Finding your next great idea — or maybe you would call it connecting with your muse — can be difficult. I wonder if Georgie O’Keefe had self-doubts about her transition from dark cityscapes to colorful desert landscapes. I’m still mulling over what to do with my recent eclipse study, but have been recently captivated by the topographic map bookmarks we made at my recent Open Studio.
I created the drawing for the second block from a real topo map of the Red River Gorge in Kentucky. I have hiked this area which is part of the Daniel Boone National Forest. It is filled with unexpected formations, from gorges to natural bridges, all noted by these squiggling lines. Back in my studio, most of my work does not depend on line work specifically, but I continue to be drawn to these topo lines.
Topo maps are helpful and beautiful…
We have a collection of hiking maps from our travels in North America and Europe. In our recent trip to the Pyrenees, my husband and I relied heavily on a topo map to get us safely down from an exposed trail during an afternoon thunderstorm. The lines told us that yes, the scree-filled avalanche chute was in fact the way down.
I find these lines aesthetically pleasing as well. After the Open Studios tour, I now have time to get back to work, and kept thinking about these lines. The bookmarks we created were colorful and visually active, but perhaps not complex enough for larger work. This is where Big Magic comes in…
Big Magic is essential reading
If you are a creative person of any type, you should get a copy of Big Magic and read it. I refer to mine so frequently that I don’t loan it out to anyone. In the book, Elizabeth Gilbert, author of several books including Eat, Pray, Love, discusses how to live sanely as a creative person. One of my favorite parts considers how we mistreat our creativity in our quest for fame or remuneration.
“But to yell at your creativity, saying, “You must earn money for me!” is sort of like yelling at a cat; it has no idea what you’re talking about, and all you’re doing is scaring it away, because you’re making really loud noises and your face looks weird when you do that.” (Gilbert. Big Magic, 154)
I am guilty at being unkind to my creativity when I demand to know before I start whether my next endeavor will be worthy of a frame — or a possible entry for a prominent show — or my next sale. When I yell, so to speak, nothing goes well.
So I’m back in the studio with two blocks, pushing topographical lines into new contexts. Will it work out? I have no idea. But grooving to my Spotify throwback list and rolling our fresh ink made for a memorable day. And there was no yelling…