{"id":2174,"date":"2016-08-04T15:51:18","date_gmt":"2016-08-04T15:51:18","guid":{"rendered":"http:\/\/www.elizabethfram.com\/Blog\/?p=2174"},"modified":"2016-08-04T15:51:18","modified_gmt":"2016-08-04T15:51:18","slug":"giving-intuition-its-due","status":"publish","type":"post","link":"https:\/\/www.elizabethfram.com\/Blog\/giving-intuition-its-due\/","title":{"rendered":"Giving Intuition its Due"},"content":{"rendered":"

There are rules of ‘making’ that have been drilled\u00a0firmly within our brains, often leaving us consumed and creatively tongue-tied by their prescribed boundaries. Yet I think\u00a0it’s healthy to keep\u00a0in mind, in an effort to access the core of what we ultimately want to say through our work, that selectively disregarding the paths laid out and trodden by those who have gone before, or even those who walk alongside of us, can lead to wonderful discoveries.<\/p>\n

\"BoatShed\"

Boat Shed<\/strong>\u00a0 \u00a0 \u00a0\u00a9 2016 Elizabeth Fram \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0It was busy\u00a0in Maine last week, but there’s always time for\u00a0a bit of sketching<\/p><\/div>\n

In her “first person”<\/em> essay in the Spring 2016 Surface Design Journal<\/strong>,\u00a0Juliet Martin<\/a>\u00a0discusses\u00a0the Japanese philosophy of SAORI<\/a>,\u00a0<\/em>an ideology that “encourages freeform work — no patterns, no rules, (and perhaps most importantly) no mistakes”. Saori<\/em> is a type of weaving devised by Misao Jo that ignores restrictions, giving voice to the expression of hidden personal creativity. Martin writes in greater depth about her experience with and exploration of Saori<\/em> in her article\u00a0 Unmistakable: How I Understand Saori Weaving<\/em><\/a>\u00a0on the Surface Design blog. Applying this mindset has had a fascinating affect\u00a0on the way\u00a0Martin approaches her work. I encourage you to read her post regardless of your medium, as I believe its core ideas swing open a door to greater creative possibilities across all disciplines.<\/p>\n

\"Grasses\"

Summer Grasses<\/strong>\u00a0 \u00a0 \u00a0\u00a92016 Elizabeth Fram<\/p><\/div>\n

At it’s heart, Saori<\/em> celebrates working intuitionally and allows for the “happy accidents” that often elevate a piece beyond what might have been initially planned. As a way of working, it lends permission to set aside rules and to relax into one’s process, letting the actual act of making guide the way toward fortuitous discoveries. And I have to wonder, couldn’t all our work benefit from a little more of that?<\/p>\n

\u2756<\/span><\/p>\n

If you are looking for a great art book to round out your August, check out\u00a0McCloskey – Art and Illustrations of Robert McCloskey<\/a><\/span><\/strong>.\u00a0<\/em>Even if you didn’t grown up in Maine, I have to believe you are familiar with Blueberries for Sal<\/a><\/em>, Make Way for Ducklings<\/a><\/em>, One Morning in Maine<\/a><\/em>,\u00a0or one of McCloskey’s many other books. And if not – grab a young friend and check them out from the library! His work is so iconic to me that, when we brought our daughter to Boston at the beginning of her college search, I\u00a0made sure to\u00a0find time to search out\u00a0Nancy Sch\u00f6n’s<\/a> bronze sculpture of McCloskey’s beloved Mallard family in the Boston Public Garden.<\/p>\n

\"LobsterBoats\"

Lobster Boats<\/strong>\u00a0 \u00a0 \u00a0\u00a92016 Elizabeth Fram<\/p><\/div>\n

What\u00a0I didn’t realize is that in addition to his fabulous illustrations which speak so strongly of Maine, McCloskey was also a wonderful painter who travelled widely, living and painting in Rome (he won the Prix de Rome<\/em> during World War II), Greece, Mexico, and on the island of St. Thomas. The text, written by his daughter Jane (the baby in One Morning in Maine<\/em>) is personal, not scholarly, and gives a comprehensive overview of McCloskey’s career while simultaneously sharing page after page of paintings and sketches that expose a depth of work that won’t disappoint.<\/p>\n","protected":false},"excerpt":{"rendered":"

There are rules of ‘making’ that have been drilled\u00a0firmly within our brains, often leaving us consumed and creatively tongue-tied by their prescribed boundaries. Yet I think\u00a0it’s healthy to keep\u00a0in mind, in an effort to access the core of what we ultimately want to say through our work, that selectively disregarding the paths laid out and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[121,17],"tags":[305,307,310,309,306,308],"class_list":["post-2174","post","type-post","status-publish","format-standard","hentry","category-books","category-process","tag-juliet-martin","tag-misao-jo","tag-nancy-schon","tag-robert-mccloskey","tag-saori","tag-surface-design-journal"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5kO5z-z4","_links":{"self":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/2174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/comments?post=2174"}],"version-history":[{"count":7,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/2174\/revisions"}],"predecessor-version":[{"id":2184,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/2174\/revisions\/2184"}],"wp:attachment":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/media?parent=2174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/categories?post=2174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/tags?post=2174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}