October 17, 2003

Dear Artist,

Most people have heard about restless leg syndrome.  That’s where the legs insist on moving--jiggling, particularly at night when you should be sleeping.  Apparently 15% of the population has it--most of them middle-aged women.   

Restless brush syndrome is where the brush tends to move too much.  It covers more ground than it needs in order to convey its message.  This brush is as busy as a bee--going here and there over areas that would often be best stated with a single, effective swipe.  We’re not talking about legitimate blending and brushing out--we’re talking about going over the same place.  You sometimes notice the condition at workshops and group paint-ins.  Men as well as women can be sorely afflicted.  

I used to put it down to the need for some people to “give more.”  Some inbuilt guilt or tic that makes a person fuss and make movements that are not necessary.  More than anything this sort of busyness is an amateur trait--and amateur traits often become habits that can haunt the pros.  The tragedy is that restless brush syndrome, when chronic, can waste a lot of your precious time--time you need to grow, learn and flourish.  It’s also responsible for some of the great sins of painting--muddifying, overworking and senilizing.  

How to take the cure?  Unlike leg problems that can be beaten down with iron supplements, vitamin B12, and warm baths, the brush problem has to be cured by rewiring the neural paths.  Exercises and test projects taken slowly can lead to an appreciation of economy and paucity in brushwork.  Self-diagnosis and an understanding of your personal artistic direction and methodology may give you the prescription you need.  But be warned, the disorder is so compulsive that artists often don’t know that they are doing it.  Video helps.  “What the devil is that person doing?” he asks, on seeing himself in action.  I’ve found that it’s alright to go into a dream or a trance while painting, but it’s also important to be aware of your personal kinetics.  Also--like the good habit of half-closing our eyes--no brush-busy artist can do better than to repeat the mantra: “Look three times, think twice, paint once.” 

Best regards, 

Robert

 PS:  “Leave your strokes alone.” (Ted Smuskiewicz)

Esoterica: Exercise: Place your fully loaded brush on the canvas or other support and move your eyes to another spot where you wish the stroke to end.  Without looking back at the beginning of the stroke, bring the brush in one direct (perhaps curved) action to the end spot you have chosen.  Assess the result.  Wipe off if not satisfactory and try again.  If satisfactory, do not touch, but rather go on to an adjacent stroke and follow a similar process.

If you would like to see selected, illustrated responses to the last letter “Creative obligation,” and others, please go to http://www.painterskeys.com/clickbacks/obligation.asp

If you would like to comment on this letter or add your own opinions or observations, please do so.  Thanks for writing rgenn@saraphina.com 

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(c) Copyright 2002 Robert Genn. The "Robert Genn Twice Weekly Letter" may only be redistributed in its unedited form. Written permission from the author must be obtained to reprint or cite the information contained within this newsletter.