Why do we call a photograph “realistic”? Our field of vision is spherical (as Bonnard noted), not rectangular and has no clear edge. Neither do we see from one, fixed point in space, but from two, shifting points: the images we perceive are not flat, but a three-dimensional construct in the brain. Moreover, a photograph is an instant seized from the constant flow of time within which we live.
My aim for this course is very ambitious: no less than to change your relationship with the world, your way of seeing and of thinking. To survive we fix and simplify what is complex dynamic process: a rich interplay of relationships. We interpret what we see through the lenses of our culture and our technologies, caught in the necessity of limitation (for without limitation there is no form or expression). This limitation is the richness and variety of culture; the difference between a Japanese drawing and an Italian one: between a 15th century icon and a drawing by Matisse. Our error is to mistake the partial for the whole, an expression for reality: “the world is so – they are mistaken”.
`Observational drawing is a dialogue with the world; a constant discovery of the “ten thousand things” and of ourselves; for the relationship between the two is all that we can know.
“The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.”
Humility is the open reception of and accepting of each experience without judgement; allowing the right brain to experience without the left brain imposing its labels and passing on to the next thing
Open, concentrated attention, without judgement: an active exploration of the relationship between ourselves and the world through a medium of expression…
That is what this course is about; if you undertake this exploration it will enrich your visual vocabulary and your work as designers.