This week, I got to discuss the animation industry with Leila, a fellow art student whose portfolio can be found here. We talked about the shift from 2D to CGI, the cost of getting your name out there, and how weird it is for strangers to see your portfolio. There’s more to the conversation that I want you all to hear, so I’m splitting this into two parts. Next week: the realization that nothing is guaranteed and the best of plans can go awry.
One of my favorite parts about art is how it can be shared through so many mediums; art is in everything, and being able to see that makes life a lot more interesting. A great example of art being conveyed through a unique medium are Tarot cards: a deck of 78 unique cards, often used for fortune telling and games. It was relatively recently that I gained an interest in the obscure world of tarot cards, having been inspired by an old HBO show that my parents used to watch called Carnivale (a great show and I highly recommend it, but the end leaves a lot to be desired). The show uses tarot readings to further the plot and create dramatic tension, but more interesting is how the show uses subtle tarot symbolism that makes the story feel like a great epic is unfolding and the characters are all pawns of fate. This technique is similar to that employed in classical epics, such as The Iliad and The Aeneid: the use of portents and prophecies that connect the story together using a common thread, often calling back on themselves and revealing the role of divine fate in an extraordinary way.
I absolutely love the feeling when a prophecy is fulfilled, or when I can draw the subtle connections between events and and characters and be able to see how the prophecy influences the events of the story. This is one of my favorite things about tarot card art as well: the use of symbolism and subtle meaning conveyed through the illustrations is fascinating and endless. Each card has lore and tradition behind it, with multiple interpretations that all come together to form a single story. Personally, I don’t believe in actual fortune telling, but I appreciate how the cards are designed to create the effect of prophecy. Each card has identifying symbology that can be found in any version or reinterpretation, and have been tradition ever since they were first created, making each card immediately recognizable and therefore more iconic. This quality of the tarot can be found throughout popular culture as well, from literal uses such as Led Zeppelin and The Hermit figure, and more subtly in the archetypes of The Fool, The Magician, and The Lovers often found in storytelling today.
The other thing I love about tarot cards is the physical aspect of the art itself; there are so many versions and styles of illustrations, and I think the cards are such a great medium of artistic expression. An artist can follow the strict format of the cards and symbology while still illustrating them in their own way, giving them the perfect amount of creative freedom. There’s a lot to be said for the proportions of tarot cards themselves and the powerful effect of the format, which makes them the perfect template for creating something unique. It’s a great endeavor to undertake, illustrating all 78 cards, but it’s a great way to develop and refine your style and to put your creativity on display.
There are periods in my life where I completely fall out of love with fiction. I’m not entirely sure why it happens, but suddenly there’s a switch that goes off in my brain, and I hate even the concept of fiction and media– the falsity of it, the mere entertainment, the meaningless indulgence in the aesthetic, as we all slink closer and closer to our deaths, and the earth keeps turning, and we watch a movie or turn the pages of a magazine or forget a poem.
For example, at some point in sophomore year of high school, I read Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz, a coming-of-age novel about the unparalleled bond between two boys. I still remember crying on the floor of my bedroom past midnight when I was supposed to be doing homework, and just let the book completely wreck me (it’s a very good book, you should read it), and when my mom walked into the room, I had nothing for defense except “It was a good book.” I realized that I couldn’t invest my time into a book without getting so attached and emotionally invested. It controlled me. After that, I went for months without reading anything– I got too invested, it hurt me too much, it surprised me with the pliability of my own emotions. I wanted to dominate my emotions, not let fiction dominate them.
I got over that, of course– it’s silly to have such powerful connections to books and movies and take it so innocently for reality. I developed a crucial distance from literature, almost as a defense mechanism to not let to get it to me too much, not allow it to break me and tear me apart, scare me or enthrall me. I started to see it from an “intellectually” distanced standpoint, observing it from the superior perch of examining craft and theme and symbolism, stroking my monocle and saying things like, “Ah yes, the intertextuality…”, or, “The symbolism of this hat demonstrates that…” And that helped me understand art, helped me tame the wild and crazy and unexplainable forces of literature.
Coming to college, things started to feel too crystallized. I stopped connecting to the things I was reading as much, and that may have just been because even though we were reading “diverse literature” in my English classes, it was still taught by white professors to a mostly white student body, creating a strange dissonance with the work. And more than that– the Western-centric perspective of everything I read was so glaringly obvious to me, I couldn’t connect to it at a personal level. The emotional connection I’d once had to art– the kind of cosmic, universe-warping feelings that had made me cry in my childhood bedroom– had all gone. They were replaced with terms and definitions and critical theory. Wasn’t it supposed to move me?
