You are cordially invited to attend the opening of the exhibition
Paintings by Jeni Caruana
Inaugurated by Marquis Nicholas De Piro
at 7.30pm on Wednesday 7th May 2014
at the ‘La Vittoria Band Club’
(in front of the Mellieħa Parish Church)
23, Misrah il-Parroċċa, Mellieħa
Please click here to see the collection of paintings I will be exhibiting
Before I came to Malta I had spent a good six years of my life at art colleges, but really hadn’t much clue about how to make a living out of art. I had studied Illustration, because my three year course at Harrow Art College had given me such good drawing skills, but I was pretty hopeless at doing as I was told (still am, some would say!). I came here with my art materials, my sketchbooks and a lot of love for a local musician!
Circumstances dictated that I had to work as a graphic designer for almost two years, and I absolutely hated it. By the time I left, I had completely stopped drawing or even thinking about art. I didn’t know any other artists in Malta, and I must have just blocked out any interest in art. I began a very odd period of my life; I found that I was obsessing over what I realise now were creative outlets, such as cooking, sewing, knitting, making jewellery and various other things, even selling some of the stuff I produced. I even went so far as to create two children (not alone of course!) – and no, I didn’t sell them......
Obviously there wasn’t much time for Art then, and so I continued with the cooking, sewing, knitting...... and then one day when my youngest daughter was asleep (I swear she slept for the first year of her life) and the eldest one was at school, I sat there and thought – something is really missing here, what is it that I am longing for? And it hit me. Drawing.
So I found my pencils and a nice new sketchbook, and I COULDN’T DRAW. Really, I couldn’t – the lines just came out all wrong, and the more I tried, the more I cried.
I think that feeling ranks as one of the most poignant ones of my life; how sad that I had let all that talent slip away from me. How could I have forgotten something I had found so easy, and so full of joy? What had I been doing, thinking that making dinners and jumpers could ever be a substitute for that feeling of connection and sheer self expression?
And so I began a journey back. It had been almost seven years since I had really drawn anything properly, and finding my ‘line’ again was one of the hardest things I have ever done.
I started by asking myself what it was that was missing? I could see the subject that I wanted to draw, but my hand just wasn’t able to guide the pencil along the right lines to capture it. I began to read voraciously about creativity and art, and along the way came across Betty Edwards’ “Drawing on the Right Side of the Brain”. This helped to explain many of the problems I was having with perception and coordination, and – with a lot of hard work and practice – I found my love of drawing again.
This experience has helped me to understand and explain the problems that other people experience when they first start trying to draw. We are looking without seeing, coming at things from the wrong direction and attempting to do a creative task in a logical fashion; using our left brains for a right brain activity.
In four sessions I can explain all this to people who have always thought that they would never be able to draw anything well. We just need to trick our left brains into leaving us alone, and that is achieved with exercises I have gleaned from many sources over the years and put together in a structured course. I can’t turn people into Artists in four weeks, but I can give them all the tools they need to tackle drawing anything. They have to practice, of course, but for those that stick with it, the results can be amazing.
My next course begins next Thursday morning at 10am in Manikata – let me know if you would like to join the adventure - 80 euro for a whole new way of seeing the world!!
A very important theory which became popular in the 70’s was that the brain worked in two quite separate ways – the left side dealt with logics and learning, the right side with creativity and intuition. More recent research has shown that we actually use different areas, left or right, depending on what information we need. Both sides of the brain communicate new abilities and then process the information in different ways to add to overall intelligence and efficiency. However, defining the tasks of the brain into ‘left’ and ‘right’ does help to explain many of our difficulties with learning to draw, and with creative thought in general.
Our left brains are incredibly efficient at getting us through life as quickly and easily as possible, dealing with thousands of bits of information every second. The onslaught of today’s super fast technology means that we have to continually filter unnecessary ‘stuff’ all the time. The right brain has been more or less overridden in many people; apparently modern man’s left brain now actually weighs more than the right side!
A child’s repeated right-brained ’w’ questions “why, where, what, why, who?” slowly peter out as it learns the answers and files them away in its ‘hard drive’. Information is wired in with practice and repetition, and it then becomes unconscious reactions, such as walking, chewing, driving, speaking……. It leaves us free to concentrate on the content. The brain’s natural urge is to create shortcuts, to save us time and to make life easier so that we don’t have to continually re-think everything.
The problem with learning to draw is that the brain cannot find anything to refer to other than our teenage drawings, stored away in the left brain, which – unless we were encouraged and helped to draw as a child, or had a natural aptitude – we developed in a symbolic way. Teenagers will often draw a repeated image of something that interests them, and it can become quite sophisticated, but a symbol is useless when we want to draw realistically.
