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The Easy Worm

by Keith Bond on 1/31/2011 11:17:04 AM

This article is by Keith Bond, Regular contributing writer for FineArtViews.  You should submit an article and share your views as a guest author by clicking here.

 

 

(A friend of mine shared a version of the following fable with me.  I don’t know where it originated and it might not resemble the original very much anymore.  Who knows?  But I like the message.  You could apply the lessons learned to just about anything in life, but I will relate it to your art.)

 

Despite the small size, the little bird felt larger than life with the wind under his wings.  How he loved to soar high in the blue sky.  He would dive and swoop, loop and circle about.  While he flew, his keen eyesight would spot food on the ground far below.  He loved a good worm for mealtime. 

 

One day he spotted an old man digging worms and placing them in a bucket.  The curious little fellow flew down and landed next to the man.

 

“What are those worms for?” the bird asked.

 

“They are for feathers,” the old man replied.

 

Plucking a feather from his chest, the bird asked, “Like this?”

 

“Yes.”  So the bird exchanged a feather for a worm. 

 

The next day, the bird once again saw the man.  Once again the same conversation took place.  And once again the exchange was made.

 

Day after day, the same scenario played out.  A beautiful feather was traded for a juicy worm.

 

One night, the bare-chested bird nearly froze to death.  He realized that he had given far too many of his chest feathers.  So, the next morning he exchanged a wing feather instead.  This continued day after day.  But after some time, to his dismay, he realized that he could no longer fly.  He hopped and jumped and tried with all his might.  But each time he landed with a thud on the hard ground.

 

What had he done?  Had he become so used to getting an easy meal that he didn’t realize what he was doing?

 

So he hopped around searching for worms.  It was difficult.  More difficult than when he could fly, and much more difficult than simply plucking a feather.  How he missed the days of soaring and tumbling through the air hunting for his own meal.  Yes, it was work.  And some days he didn’t eat as well as other days.  But somehow those meals of long ago were more satisfying than the easy worms from the old man.

 

After some time of much difficulty, he gathered a beak-full of worms and hopped over to where the old man would be.  The little bird dropped the worms in the man’s bucket and asked if he could get some feathers back.

 

No.  It could not be undone.

 

As an artist, have you ever traded your feathers of creativity or talent in for the easy worms?  Have you let things become a crutch to where you no longer are able to soar to the heights you once knew?

 

There are many ways you might do this.  I suppose each of us have given at least a feather or two.  But for some, the temptation for an easy worm is too great.

 

It may be using a projector to trace a drawing.  For others, the easy worm might be formulaic color mixtures.  A few of you might even print your reference photo on canvas and then apply paint on top of that.

 

Some artists can use photos as a tool – knowing its place and limitations.  But for others photos become a worm and the ability to compose, edit, feel and imbue a work with originality becomes lost – or worse yet, never learned.

 

For some, it’s the same subject or composition over and over again.  Like a short-lived formulaic pop hit that quickly rises to the top 40 to only be forgotten a few weeks later, the compositions become shallow and redundant.

 

For your art to truly soar – and to enjoy the elation that comes with creating – you must work hard for your worms.  Do not trade your feathers away.  It will only hurt you in the end.

 

Being an artist isn’t easy, but oh, how it is worth it.  The old man will never know how it feels to fly on the wings of creativity.  But you have felt it.  You know.  You have seen the world from a perspective that others can’t even imagine.  You have felt the wind lift you as you spread your creative wings.  You have delighted in the creative process and have sorrowed for the worms that got away.  You have soared.  You have flown.  You are an artist.

 

Best Wishes,

Keith Bond

 

PS   What easy worms have seduced you?  How did you overcome it?  Or have you?  If you feel you are stuck – flightless – there’s hope.  Unlike the bird who couldn’t get his feathers back, you can regain your creativity.  You can redevelop your talents.  You can fly once again. 

 



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 22 Comments

Bonnie Samuel
via canvoo.com
Oh, does this speak to me! I spent a frustrating weekend trying to do something stylistically that just isn't me, but was part of a class lesson. Learning and experimenting with techniques or materials is great, but trying to create in someone's elses idea of the ideal ...... well, not worth the easy worm, or what seemed like the easy worm. My feathers are growing back!!

