The Grind Paradox | How to Kill Your Art & Design | Episode #81 | Elliott Earls

[@benjaminsantiagosstuff]

When I was in the 'brook, we referred to this colloquially as the "planet fitness" approach...I think I've mentioned this before, but I remember some people being freaked out that they didn't know what their work was about (I think it took me at least a year to gain any sense of what my work was "about" eventhough it seems kinda painfully obvious after the fact)...one of the anecdotes I always thought about was when Moebius and Jodorowsky were working on Dune...they were trying to do concept art, and decide what a given family's armor or clothing would be for example, and Jodorowsky would just slam a book on the table open to any page and say just do that. Moebius would be super tight about that part of their working relationship but came to realize that you just have to start somewhere and have faith that "bodily" you understand the meaning or you create "intentions" and "aboutness" without externalizing it. With the book for example, Jodorowsky had the wild library and that "random" book was Titian paintings , or something that would have some art historical relationship to the work. I kind of have to 50% to 75% pay attention because I'm at work so maybe you mention this specifically, but I think there's an element of faith; you just gotta believe even if it feels "bad" or "wrong"

[@StudioPractice1]

Killer example... for a second when you wrote Moebius I thought you meant the electronic musician Moebius. Then I thought you meant that Momus. And I’m like Momus worked with Jodorowsky? Then I’m like wait? Is Moebius the Young(er) one or the older one? Is Momus, old or young (relatively). Then I short circuited.

[@alexandercanada1222]

so real and raw. truly inspiring words as always

[@StudioPractice1]

Word! Thanks!!!

[@anti-incognita]

Informative as always, I am interested to hear more of your thoughts on the “intelligence” of the artist and their modes of thinking. I am reminded of John Berryman who supposed that life (while hard for everyone) was especially hard for the artist who has to internalize everything and begin to create from that.

[@StudioPractice1]

Not to complain and shit... but making work in the studio is “hard” in a way that’s inconceivable outside the studio. (poor little ‘rich’ boy)

[@davidwattshere]

The biological aspect of this, as you put it, is one of the more interesting parts of making that doesn't get talked about enough. I think when there's this little voice in your head as you're in the studio saying the work is good or bad or x y and z, that's the same voice a surfer uses to say "not this wave" or "not this angle." The muscle memory and physicality of pursuing a form is rested in another form of criticism that isn't the long read. It's a form of critique you use in playing baseball and deciding to steal a base or to let a runner go to get a double. It's strategy that disguises itself as intuition, and maybe to an extent it is, but it has to be sensitized by performing the task. Maybe that's just me, but I see this pattern repeatedly and it's almost undermined in the face of looking at the content, because the context is always physical.

[@StudioPractice1]

I couldn’t have said it better. Surfing (or in my case, windsurfing)

[@JanAndhisfiets]

CONTENT

[@benjaminsantiagosstuff]

is this your telephone? That 60fps lookin' right tho

[@StudioPractice1]

Yo. Go pro 7

[@StudioPractice1]

Just tryin to do some down and dirty episodes - in contrast to the high production value versions that take 5 weeks

[@benjaminsantiagosstuff]

​@@StudioPractice1 I like the contrast in content