I can’t say I’ve found conclusions to my constantly fluctuating relationship with literature. But I have found a little reminder of why I love what I love. Columbus is a movie about the unexpected friendship between a homebody architect-enthusiast and the son of a renowned architect set in the town of Columbus, Indiana, known for its modernist buildings. In one of the lines in which the main character is trying to explain to Jin why she likes a building, he stops her and asks if she likes the building intellectually.
“I’m also moved by it,” she admits.
“Yes!” He says. “Yes, tell me about that: What moves you?”
“I thought you hated architecture.”
“I do. But I’m interested in what moves you.”
As I most likely move towards a career that intellectualizes art, I must ground myself to my own heart, and remind myself to stay true to the contents of my mind. I want to be committed to that which moves me.
I’m apprehensive about what I’m going to do after college, and I think a lot of other students in the arts are, too. Join me on a weekly basis as I talk to these other students about their future plans and how they see their place in the art world. This week: an explanation. Next week: an interview.
Tyrrell Winston is a contemporary artist known for his found-object artworks, which feature deflated basketballs, broken nets, and cigarette butt compositions. Living in New York, Winston walks around different neighborhoods and collects such “trash” to turn into sculptures, which are displayed in multiple galleries around the world.
Winston’s art is beautiful and thought-provoking–upon first viewing his work on social media, I was immediately captured by his deflated basketball sculptures, as their colorful vibrance has a unique beauty to it, and literally turns one man’s trash into another man’s treasure. I also enjoy viewing his cigarette “paintings” as well–their uniformity has pleasing aesthetic qualities and questions America’s obsession with smoking despite knowledge of its harmful dangers. Both basketballs and cigarettes have become unofficial symbols of “coolness” and Winston’s popularity certainly has capitalized on this. It’s intriguing and somewhat endearing how his works of art evoke questions about ephemerality and identity with showing simple objects.
On the other hand, I personally believe Winston walks a fine line between art and appropriation. Marcel Duchamp is considered the pioneer of “Readymade” art in which found objects are considered art by placing them into a different context. Duchamp’s work during the 20th century was astounding at the time, and some of his most famous works are Fountain, a literal urinal, and everyday objects such as a bicycle wheel or a shovel. Tyrrell Winston’s work utilizes these artistic ideas of recontextualization and makes them his own, yet there is a point when work becomes redundant. Some of his critics accuse him of being pretentious, unoriginal, and boring. I’m not sure whether his work is truly “different” enough to be so renowned and celebrated.
In any case, Winston is a distinctive artist. Take a look at some of the art below and let me know your thoughts on Winston’s work!
I am constantly overthinking things, whether it be focusing on irrelevant details, over complicating problems, psyching myself out, or getting overwhelmed by too many thoughts. It’s something I know a lot of people deal with, seemingly more in this generation than most, and it’s an interesting phenomenon. I can’t say exactly why I tend to overthink things (keep in mind I’m not a psychologist), but if I had to guess, I would say that it ties into the high expectations created by society and myself to be perfect, resulting in an unrealistic perfectionist attitude when approaching problems. I constantly have to remind myself that I’m focusing on the wrong parts of a problem and wasting time considering things that have little to no difference in my life in some futile search to be perfect. This problem of overthinking is most noticeable when I attempt to create art. Whether it be writing, drawing, making music, or even doodling, I always hit the brick wall of perfectionism. Those who know me might think I sound ridiculous; my work doesn’t usually speak of perfectionism, and it doesn’t seem like I always think things through. The truth is, that’s how I deal with my problem of overthinking: impulse and randomness.
When I sit down to write one of these posts, I start two or three different drafts on completely different concepts. I have a lot of great ideas and I can talk passionately about a lot of them, but as I start to write I often hit that wall, where suddenly it sounds ridiculous or unimportant and I psych myself out. Usually that’s when I delete the draft and start over with a new idea. This problem is often called writer’s block, but for me it’s a difference of being too critical of myself, not being unable to think of what to write. Similarly I also struggle to draw; although I’ve always had some talent at it, I never know what to draw. As a kid I would just copy the pictures from the how-to-draw books, not even the steps from beginning to end, just the final result. In the end I was great at drawing something realistically by looking at it, but when it came time to draw something new I always gave up. It wasn’t a lack of imagination, but the endless overthinking that frustrated me. As a result I don’t draw much anymore, and my doodles are just chaotic scribbles of frustration, but recently I discovered a way to get around perfectionism: by creating abstract art. It makes sense, especially considering how I often rely on impulse and randomness to get around overthinking. Abstract art practically embodies this approach, and I find that it’s a great way to create something; even if it’s not good, at least it’s better than creating nothing.
The moral of the story: if you struggle with creating things, especially art, just start with something easy or small. People often say that getting started is the hardest part, and even though I’m really tired of hearing it, I do think it’s inherently true. Aiming for perfection certainly doesn’t help either; if you always strive for something unattainable, you will never feel good about what you made, and likely you’ll be even less motivated to try again the next time.
