I want to follow up my post Like Roots to a Plant last week, continuing the thoughts about the tension between Eros and Logos. Or between craftsmanship and expressing the heart. Is there a contradiction between the two? Personally I don’t think so, but I do notice many see craft as a barrier between the heart and the art. What they tend to forget is that craft is a living exchange. By craftsmanship we breathe life into our artistic work; by craftsmanship we transmit and transfer our vision into an artistic expression. In addition craftsmanship provides a means for our own growth and development and asks for us to tunnel our mind, heart and soul through the technical possibilities and requirements of whatever artistic medium we are working with.
At the same time we should not look upon craft solely as a technical requirement of the medium. We shouldn’t just feel forced to learn about the technique of the artistic medium in order to be able to express whatever our vision is, or feel opposed to it because it hinders the same expression. And we should definitely not raise technique into an objective of its own. Technique merely represents the tools, the study of the shaping means of our work. Technique alone, without the guiding influence of the mind and heart, is sterile. While it is desirable and undeniably useful to maintain a respect and appreciation for the best tools or elegant solutions, it is important to avoid the common trap of mistaking technical excellence for the soul of creative expression.
Craft must be put into service of our vision. It comes down to using our bodies, minds and hearts and extending them through craftsmanship and our work with the physical material. As a matter of fact the craft is an extension of ourselves. It doesn’t matter which art form we are talking about. The camera is an extension of the eye, the paintbrush and pen an extension of the hand and arm, the potter’s wheel an extension of the centred presence of the human body. And so it is even with computers, for those of us who channel our work through digital tools. The computer and the action of the silicon chip, with its billions of instructions per second, is a metaphor for an extension of the human nervous system, the human brain. The child starts by painting directly with its fingers, later on we start to use tools as an extensions of ourselves. But basically, and at its most simple level, it’s all the same.
Thus, we shouldn’t raise technique up as god itself. Neither should we fall into the trap of seeing craftsmanship as an obstruction between our heart and our work—and to be avoided. Because by knowledge of craftsmanship we are better capable of making the transition from heart and soul to artistic expression. I find it strange that particularly in photography technical knowledge has gain a bad reputation by some artists. It’s look down upon as geeky or of interest for only those who don’t care about the art. But again the craft is only a tool—and a useful tool in the creative process. Nobody asks whether an author needs to know the grammar of his or her language. And so it should be with any artistic work. The craft has no use of its own; it is merely a tool for our heart and soul.