This is way more difficult than expected because you have to do that left brain override. A huge amount of learning how to draw = learning how to see = learning how to stop seeing symbols for things like the human body.
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Imitating a master you admire is key. There are certain painting decisions by masters I look like where I don't know how the hell they got the guts or intuition to do it, choices that I never would have thought possible w/ just a set of general rules or photorealism
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There's a virtue in repeating a form of practice so many damn times that you just get TIRED of analyzing it. Ex. in my meditation I'm far better at working with koans, using via negativa, etc. than just sitting (for better or for worse). I have to manually stall my mind first.
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A lot of people think intuition / loose painting = just waving your brush around and literally speeding up, this rarely is the case (at least at first). Being slow and deliberate, without that deliberation turning into cognizing and making the process a checklist is tricky
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The hardest part, and a more universal lesson, is that the left brain inhibitor is almost always tied to the emotional pain of perfectionism, failure, etc.
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Most of the good artists I saw at the school just didn't give a fuck about steamrolling through the bad beginner phase and got valuable experience out of making stupid mistakes. They participated in communities early to get feedback and make connections with other artists.
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I'll end with a story from Art & Fear that always inspired me. Although I'm not sure if it is directly relevant to left-hemisphere inhibition, it may be helpful to youpic.twitter.com/BrtjBDw8Dv
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