Wednesday, June 11, 2008

Moving Out, Not Up

I learned today that several people got promoted to manager status. All of them pretty well deserving in my opinion, but I'm also slightly disappointed. One of the new managers was someone whom I had my eye on and was gambling on a chance of working with him. Due to the fraternization policy, that is now an impossibility. Oh, sure, I've been able to bend that rule with most of my managers, but where I want to go with him is anything but professional.

Work drama aside, I've also decided to move out of my studio space in Watkins. I'm officially burned out. There's nothing I can really do or want to do with this project. I know what needs to be done with the puppet, but bringing myself to actually DO it is another matter. On top of that, I've been wrecking my brain trying to figure out my thesis since the start of the summer and feel like I haven't made any progress at all. I need a break instead of using the summer time to produce and fine tune like I originally plan. If I do otherwise, I might not have a very successful second attempt since it all I would have done is produced yet another incoherent body of work that cannot support a thesis that makes sense only to me.

It's times like these I wish I could make art that expresses my honest feelings, but doing so in a successful manner is so far above my skill level at this point that any idea I think is a good idea will be read in a different way.

2 comments:

Robert Stone said...

Jon,

Sometimes a change of scenery does one good.

I think that I thought that one could express one's honest feelings at any skill level. Of course being more skilled is usually a good thing.

I am hoping to see what Jason says about this.

Robert

Robert Stone said...

Jon,

I wrote about art when I was in college although I had never taken any art courses. The paragraph below was my 1961 description of an artist. If you want to read the whole thing, you can go to:
http://robert-stone.livejournal.com/4285.html

Thus, the artist may be pictured as a faithful worker pushing a wheelbarrow of the basic elements of his art along a narrow winding path, with the rugged mountains of novelty and uncertainly on the one side, with the smooth-sloping plane of conformity and regularity dropping off along the other. Alas, he can see such a little distance into the future. He must ever be on guard not to let his burden carry him down the slopes, and at the same time he must keep himself in check not to overcompensate by turning too far upward into the uncharted hills.