To draw well, we need to find ways to activate the right brain, and encourage it to ask all those ‘w’ questions every time we want to ‘see’ anything as it really is, instead of the left brain’s superficial overview and dismissal. We need to be able to see everything anew every time, as everything we attempt to draw is a new problem. Every petal on a flower is different to every other petal, every leaf on a tree, every eye, every –well, everything! – is completely unique and fascinating. This is probably what Picasso meant when he said that he wanted to learn how to draw like a child; not that he wanted to draw in a child’s naïve and symbolic way, but that he wanted to see the world through a child’s eyes- a continually new experience.
So, to activate the right brain in other ways, and also to improve your drawing and creativity, try using both sides of your body more – combing your hair, brushing your teeth, dialling the phone, even writing and eating with cutlery in the ‘wrong’ hands. Doing this feels uncomfortable, but notice how your brain is trying to make new connections, and how much more interesting these tasks become! Release your right brain from its non- creative prison!
Seminal books on the subject are “Drawing on the Right Side of the Brain” and “Drawing on the Artist Within”, both by Betty Edwards.
Drawing lines around things is really trying to capture an illusion; there are no lines around anything we see, only edges where one ‘thing’ seems to end and another starts. As we move, our view of these ‘things’ moves too – it can sometimes feel as if we are permanently walking through a three-dimensional picture, with the scenes continually rearranging themselves around us as we focus on them (or is that just me?!).
We cannot get away from the fact that although we know that everything is rounded and three-dimensional, we have to separate one thing from another by delineating them. Logically, everything is separated into ‘things’ with edges, and with spaces in between them. Otherwise we would be bumping into things all the time.
“We live in a three-dimensional world, or four of you include Time; or up to eleven if you follow modern physics. This means we live in a mysterious world – we cannot know the other side of things. We cannot see it all at once.” Andrew Marr
“For Nature is made up all of roundnesses....Boughs are rounded, leaves are rounded, stones are rounded, clouds are rounded, cheeks are rounded; there is no more flatness in the natural world than there is vacancy” John Ruskin
(both quotes from the excellent ‘A Short Book About Drawing’ by Andrew Marr)
This is one of the first difficulties when attempting to draw something realistically; the brain wants to show what it knows, rather than what the eyes really see. Children often draw different angles and viewpoints of an object in one drawing to describe what they know as well as see. Many adults do the same thing and find themselves drawing lines that are not there, at completely distorted angles, and really cannot see how inaccurate they are until someone shows them
Try this; hold up a pencil about 12inches in front of your eyes and look at something beyond it. You can focus on the pencil or the thing, but not both at once. When you focus on the thing, you will see two pencils. Close one eye and focus on the thing – the pencil will be a little fuzzy – now, keeping your head and pencil in the same place, close the other eye instead. Do you see how much the pencil seems to have moved? Unlike cameras, with just one lens, we have binocular vision through our two eyes, which our amazing brains translate into a single view. Cameras can only give us a two dimensional flat impression, with just one focal point; our eyes capture space and depth, plus the ability to focus near or far as we look around.
We cannot capture this three-dimensionality exactly, as our paper, after all, is flat! We can give a good representation of it though, as long as we draw with our eyes and what we really see, and not what our brains tell us. I find it easiest to explain this to students by asking them to pretend that, when drawing, the world is completely flat. Everything in this flat world fits together like pieces of a jigsaw.
Holding up your pencil again, with one eye closed, something close to you will ‘touch’ the edge of the pencil in space, and so will something in the far distance. Looking up and down the edge of the pencil, everything will touch it in a flat sense. The world is FLAT!
Besides anything else, holding up your pencil like this and squinting at the world beyond it shows you the most important function of your pencil; it is NOT for drawing with – you can draw with anything, from sticks to boot polish. No, the most important function of your pencil is to make you LOOK like an Artist. If you sit in front of a piece of paper and perform this exercise with conviction, it really impresses onlookers..........
Pop up and see me if you can, or make an appointment for a convenient time....
Meanwhile, Hoppy Easter!!
For directions - just send me a message through the contact form - click the 'button' above :-)
So there I was, in the studio, fighting with a watercolour sketch that I had over-worked, and getting very frustrated with it. I had tried using soft pastels over it, which works sometimes.... but this time it was just getting worse. I liked the design and the idea of it, but it just wasn't coming together. I decided to abandon the watercolour altogether and start again on a dark-toned canvas using acrylics. To keep it simple I thought I'd try using only the three primary colours plus white...... and this is what happened!
I feel that the result really is splashy and happy - it's a direction I have been moving in for a while, but this painting is a real step into something new. I can't wait to try it again!
I love to paint - and draw - and help others to discover their creative side too.....
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