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Thesispaper Final Version Westonlee May15-2021 A thesis submitted as partial fulfillment of the requirements for the Master of Fine Arts degree at the University of Nevada, Reno Between Here and There Weston Lee Spring 2021 Committee Members: Miya Hannan (Chair) Tamara Scronce Eunkang Koh Christopher Coake 1 Introduction There were four of us one afternoon sitting around in my friend’s living room. We started talking about a word and its meaning, sharing different points of view about it and offering various possible examples in attempts to clarify the word’s meaning. It was a common word, a word we all were familiar with, but we felt it often was used incorrectly. We kept coming up with examples to which we often responded: “No that isn’t a true case of it,” or “That’s close, but here’s why I think that’s not quite it either.” We went around and around taking turns with observations, considerations, alternatives and attempt after attempt. This conversation continued for a few hours. It was brainstorming, it was creative problem-solving, it was interactive, and it was sharing our thoughts and opinions with one another. It is a conversation that my friends and I have commented on since, years past now, as one of the most fun conversations any of us have ever had. We did it without Googling — purposefully. We did not want to “know” the answer from some authoritative source; it wasn’t about “knowing” at all. It was all about the search, the process, and the stumbling around together with a common interest. It was about letting ourselves be curious and seeing where our curiosity might lead us. My drawings are very much like that conversation with my friends, they are about process as much as they are about a result. They are about the experience and the expression of something intangible, something we cannot Google to find the answer. In today’s world of technology, do we exercise our creative thinking, or ponder, or allow ourselves to wonder anymore? Or, when we are faced with a question do we just look it up in a flash and then race onward? I am looking for something that is less defined but filled with possibilities. My drawings come out of a process of wandering and discovery and become for the viewer an invitation to use their imagination to do the same. They are drawings wherein I hope viewers become lost for a moment in wonder. I value and believe we all need moments that transport us to another 2 experience. I want to create drawings that are spaces that slow us down, a pause perhaps between words. My artwork is about a sense of wonder, the experience of discovery, the intrigue of the mysterious, and sometimes, the marvel of the unexpected or the strange. My art is also about the finished art piece that viewers can spend time with and respond to and have their own interpretation of, and it is about my personal experience in the creation of the work and being in an authentic space of inspiration while in the making of it. My drawings are imaginary landscapes that reflect my interest in nature’s organic forms and in landscape as a metaphor for exploration. I work from imagination rather than observation so that the imagery is not as much about nature itself and how it looks, but about the feeling I get from nature. This paper will discuss my interest in the role that process has in my work and how and why process is a driving factor for me. I will elaborate on my interest in imagined organic forms and of my relationship with nature and its interconnectedness. I will write of my choice of materials and how that influences my working process and the resulting compositions. This paper will also discuss why and how imaginary imagery and my interests in aesthetics, mystery, and magic are a part of my work. Included will be my interest in making art that engages the viewer, the questions that have taken me in directions I have gone these last few years, and lastly, what I am excited about going forward. Artwork Prior to Graduate School Most of my years of making art, I have worked exclusively from observation. I was dedicated with a strong interest to classical realism and wanted only to draw and paint like the old masters. I followed and was inspired by many of the contemporary masters, as well, who have revived the teaching of academic skills such as Jacob Collins, Travis Schlaht, and Graydon Parrish. Of the old masters, Rembrandt van Rijn and William Bouguereau are two artists particularly who have for many years inspired 3 me to paint. I have often traveled to museums with the sole purpose of seeing one of their paintings in person. Given the opportunity, I would stand in front of one of their paintings and marvel at the beauty of form and the sense of light — Rembrandt with his dramatic lighting and feel for atmosphere within which the subjects exist, and Bouguereau with his soft light and subtle hue shifts in the skin tones of his figures. Through the experience of learning and practicing these old masters’ techniques over several years, I discovered that I did not genuinely enjoy the actual making of the realistic paintings even though I admired the results. The process was very involved, with many required steps: preliminary drawings, a full-scale cartoon drawing, transfer of the cartoon onto the wood panel, redrawing/tracing the entire composition when transferring it, painting the under-painting in bister and grisaille to establish the lights and darks and contrasts of transparency and opacity, and warm-cool relationships, and then finally painting color using both glazing and direct painting techniques. After a number of years of this serious academic practice, I realized I had lost the joy of making art. It had become all about technique and results. This experience and realization are what led me to how I draw today. I now work nearly completely from imagination, letting go of drawing only what I see in front of me. It could be said that I have given myself permission to create my own reality. I loosened up from drawing very tight realistic renderings to, now, letting go of that control – although not entirely, but selectively. Rediscovering the joy and excitement of drawing brought the process of mark-making to my attention, rather than focusing on results. I learned to accept and incorporate the unexpected and the unplanned and embrace the process. However, in these drawings, I do not completely abandon my interest in formalism and the creating of an illusion of form and space through traditional skills/methods. I balance the two. It was a slow transformation for me to accept that I was not going to paint like Rembrandt and to let go of that idea for myself, a process which the artist and teacher Robert Henri describes in The Art Spirit: 4 ...you will never find yourself unless you quit preconceiving what you will be when you have found yourself. What, after all, are your greatest, deepest, and all-possessing interests? Most people seem to think they are great enough to know beforehand, and what generally results is that they imprison themselves in some sort of Girl and Goldfish subject, which, as I say, they may admire from the hand of another but for which they have no personal vocation. Those who are so imprisoned work like prisoners. You can see where the heart is out of it. Pictures tell the story of actual impulse in the artist — or the lack of it. What you need is to free yourself from your own preconceived ideas about yourself. It will take a revolution to do it, and many times you will think yourself on the road only to find that the old habit has possessed you again with a new preconception. But if you can at least to a degree free yourself, take your head off your heart and give the latter a chance, something may come of it. The results will not be what you expect, but they will be like you and will be the best that can come from you. There will be a lot more pleasure in the doing. (195) I very much did feel like a prisoner during that period. My head was fully in the lead while not giving a voice to my heart. Working without preliminary drawings or any preconceived composition became such a different way of working and a first step in breaking from working and thinking so traditionally. In the beginning it was a constant challenge to not allow my thoughts to get involved and jump ahead of the process with an idea. My more successful drawings were those during which I was able to minimize my head’s voice and be guided instead by intuition and trust of the process. It was a unique approach for me that I found very stimulating and rewarding. Instead of dictating an idea to the drawing paper, it was like having a conversation with the paper and the marks, listening to how they look and feel along the way and responding. Shaun McNiff, author of Trust the Process, writes about this approach: It has always been the unexpected happenings that have produced the most gratifying results. I prepare by establishing a simple framework of what I want to do, but I always leave room for what is generated by the event. The creative process blends structure with chance.
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