Two Performances on the Anatomy

In the sketchbooks, I draw my thoughts. I might rip off a page and make it a part of an artwork. When the book advances, the story goes forward as well.

The creative process is naked and fragile: There is trial and error and it is scarily undone. The exhibition introduces the anatomy of the creative process: there are sketchbooks, loose leaves, paintings developed from the sketches, and beginnings of artworks.

The incompleteness is present in the whole exhibition. When do I know if the artwork is ready? Is it not just a decision, feeling, or a deadline? Quite often I go back to my sketches and continue them or cover them. The whole is constructed by layers, and without the layers, the artwork would not exist. The creative process is a stream of subconsciousness, incompleteness, acceptance, plunging, and playing.

Julia Cameron’s book The Artist’s Way (1992) guides the reader to open the creative blocks. Part of the book’s exercises is writing morning pages, a free flow of three pages every morning. Writing is a meditation. I only concentrate on writing without the content. But little by little the text starts to get content, new thoughts, old memories, and fresh ideas. My writing transformed into drawing. I started to fill my sketchbooks with the same freedom as I had written the morning pages. The pages were filled with new ideas and thoughts. This play became a big part of my process.

The exhibition reveals the layers and the anatomy of the creative process. It shows the failure, incompleteness, play, and observation as a part of the process.