Immensity and the Largeness of Effect

The juxtaposition of immensity and movement make the ocean an ever dynamic subject for the artist.

Image of Rockwell Kent
Rockwell Kent from Wilderness: A Journal of a Quiet Adventure in Alaska, 1920.

“Why is the sight of the sea so infinitely and eternally attractive?

Because the sea simultaneously provides the idea of immensity and movement.”

Charles Baudelaire

Baudelaire goes on to express that all great works of genius contain an element of ‘immensity’. Immensity has very little to do with the actual size of a work but with  that interior feeling of vastness combined with a sense of fragility. The image astonishes us and “…entails a nervous shock…” producing something like fear, that this sublime moment shall pass and I will fail to seize hold of its nature. It is a moment of recognition that this very immensity I experience in the image resides simultaneously within myself. There dwells a correspondence and a ‘sympathy’ which allows my being in its wholeness to complete the image. The image itself has been waiting for me.

Last week, I reread “Wilderness” by Rockwell Kent which combines images he produced in Alaska with his daily journal entries on Fox Island during the seven months he spent there with his 10-year-old son. In one entry he describes a woodblock he is carving. It contains vast mountains and a rough sea. He spent several nights carving it and deliberating over its form. He ends the entry by saying that it is only two inches square! Multum in parvo– Immensity held in a small space.

“There are moments of existence when time and expanse are more profound, and the sense of existence is hugely enhanced.”  Are not the images that we find truly moving descriptive of these moments? These images may not contain great or historic events or unbelievable places or profound personalities, but are most often an ordinary commonplace. “In certain almost supernatural states of soul, the profundity of life is entirely revealed in any scene, however ordinary, that presents itself before one. The scene becomes its Symbol.

When I reflect on the child portraits of Robert Henri, especially the late Irish portraits, I find immensity there. Though ordinary children, he expresses an ‘immensity of soul’ combined with the fragility of childhood, so time bound and fleeting. Henri expresses this immensity with all the potentiality of the child which time destroys as the child matures. This is something that we too have been a part of- our own childhood and the memories of that time and our own latent potential in youth. The immensity expressed in these children reaches out to us and we find our place there.

Are there some painting techniques or practices that can assist my images as I search for a feeling of immensity in my work? I look to Delacroix as my guide. A strong composition and the evocative use of color can lead you. The suppression of detail combined with a preservation of the masses as well as a quality of incompleteness adds to this feeling. It must also not be too objective, but needs to contain an element of the ‘self’ or personality of the artist as well as unconscious or ill-defined material. There is also an element of movement. When Baudelaire describes our fascination with the sea, it is movement that also captivates us. Delacroix achieved movement through brush stroke as well as the use of complements and colored edges. Henri achieved movement through the compositional use of color where there is a constant and subtle adjustment in color and tone to move the eye around the image. There are others as well. These are just some of the tools in the artists’ toolbox. But first and foremost one needs the eyes to see.

I love the obscure French book, Mt. Analogue, by Rene Daumal, in which the characters of the story find that there is a hidden world in our very midst and that it only takes their willingness to engage that world in order to enter upon the journey. The journey itself takes place under the guise of a commonplace, a sea voyage. But it is this initiation that will inevitably lead them to Mt Analogue. I believe having an open mind and heart will create the ability for one to see with a greater awareness the imaginative potential and vastness latent in the commonplace. Immensity of soul, of lived experience, will inevitably lead to a feeling of expansion within the image.

All Quotes from, Charles Baudelaire’s, Intimate Journals, trans. Norman Cameron, 1995.

Material Memory

In my last blog I spoke about the ability of matter to evoke the imagination of the artist allowing him to not only take matter and give it new form, but also to transform himself and the world. But I am curious about the connection between matter and memory. Memory, like matter, is the basis of an artist’s ability to express. Memory attaches itself to matter in many ways. One’s memory recalls images- images of material objects that carry significance. Memory holds these images allowing them to live in the mind and soul of the artist. Memory allows the images to gather, collectively, reinforcing a sense of meaning. They are magnetic, a larger image gathering to itself smaller related images creating a conduit of thought. When images gather together in this way, the artist feels more compelled to listen to them. They take on an import that seeks expression.

As one is engaged in matter, the very act of painting and observing, memory is constantly recalling related images in its storehouse. This storehouse contains not only first hand memories of the artist but also those of the collective unconscious. These collective images give one’s own memories a context- they are images within a greater myth. One’s personal image fits within a larger story. It is why we are inherently attracted to myth. One’s vision is a smaller chapter in a larger work that includes all men and all things.

Although this is the case, it does not diminish one’s personal memory or personal images. Instead, the path between memory and image travels two ways. It moves one towards a greater myth but also returns one to one’s very center. There is an outward movement that ends in oneself. This movement gathers strength and momentum as it cycles to its return. This is the same movement that occurs in reverie- one’s thoughts gather around an object and travel beyond it connecting  all sorts of images to that object making it evocative and memorable- creating significance.

The strength that returns upon the image is meaning. Without memory, one could not gather the import of understanding necessary to create. Creativity hinges upon the power of the image to evoke upon the viewer’s heart a memory residing deep within. Art touches that hidden memory, through the very matter which is the art piece, and calls it forth and joins to it a superabundance of meaning.

There is a collective memory that the artist taps into as well. It resides in the works of artist’s of the past, their material productions, creating a lineage of memory upon which the living artist is placed. Robert Henri called this “living” memory, the Brotherhood. One could call upon these artists of the past to help and guide one in the present.

Without memory one could not hold onto an image. Without matter, image could not be embodied. Image is the very materialization of meaning held between memory and conscious perception. Image embodies “…the oneiric forces which flow unceasingly through our conscious life…The earthen objects we work return an echo of the inner forces we expend on them.” (Gaston Bachelard, Earth and Reveries of Will, pps.3 and6) These oneiric forces we recall out of memory and materialize them through the art, the craft, the manifestation of both our conscious and hidden life.