by Diane, Painting my reality without camera references

Traditionally painters make plans like taking photos of their subject and making drawings of their composition before starting to transfer their final drawing onto the canvas. Then when all is perfectly planned, they paint.
          Rejecting tradition, I want the painting to be my first impulsive fresh statement capturing the vigor of my child- like enthusiasm. I try to summon my courage and go right for drawing in oil paints on my canvas. Of course my rejection of a safer path can result in more failures. Critics used to photographic reality will say my fox doesn't look like a fox. Most often I am the critical one meaning  correcting errors. For example, the dark background on the fox's right front leg is a distraction counter to the fluidity of the fox's movement. So I added more dark under the fox and transitional grays.

Convex belly,
left horizon line confused
right front leg

        During the past month of oil painting  fox in our backyard, I accept my depiction of anatomical inaccuracy trading it for lively exaggerations of gesture and color.  As I watch the fox, I am becoming more familiar and want to see if I can remember well enough to better capture an abstracted form on my canvas. I was not satisfied with my first paintings after continuing to study the foxes' flowing movements.  Before painting more oils, I drew in grays with sumi ink and washes of white acrylic ink.
   

The dark below the belly defined the belly as being concave
 because in order for the fox to have maximum spring
 the pelvis tilts down pulling the belly in before the apex of the jump as the back legs push
and the chest expands with air 

Other parts of my life come into play on how I am observing the fox. I have been learning Tai Chi Qi Gong for two months. So my co-ordination and memory of strange, slow, sneaky movements are foreign to my Western stiff tight neck and knees. I imagine myself as smooth and as a fox. but of course I am not.  I am becoming more aware of my breath and how I am distributing my weight and what it does to my bones as I move. So when I am drawing the fox, I can imagine the fox's body as if it were my body giving me a reality different than the camera's.  The fox has to move with the same principles as the practice of martial art. Interesting to make comparisons and record with a little distortion where the weight and breath is in the fox.
        Time to paint more memories of the fox, last seen on Monday. I sure hope one of the four foxes we watched, survives the predators.

        Not taking pictures with my phone, also, allows me to accept childlike distortion and simplification making the spirit of the gesture dominant.

I do not know if 6,000 years ago
when Qi Gong was first practiced
if the first masters
took inspiration from the movement of foxes.

by Diane: Humbled by research into the ch'i in Chinese painting

Swallows, oil, 11' x 14"
Movement in a painting is not enough to have ch'i

My research on the principle of ch'i in painting awoke me to my ignorance.  Compositional movement is not enough to have ch'i. To achieve ch'i, I would need complete focus meaning just one role in life as a scholar. To keep the ch'i flowing I would be painting in the lotus position or standing on my knees for maximum spirit moving  from my core to arms and fingers. During the act of painting I would not be observing and learning, but I would know the flight of the sparrows, not just in my mind, but in my muscles too.

         In the painting of swallows the two trees in the background is a Western devise for perspective. The trees are too much. The color of the flowers in the foreground is too much. Chi needs simplicity. Swallows with little environmental cues, swallows dominate in the picture would be more revealing of  the energy of life in the swallows. To have ch'i, I need to know and emulate paintings of swallows by Chinese painters from ages past. No can do! I depend on vibrant color.

  

          My goal is revised. I am not going to achieve ch'i but just let some of the principles of Chinese painting inform the development of just one painting,"Swallows". Specifically I am employing simplicity in my revision!

Removed all that distracted from seeing swallows first so their flight flows.

Please comment on which you prefer the energy of the colorful "Swallows" or the restrained one ?

My research details:
 After thinking about George  Rowley's book, PRINCIPLES OF CHINESE PAINTING, I realize ch'i is more than the simple translation, spirit of life.



I researched my own books to find as much as I can on the ch'i principle.

I am humbled by the realization that I was pompous to think I can pursue ch'i as a goal in my painting. I got a big head from being complimented by an admirer of my paintings who said my landscapes had chi. Reviewing my books I now understand that every aspect of  Chinese painters' lives fed their ch'i yun. " the way in which spirit (ch'i) manifests itself in their style.  (Page 14 in Rowley's  book.)

I am enthralled by this statement; Painting should be the playful pastime of a scholar, even though one should prepare to paint  "as if to receive an important guest."  Without diligence, painting will lack completeness so that Kuo Hsi advised working as if "guarding against a strong enemy".  Could this be a reference to the disciplined martial art of Tai Ch'i?  In Tai Ch'i  every change of pose in the continuous flow keeps the body in the best possible balance. Keeping all joints relaxed and unlocked allows the life force ch'i to flow.  Never over extending allowing an opponent to grab the arm and pull one off balance. Ch'i is applicable to Chinese brush painting and doesn't work so well in traditional oil painting as I was attempting in "Swallows."  I need my oil paint creamy and buttery to have control. To achieve the flow like Chinese watercolors the brush could be stiffened with rice starch while the Chinese watercolor would be the consistency of chicken broth. I will never have that skill.

..one should prepare to paint "as if to receive an important guest."  Infrequently I have the pleasant experience of my painting flowing as though a guest is directing me in all the right moves. A preparation is practice, practice, practice as in Chinese brush painting with traditional movement to become muscle memory.
     I am hoping that one of the side effects of practicing the martial art of Tai Ch'i I will develop a greater awareness of where my body is in space as well as the meditative focus that will carry over to my painting without setting a superficial intent from another culture.
      Below is a passage from George Rowley's book that I have from time to time studied over the years.

