. It represents the mask we show in public, no matter the torture we have had to endure with the paintbrush and canvas! Through this process I have discovered I used the intangible ‘creative muse’ as a referent because I believe that artists DO see it as a very significant object that is the source of their inspiration.