The Role of Intention in Our Work [39]

Setting artist intentions

Here we go… this seemed a good idea when we planned it, but perhaps I’m finally ready to face up to some harsh truths…

Apple podcast

Alice is feeling a shift in direction and has been exploring the idea of intention for her work. This sparks a discussion about the role of intention in art-making. Do we need it? Do we have to decide it right from the start? Or can we find it as we go? 

We explore the pros and cons of intention in a discussion that ranges from the compositions of an art-making chimpanzee to Steve Jobs’ wise words about how we can connect the dots.

We also discuss the super practical topic of studio flooring with a few different suggestions for comfort and ways to preserve your floor from paint, ponder the challenges of teaching art workshops and reveal our thoughts about fancy dress (Gold star if you can guess which one of us has never ever worn a fancy dress costume!)



How to Create a Mood Board for Your Art

Steve Jobs speech

Congo the chimp

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“Monkeys Spinning Monkeys” Kevin MacLeod ( Licensed under Creative Commons: By Attribution 3.0 License

1 reply
  1. Kathy Tuchalski
    Kathy Tuchalski says:

    Finding an intention–interesting topic. I have struggled with this too. Seems the more I try to make something happen, the less I am happy with it. A recent experience I had–was trying to move into a more designed abstract composition and so I blocked in several areas on this large painting. Could not figure out where to go next. So left it. Move forward a few weeks. Had gone camping with friends and came across the Manzanar Internment Camp museum in Lone Pine, CA. I had previously not known this place existed. Did not have any previous experience or knowledge of the Japanese internment camps in the US. So I was shocked and extremely moved to see the information presented in this small museum. This is the first time I was pressured internally to paint something that had such an impact on me. When I got home I found this previously started painting and realized it was perfect for the composition to fit this vision I needed to paint of Manzanar. It is not a beautiful painting. In fact, it is (somewhat intentionally) an unpleasant piece to look at. But for me, the meaning is so strong because of my experience at this place that it has become one of the most important pieces to me. So back to intention–I feel, at least in this case, I could not have done this work had I started with intention of researching, planning, etc. It was a direct reflection of my experience. And how my intuition had begun the painting before I even found the journey. I have no way to understand how that happened. but it was definitely an experience I will not forget.

    I converted my second garage to my art studio. I had an existing cement floor. We painted it gray. Then my granddaughter and I took acrylic paint (red, yellow, black) and put into large squeeze bottles. We walked around the room (left an alley around the edges so we could avoid the painted areas) and one color at a time, squirted painted lines, drops, squiggles. we let each color dry before applying the next. I wanted a floor I could spill on which would not interfere with the pattern. I have had so many good comments about my floor! And I don’t have to worry about messing it up. As for comfort, I use thick, spongy kitchen floor mats in places where I spend the most time standing.

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