oil painting, Rightness, by the author
In business school there
is little ambiguity as to the mission, money... profits. In art
school it's a little different. The one I went to required focus,
after a year of fundamentals, on one of several options: Advertising,
Illustration, Industrial Design (all, you'll note, with the same
point as business school) or Fine Art. Within the Fine Arts, by year
three, one selected a major: painting, sculpture or printmaking. Of
course everyone knew that “fine art” was a commodity, but it was
considered crass to dwell too much on that area. So what, if not
money, was the point? Well the word transcendental might have come
up, if not that particular word then a synonym. Before we go further
it should be pointed out that it has nothing to do with dental work.
I don't know how dental got in there.
We looked to figures like
Van Gogh, wholly taken up by painting despite poverty, ridicule and
scorn, little recognition beyond their circles of starving artists, a
few patrons maybe. It's not about money we said, and meant it. But
what did we mean? I mean, what was it we were after if it wasn't
money? Beauty? Truth? Authenticity? Ok, but what do those words mean?
They were bandied about in the art mags and theoretical writings and
we thought we knew what they meant just by using them. But the
question remains, what do they mean? Why was art-making special and
beyond commerce?
Of course the artists we
admired now have respect. People flock to the museums to see
their work. There are adoring biographies, imitators, framed
reproductions, astronomical auction prices... so there is definitely
a material presence in the shadow of the great men (mostly) just as
the great religious figures attracted a following that didn't
necessarily get the message. Yes, ego is everywhere, crap and
corruption, but that message, again, what is it?
We identify things in the
world, sub-sets say of the actually indivisible whole, ie, atoms,
photons, waterfalls, buildings, galaxies and death, or our ideas of
that mystery. Even our own thoughts and emotions… and here we have
an insight, that if we are aware of our thoughts and emotions, who or
what is aware? There must be something beyond the thoughts/emotions
that is aware of them and that something is awareness itself, what
YOU (or I - we) actually boil down to. I venture that here is the
message, that what, outside of ego, moves art makers is the
tantalizing glimpse of awareness that pulls them away from commerce
toward the world that can only be experienced, in its deepest
aspects, through awareness, presence as the Buddhists would have it.
Intuition was another word we used to try to get at this. Catherine
Fox, in a review of this writer's paintings, wrote, “For
Ferguson, art-making is less a career than a yoga practice - a
vehicle to get him to a state of consciousness.”
So
why would we be interested in “consciousness” when there are
material riches out there just waiting for us to get our hands on
'em. They promise us feelings of superiority, invulnerability, and
pleasures of palette and flesh. Well some see through these appeals
to ego and others, like the Buddha himself it is said, achieve the
seduction of “success” and find it hollow. Consider the
billionaires who continue to obsessively amass wealth even when what
they have would take multiple life times to spend.
The
attraction of “consciousness” is that it gives us access, it is a
portal to the joy and profundity of being. It is how we experience
the incredibly beautiful and complex phenomenon of existence and feel
our inexplicable interconnection, unity, with it... it is us, we are
it... and this transitory, material world is a wave swelling up out
of the sea, rolling the peppled shore and returning once again to the
deep.