WHAT IS CREATIVITY?|
By H. Gay Allen
H. Gay Allen is (mostly) a photographer and digital artist who has previously essayed on the these pages (DABlog 12) "What Is Art?" Now in a perhaps more personal mode she asks, "What is Creativity?"
There are those who say that creativity is a result, like producing an original idea that has contextual value, i.e., inventing something. Others say that creativity is an act that transforms materials that already exist, into something that did not exist before. Still others (academicians) believe that it's something that can be measured.
To me, creativity is a force that drives exploration of the possibilities within one's own knowledge and capabilities. For some, it is strange and scary; for others, it is a demanding invitation to pleasure (and possible pain) that cannot be denied. Once the spark of inspiration is ignited, things begin to happen and the results can either be synergistic, so that more results occur, or they can be crippling, so that frustration puts out the spark. It's up to the individual to be receptive to the force; to actively and positively cultivate it; and to do so, without any expectation of recognition, or need for approval.
In 1988, I was given a battery of tests as a part of extensive career counseling. Results showed that I have a creative aptitude which measures as high as the scales go and my creativity was deemed to be "off the charts." Note the phrase, "creative aptitude." All the testing did was to tell me about a potential that existed. It did not guarantee that I would find or become capable at one or more disciplines available at the time. And it did not guarantee that my creations would be mediocre or magnificent; or that I would become rich and famous.
It was up to me to discover what having that potential meant. In doing so, I have created and sold over 200 pieces of pottery; written hundreds of pieces of poetry, many published; created many murals, collages and paintings; reached the expert level in stitchery; completed hundreds of fused glass art pieces; and have taken over 20,000 photographs, in the last nine years; with over 5,000 completed artworks. And yes, I've exhibited lots; won awards; and sold things. But I've also taken close to 100 art classes and seminars of various kinds. I've torn up, thrown away, started over, and gotten frustrated thousands of times. (I actually pulled a big painting I had been struggling with out of my garage and ran over it with my automobile!) but I kept going, because I wanted to understand this strange relationship I was/am having with the creative force that drives me.
After many decades, I can only tell you this: "You don't have to understand oxygen to breath it; but it sure is necessary for life."
May The CREATIVE Force be with you!
H. Gay Allen's website:
(continued from DABlog 13)
Every child is an artist. The problem is how to remain an artist once we grow up.
An artist cannot fail; it is a success to be one.
For me, painting is a way to forget life. It is a cry in the night, a strangled laugh.
Art enables us to find ourselves and lose ourselves at the same time.
Creativity takes courage.
We must do our work for its own sake, not for fortune or attention or applause.
We work in the dark - we do what we can - we give what we have. Our doubt is our passion, and our passion is our task. The rest is the madness of art.
The artist never entirely knows - we guess. We may be wrong, but we take leap after leap in the dark.
The role of the artist is to ask questions, not answer them.
Art is not a thing, it is a way.
Art is when you hear a knocking from your soul - and you answer
I am interested in art as a means of living a life; not as a means of making a living.
All art is quite useless.
Your work is to discover your work, and then with all your heart to give yourself to it.
No one saves us but ourselves. No one can and no one may. We ourselves must walk the path.
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MUSEUMS, COMMUNITIES, GALLERIES|
Digital Art Gallery Online
Digital gallery of best pictures and photos from portfolios of digital artists.
Digital Art Served
Soho Arthouse (Soho Gallery For Digital Art)
DAM - Digital Art Museum
Los Angeles Center for Digital Art
Museum of Computer Art
Digital Art Online
Museum of Digital Fine Arts
Digital Arts: California
by Thomas Demuth
Thomas Demuth is a 3d artist from Germany. He uses 3d rendering software to create photo-abstract images based on polygon mesh structures. He calls his style "Polygonismus", and the concept behind this style "The Economy of Polygons". It is a dramatic and profound style that gives the artist's work psychological depth and photo-abstract intensity at the same time.
In a world of a constantly increasing resolution, he is taking polygons back to their own beginning. This is the world where mathematics and algebra meet the sense of creativity.
THE MANIFESTO OF POLYGONISM
The polygon is the smallest visible part in the three-dimensional world of cybernetic art. Three points in space are enough to draw a polygon. Today, at the beginning of the 21st Century, we must recognize that the polygon will die out. It will not disappear by its lack of presence from view, but only by its wealth and ever-increasing number of points and surfaces. In the field of computer art the polygon will sink in nameless representable of nature.
The polygon is set to the unnatural. Its hard, sharp edge is the bulwark against nature and wants to put all things in the right light of its physics.. But the abstract form of the polygon world obeys its own physics. It is the physics of our own inner eye that stands up to its battle against the all-seeing eye of the binary code.
In the field of game design, we still are accustomed to the strange, seemingly able to admire edged, and abstract figures. But with increasing computer power polygons are now in the final state and will soon disappear.
Until a few years ago, the polygon was a necessary evil for the game industry, specifically. It was rather an unavoidable, aesthetic artifact, since the processing capacity decided on what one might see to the degree of complexity. Lara Croft began over ten years ago with about 500 polygons to conquer. Today, surfaces have increased by more than tenfold. The so-called low-poly modeling is the art of constructing a virtual computer character. The economic handling of points and surfaces guarantees the future perfect embedding and playability of the character in its virtual environment.
But why is the polygon and its associated possibilities of abstraction so important for art and for the viewing habits of the people? The polygon is still the last barrier between the abstract world of imagination and the world of the dictates of realism. This peculiar binary world is built on the polygon but denies this. But at the same time, it will not continue to bother with him.
The mad race for the rounding, the immediacy and perfection of nature, includes also the unnaturalness of the edges and corners; the denial of his and of our own origin.
Thomas Demuth's website
Das Abendmahl 2
Ecce Homo 16
Triumph of Death
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