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  • Writer's picturesharonkingston

on creativity, part 1

The artist Richard Diebenkorn is quoted in the 1950s as saying:

"I want painting to be difficult to do. The more obstacles, obstructions, problems-if they don't overwhelm--the better.

Stravinsky's Poetics of Music (worth a read for his elaborations on the idea of creativity, 1947 Harvard University Press) has this to say about the same idea:

I must in turn impose mine upon it. So here we are, whether we like it or not, in the realm of necessity. And yet which of us has ever heard talk of art as other than a realm of freedom? This sort of heresy is uniformly widespread because it is imagined that art is outside the bounds of ordinary activity. Well, in art as in everything else, one can build only upon a resisting foundation: whatever constantly gives way to pressure, constantly renders movement impossible. My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings. I shall go even further: my freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint, diminishes strength. The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit. To the voice that commands me to create I first respond with fright; then I reassure myself by taking up as weapons those things participating in creation but as yet outside of it; and the arbitrariness of the constraint serves only to obtain precision of execution. From all this we shall conclude the necessity of dogmatizing on pain of missing our goal. If these words annoy us and seem harsh, we can abstain from pronouncing them. For all that, they nonetheless contain the secret of salvation: "It is evident/' writes Baudelaire, "that rhetorics and prosodies are not arbitrarily invented tyrannies, but a collection of rules demanded by the very organization of the spiritual being, and never have prosodies and rhetorics kept originality from fully manifesting itself. The contrary, that is to say, that they have aided the flowering of originality, would be infinitely more true."

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