Robert Genn's Twice Weekly Letter
Insight and inspiration for your artistic career.

Dear Artist,

Yesterday, Edward Vincent of Sydney, Australia, wrote: "No matter what type of painting I do, my work looks infinitely better in half or reduced light. One wonders if they would be best in the dark! Is it the absence of half tones? Is it a general lowering of the key? Is it the absence of detail, or is the truth much more sinister?"

Thanks, Edward. There are several significant deceptions happening when you view your work in half-light. Like buying a car in a dark alley, you're inclined to miss the flaws. You need to bring the vehicle to a well-lit area to make a wise decision. Problem is, self-deception helps us to feel good--temporarily--and often gives us courage to continue our folly.

On the other hand, half-light is much like the effect you get when you squint at your work. Things look softer and sometimes more artistic because details are subsumed by the big picture. While "sore thumbs" can stick out in half-light, many an admiring half-light look happens after some of the sore thumbs are healed. Unfortunately, squinting is merely part of the creative process--one's efforts must also stand up to open eyes in the cold grey light of dawn.

Creative evolution requires that we face our faults. Human nature would have us avoid the distress. While all art is some sort of an illusion, it's important that we creators not be deluded. Here are a few suggestions:

Invite yourself to look at work in all lights--including those under which the work will be viewed in galleries, homes or museums. For the studio, a progressive dimmer is a valuable tool. Be hard-nosed in your looking. Pay particular attention to mid-tones in a variety of lighting conditions. Do they hold up?--or do they disappear to chalky whites or deadly blacks? Note the recession and protrusions of colours. Often, slightly retouched compromises, grayed or in higher or lower key, will bring a work to life. Further, when viewing in full light, ask yourself if some edges might be somewhat softened--as they would be when seen in half-light. Above all, take every work for a walk--outdoors.

Many artists feel the need to have two sides to their being--one confident and energetic, the other diffident and critical. Split personality or not, to see the truth we need more light.

Best regards,

Robert

PS: "The easiest person to fool is yourself." (Richard Feynman)

Esoterica: Many of us have had the experience of going into a darkened cabin or other murky place and noticing a particular print or painting that seems to exude wonder and mystery. Closer examination in proper lighting may reveal a more pedestrian work. Point is, we cannot rely on bad lighting to sustain our reputations. Sooner or later, people really take a look at the stuff.

If you would like to read more information related to the above letter please visit the Art in half-light Clickback


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