Art is born from emotion. Feelings evolve into a vision which the artist takes into her hands and shapes into something tangible.
Artists and makers offer pieces of our souls in our work. We take risk by pouring from our hearts, fully aware we might be misunderstood or rejected. But art demands boldness and the willingness to be seen, imperfect and raw.
Art and love are two of the most powerful ways we seek connection. Loving people requires vulnerability—to open yourself up to the possibility of hurt, to share your innermost thoughts and dreams. It is a courageous act. Through love, we form relationships that fill our lives with meaning. Art does the same, allowing us to connect across time and space. A painting from centuries ago can touch us in ways that feel personal and profound.
A few years ago my daughter and I took a trip to New York and visited the Museum of Modern Art. When she encountered this painting by Jackson Pollock, she said, “I can’t decide if I hate it or love it.” We stayed for quite some time, and she sat, staring. Eventually, the painting spoke to her and she left with a new impression of this style of art. More understanding and respect after having taken time to let it soak in and wash through her. It evoked varying feelings as we sat, alternately quiet or discussing our thoughts. Spending time visiting museums and walking through galleries has given us a new avenue for our relationship and opened our minds in ways we enjoy exploring together.
Both art and love make us feel seen and understood. They transcend words, speaking directly to the heart. Just as we feel loved when someone recognizes our true self, we feel moved when art resonates. In both, we find a reflection of who we are and what it means to be part of a bigger whole. They share a common language of growth and evolution, pushing us toward transformation.
A piece of art can change how we see the world, inspire us to think differently, or move us to action.
The above painting is One: Number 31 1950, Jackson Pollock
On display at the MoMA, Floor 4, The David Geffen Galleries
“One: Number 31, 1950 exemplifies at a grand scale the radical “drip” technique that defined Pollock’s Abstract Expressionist style. Moving around an expanse of canvas laid on the floor, Pollock flung and poured ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel—some matte, some glossy—weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas suggests speed and force, and the image as a whole is dense and lush—yet its details have a delicacy and lyricism.” -MoMA