Michael Cardosa
via canvoo.com
Keith, Interesting fable. At least the old man didn't eat the little bird! I think everyone has to look at what they do and how they do it because one person's feather might be another person's worm?

Not sure, way too philosophical for me today!

Thanks again,

Michael



Esther J. Williams
via canvoo.com
Keith, I had just commented on another article about how I love to paint on location and not to rely on images. Also, how I like to use workstudies from being on location to make a larger piece of art. I sometimes say to myself, why do I have to trudge all the way down there to that spot several times to get a good likeness? Why not just use the images? Then I realize, once the hard physical hiking is done, I suddenly have raised my endorphin levels and feel high. I paint like I am on cloud nine. Maybe later my arthritis will give me pain, but the feeling of accomplishment is far greater than the pain. The joy of experiencing nature in it`s living essence is deeply inspirational.
When I sketch, it is freehand. You might say freehand or free wings!

Cooper
via canvoo.com
Keith,
This has to be your best article ever. Chock-full of artist realities, and "pull us up by the boot straps", in story format. Perfect. But then I knew it was going to be a good one by that title....
Thanks for sharing!
Later, Cooper

Athena Mantle
via canvoo.com
So true! I have seen this happen. A friend's Gallery insisting she keep painting the same thing because it sells and then it turning into burn out. It's a good lesson to learn early on if you can.

George De Chiara
via canvoo.com
Great article Keith! Just love that story. I think we need to continue to ask ourselves what easy worms we are getting and what we can do about them. I use to rely on photos way to much, but for the last year I've painted almost totally from life. I noticed this helped the few paintings I did do from photos a lot. The current easy worm I'm trying to get rid of is subject matter. I've been trying to expand the objects I use in my still life paintings and the compositions. Thanks for the reminder!



mimi torchia boothby watercolors
via canvoo.com
What it made me think of is how I have used purchasing supplies as a way to jump start my creative juices from time to time.
As I have been forcing myself to paint or draw every day, this has become less of an issue. But that is taking it literally, do i really need another brush (another color of paint) ?
Right now I can afford trading those feathers, but I know someday (when I retire from my daytime job) those feathers for sure will be more dear.

Barbara Blair
via canvoo.com
What a great story, Keith, and an important message. Not only are you a talented artist, but also a talented writer. Thanks for sharing.

Jill Banks
via canvoo.com
Keith,

Thanks for the great article.

I know an artist who used to know how to draw, fell into the tracing or printing on canvas or whatever to paint the perfect paintings. After, that this artist couldn't draw at all ... and lost the love of painting.

I challenge myself all the time ... and steer far away from those easy worms. Because it's exciting and I love to soar.

I'm currently painting 100 Faces from life, gathering volunteers who'll let me paint them ... in exchange for conversation and the experience. It's been a blast ... and energizing, uplifting, a wild ride. I wouldn't exchange that for a bunch of perfect paintings.

Again, right on!


Olivia Alexander
via canvoo.com
Hi Keith, love this fable because I can relate to it!
My easy worm? People have been saying to me 'Why don't you just paint what people want? Other artists do, why don't you?"
If I just paint what I think people like and will sell, I have to go against my heart- and get the easy worm!
Fortunately I have a good relationship with my
Galleries. They said to me; 'Don't compromise your art or your reputation, it's not worth it!"

It has inspired me to sit down tonight and right a blog that has been in my mind for a while. 'Following the Heart'.
I have an artwork on the easel that expresses that theme too.
Cheers,
Liv


Olivia Alexander
via canvoo.com
Spelling Correction to my last post; I will sit down and WRITE (not 'right') a blog! Lol

Steve Washburn
via canvoo.com
Thanks once again Keith.I nearly forgot to be thankful for my feathers.

Cooper
via canvoo.com
(at the risk of hijacking Keith's blog!)

