This week we are reading about and discussing “the Public Intellectual.” We read short stories by scientists, browsed scholar’s websites, and watched a TED talk by one of our professors. I wrote the following blog post for an assignment in reaction to these examples and ideas:
I’ve always been a big hobby-sampler– I do a little bit of a lot of things– and the things I really care about don’t get the time investment it takes to make them great. When I moved out here, the constraints of leaving behind my social network and bringing only what I could fit in within the 50lb checked-bag limit brought me a great opportunity, and I selected a single hobby.
I decided to pursue art in my free time. I minored in art in college, but had mostly done Really Fancy Crafts since I graduated.
The distinction I am drawing between art and crafts isn’t an evaluation of merit, by the way, and I only use it to classify my own work, not others’, but for reference, here’s what I mean. Both art and crafts can be decorative, functional, meaningful, and therapeutic to create, but the design of crafts are informed primarily by another design or a process, where the design of art is informed by my subjective translation of some idea.
Here’s an example of a craft I did.
The photo on the right is of my commissioner with his dad on an old Harley. It’s meaningful and beautiful, but not suited for display because of its size and condition. He wanted to be able to enjoy the image, and I was able to use the photo, a google image search for the name of the bike, and a surprisingly small amount of human judgement to create the painting on the left. The subject, medium, composition, and style reflect only necessity, my aesthetic preferences, and the desires of the guy who paid me
Here’s an example of art I made.
It was physically simpler to make, but the subject, form, media, and style all carry meaning. Here’s a section of the document I used to imagine, refine, and embody an idea into that piece.
You can see that I started with a big, abstract idea (“happiness”) and created a mind map around that idea to settle on a more specific idea I was interested in (“harmony”). At the risk of “explaining the joke,” I’ll explain more of the process to give you an example of how art (as I see it) differs from craft, and perhaps give you a sense of why I find producing art to be rewarding.
I had recently joined a singing group when I made this piece, and was thinking about the human diversity in the group and how it served to build a more complete and beautiful whole in the same way that our musical harmony did. It also took me far out of my comfort zone. So I did some thinking about different dimensions on which humans or ideas can vary. I decided on a matrix design for the concept (I wanted 4 parts, much like we had tenor, lead, baritone, and bass singers), which led me to select two visual dimensions on which the piece could vary. In homage to the abandonment of my habits for new adventures, I forwent my usual style (2 dimensional, monochromatic, representational work) for something I’d never done (3D, full color, abstraction). I designed a bridge shape for the form, to represent the way in which diversity itself can form a link between very different people and how the meeting of each with the others elevates all. The result is 4 sections which start out flat and get taller in the center, where they meet. Diversity is abstracted and visually represented on two dimensions: complexity of structure and breadth of color range.
Now did I expect the audience at that show to look at that and go, “oh! she must belong to an a cappella group?” Of course not :). I want to take my experience and perspective, bring it into a form that evokes these ideas and feelings in me, and allow others to see what they want in it, from their perspectives and experience. That way, as long as I take responsibility to make it maximally true of me, there’s a chance that someone else can see it and think or feel something true of them, and in that moment is the connection I am looking for.
All of that to say, although I enjoy the process and respect the skills required for crafts, I missed the creative thought, iterative meaning-making, and attempt to connect that is part of art. When I moved, I committed to making that my hobby. Because my thoughts and experiences and perspectives now are so thoroughly informed by and immersed in the thought and science of graduate school, I am making art that responds to and reflects on that experience. Here’s my current work in progress: a 7-foot tall, nontraditional embroidery piece with the working title “Grasp.”
My hope, which I admit is lofty and far out of reach at the moment, is for the art I am making now to be a part of my public scholar profile, to be another avenue to communicate my findings, and to be a jumping off point to discuss the subjective experience of doing science.
Scientists do their best to expand human knowledge and share what they learn, but have to accept the likelihood of an overwhelming majority misunderstanding or not caring about that knowledge much of the time. Artists and scientists, in that way, are very similar and, I think, brave.