PRINCIPLES OF CHINESE PAINTING, page 14.

by Diane: Lam's Tai Chi for Arthritis, Roller Skating and Painting

Updated ( see end of post)
A little over thirty years ago my daughters competed in roller skating.  I attempted the sport with them competing in figures.



"Zombie Puppets on Roller Skates" is a procion dyed  raw silk and cotton print banner from 1984.

         When I was roller skating I made many illustrative banners like "Zombie Puppets..." for which LeeAnn Lehni wrote lyrics for a children's book, MAGIC MAN, MAGIC MAN HELP ME SKATE IF YOU CAN.  When I did these silk paintings, I wished skating was easier to learn. I wished I could skate without thinking and if I did fall the landing would be as soft as falling into bed.

     And now many years later I wish I could learn Tai Chi instantly.  I just started, in April, learning Dr. Paul Lam's Tai Chi for Arthritis at the Sam Fit Gym here in Albany taught by a very good certified instructor, Joann.  The reason for this new class is that among many health benefits for seniors Tai Chi increases balance. Lam's Tai Chi choreography is the only Tai Chi endorsed by the Arthritis Foundation of America as a proven fall preventative exercise program for all ages especially for seniors. Very important for me because I need to be more mindful of what my body is doing, maintaining strength and balance. I have a history of gawking, not watching my step, and tripping especially when site seeing.
         My goal is getting fit for travels with granddaughters this September. This soft martial art will increase my confidence making me less of  a target for unwanted incidents. In addition I am enthused about this class because I hope to be more aware of the chi in my painting just as rollerskating became important in my art in the 80's.
         Traditional Tai Chi has competitions. But in Lam's, there are not any judges or Tai Chi police. Perfection is not the goal.

 Three turn  moving forward
twisting at the waist and locked
 

     The basic moves are just as difficult for me to learn as when I learned to roller skate. Tai Chi is extremely different from how I usually move.  I must teach my muscle memory.
      Many similarities cross over from my early roller skating experience.  One similarity is bending the knee of the supporting leg so the body can rise and fall making for a fluid movement. Skating figures and Tai Chi both need focused concentration like meditation. Never my dream of a magical zombie auto pilot!
       One difference is the changes in speed of movements. In Tai Chi speed is consistent. In skating speed varies. Shifting from one direction to another is performed with an abrupt quick snap for instance.
        In the three turn, one, the torso twists; two, the upper body locks the torso in the twisted position; and three, the supporting leg and skate is pulled around to the same direction as the locked torso. The skater continues to move in the same direction and speed as before only the body is facing the opposite way. In the three turn the body revolves 180 degrees while the direction of skating movement continues in the same direction.
         In a roller skating pivot the skater first sways in the opposite direction that they intend to go in a 90 degree change in skating direction.  The skater does not twist at the waist but opens their hips to a 90 degree angle. Then with a snap, fast move transfers weight to the opposite skate swaying in the direction they wish to go.
        
        The Tai Chee pivot I am now learning is called Brush the Knee. Briefly, the process is breath, shift most weight  on foot on the side preparing to turn. The opposite foot swivels pigeon toed in the turning direction at the same time the torso swivels away from the turn winding up to throw an imaginary pie with the opposite hand to the foot advancing. The eye follows the hand back for better movement back. When the throw advances the eye shifts to where the pie is aimed.  During the throw the advancing foot naturally swivels on the toe before stepping forward placing the hee down first with most of the weight on the forwarding foot the back foot advances. Then gently rests down with only a little weight on the foot a little behind. The hand on this resting foot gently falls to that knee.  The foot is poised to move either forward or back.



 

         In roller skating with shoulders down the upper body locks unmoving except in some exceptions and the arms are extended with visible tension. While in Tai Chi the body is relaxed to facilitate maximizing blood flow and readiness to take on an adversary.  In Tai Chi the body parts remain close to the center of gravity for strength and balance. In skating the fluidity of a pose is enhanced by extending the movement stretching out to the tips of the fingers and toes.
        So used to extending movement, I feel my Tai Chi is wrong  until I see myself in a mirror. When I become accustomed to Tai Chi, I will feel what I am doing better.
        One important similarity between the two is the usefulness of imaging in the mind's eye.
both use the image of a string attached to the top of the head. The string holds the body in alignment. Some steps are quick and locked in skating while Tai Chi strives to be even.  Locking an extended leg or arm blocs the blood flow.
         In Tai Chi the moves are contrapposto, a term used in art in which the hips and shoulders are opposed up and down. Tai Chi embodies the ying yang concept!


Progress on  painting inspired by last week's blog
on the benefits of keeping my old work
The old work was a painting of the same location over 30 years ago
 and Van Gogh whose paintings have the energy of chi.

   

         Maybe some of my difficulty in doing this simple step is having to unlearn what I learned in skating over thirty years ago. But on the other hand maybe the skating experience has given me the confidence that if I stick to trying I will learn.
        I am excited to continue and feel the chi not only in my exercise and better health but also in my painting.
Update 5/23/19


Last evening's Tai Chi class I heard what is impeeding my progress in learning. I practiced looking in a mirror or look for cues from the instructor.  Better not to be concerned about perfection and look within own space and mind doing my own Tai Chi.  Interestingly the same advise in Lee Ann Lehni's lyrics for my illustrations.

"Swallows", oil, 11"x 14"
I believe ch'i in paintings is uninterupted, energized movement.

More on my painting experience next week.