Math = Art (Sort of…)
I’ve often felt like I’m eternally asking the questions ‘why’ and ‘how’ as an artist. I’ve usually been told to figure that out for myself. I thought of it this way:
I’m learning math. My teacher introduces me to the idea of curves being mathematical. I naturally ask ‘Why?’ and ‘How?’. My teacher then hands me a graphing calculator and shows me how to work the ‘sine’ button. I have no idea what a ‘sine’ is, but it answers my questions.
Now I’m curious about the ‘How’ and ‘Why’ of the ‘sine’ button. I delve deeper and deeper into complex math concepts until I have a grasp of the mechanics behind the ‘sine’ function. However, the more I understand, the better I am able to use the surface results.
For example: Knowing that curves can be mathematical allows me to manipulate curves on a more profound basis. Even if I draw a simple arc, I now know EXACTLY what I’m doing and can focus on my purpose for drawing the arc and where that purpose is best served.
I could focus on my ability to draw the perfect arc first, but then I would have no concept of when a arc would be appropriate to draw. I would work in an environment of trial and error. If I drew an imperfect arc, or drew one in an inappropriate place, I would then lack the tools to correct (or prevent) my mistake. I stymie myself in my expression.
Knowledge allows me freedom to use my instincts as well as planning.
Comments
Chad Miller • Sep 5, 2007 • 7:26 am
I see what you’re saying, but I don’t necessarily agree that art and artists lack the capacity to be self-correcting and self-improving.
While the development and mastery of particular techniques may be desirable as adding tools to the artist’s toolbox, there is also something desirable about the breaking of new ground and the development of new techniques by the artist.
Trial and error can sometimes be just as informative as education and correction. Most call it the ‘school of hard knocks’. And lessons learned like that are not quickly forgot.
I do concede that the foundational understanding of everything that brought the artist to this point will prove invaluable in his exploration of new artistic territory.
Jonathan Lowery • Sep 5, 2007 • 11:25 am
Good point. I don’t think I was making an exclusive claim here, either. Trial and error is a valid method of contending with artistic expression.
I think the issue I was trying to address was the need to uncover the mechanics of art. So if I confront a work through trial and error, I need to be able to derive principles of technique and expression from that attempt.
I guess I don’t care ‘how’ I’m learning about the particular expression, just as long as I am learning. The end goal is to achieve excellence in the work.
Guinn Terry Davis • Sep 7, 2007 • 1:22 pm
I would definitely have to agree that in order to develop new, original artistic techniques, one must be aware of the techniques that are already in use.
One thing I find helpful for young artists is to read about artists who are the place that they want to be, and seeing what kind of trials and experiments they went through. You obviously don’t want to blatantly imitate them, but it is reassuring to know that they’ve been the through the same things a young, aspiring artist has been through.
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