Olivia, I found your reply so interesting,that I had to reply! I get the same comment: "why don't you paint what people want?" I went to look at your work, expecting to find figurative work. And found abstracts! What?! I thought only people who paint figures were supposed to be shopping for a new subject matter! Does the world want all of us to be painting something else?? So this fulfills the prophecy of "if it's red they want green, and if it's green they want red", eh?
Cooper

Tracy Wall
via canvoo.com
I love how stories and fables help us see a clearer picture of real life! Gotten me thinking I best get back to more flying. ;)

Thank you Keith!

Maureen
via canvoo.com
A favorite John SInger Sargent painting of mine is, "The Artist in His Studio." It's a self portrait of him studying photographs for his painting that is also in the composition, next to his bed.

Using photographs is a wise tool.

Why some artists think it's higher art to paint from life, is beyond me.

And the use of optic tools seem another good idea.

Look, the bottom line is, you are either a great artist like Sargent--no matter the tools, or you are small.

George De Chiara
via canvoo.com
Hi Maureen,
I certainly don't think it's higher art to paint from life, that wasn't what I meant with my post. I do think that painting from life offers the best way to get a true sense of the color and light in the scene. By doing this I can better interpret my photographs when I do paint from them.

Olivia Alexander
via canvoo.com
Hi Cooper,ha ha, yes I think you are right!

Where I live people like realism, so I now exhibit overseas. Europe and for the 1st time, the USA in april.
My contemporary work is more accepted there.
I used to paint realism; still lifes and wildlife and always sold but it is much harder in the contemporary arena.
Maybe the public needs to take art appreciation classes, who knows!
anyway, be true to thine heart!

Kim
via canvoo.com
Great blog. Let's not forget that there are a lot of powerful influences out there trying to manipulate us into going for the worms, like seeing safe, predictable (albeit technically well done) art get reinforced and recognized over and over again. As for the use of photo references, there are different objectives and satisfactions to be gained from working in either mode: i.e., with the exception of plein air landscapes, if an artist wants to depict something other than deliberately posed models in a studio, plaster casts/statuary, and still lifes then you need to be able to access other subjects.

Lori Woodward
via canvoo.com
Keith, I adore this article!

A number of years ago, I was working with 3 galleries, and each asked that I paint what they wanted. Sure I CAN paint those things, but one wanted still life only, another figurative, and the last landscape only.

I tried to meet their demands, but felt divided and confused, and slightly abused. The confusion ended when I quit all three galleries to return to painting what inspired me.

Sometimes galleries do promise you worms when you fill their orders. It's OK and sometimes has to be done to put food on the table, but not preferable.


Joanne Benson
via canvoo.com
Hi Keith,
Great post as usual. Loved the story and the moral behind it. It is easy to fall into habits that are bad for our souls and our art. We need to be vigilent and true to ourselves and do the work.

Marishka
via canvoo.com
Keith, Thank You! Loved it! Your articles are always wonderful and this one just hit home, as I'm sure it has for alot of artists. Please keep sending your golden words, stories and advice. They always seem to come at the perfect time and are much appreciated.
Marishka

Nancy Pingree Hoover
via canvoo.com
That's what I'm doing Lori, quitting my gallery to do what inspires ME! I look forward to the freedom of being able to paint whatever I want.

I agree with both Maureen and George. Photos are a very useful tool ... IF you know how to use them. Many of the masters used similar tools to help them out as well. As we all know, clients can be bears and extremely persnickity when it comes to commissions - especially portraits. However, I always take my own photos for reference. That way I personally observe the colors, atmosphere, and textures for myself. If it's for a portrait commission, I do a lengthy photo shoot and while doing so get to know my subject so I can best compose a portrait that shows their personality in the best light. So, yes I use photos, but I don't use them as a crutch. I compose them, and sometimes I combine several photos into one composition. Afterall, animals only stay still for so long as do children.

In addition, I do think there are tremendous benefits to working from life. When I teach my drawing classes, we work from life 95 percent of the time, but I do teach them how to use a photo correctly as well. I look forward to working more from life when I get my new studio set up. At the moment I am very limited in space for lengthy still life set-ups.










 

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