There's something that's very intense about
the experience of sitting down and having to
look at something in the way that you do in
order to make a drawing or a painting of it.
By the time you've done that, you feel
that you've really understood what you were
looking at...and somehow it becomes a
method of possessing the experience in a
There is distinct difference between the physical eye and what it sees and the inner eye and what it envisions, and yet the two most often work together in a seamless symbiosis.
It is essential that we learn to see through all our senses rather than simply looking with our eyes alone.
If we draw what we think the shape should be rather than what we see, our intellects are working against our eyes and we have defeated the purpose of truly seeing. Our physical eyes tell us what we see, our intellects tell us what we think we see--- and these can be at war with each other in the creative process. Experienced artists use their physical eyes to give them accurate and highly detailed information. The inner eye---the eye of the soul---then, if desired, embellishes the information given by the physical eye. This is called expression, and at this stage, has nothing to do with intellect.
It is possible that there are several types of seeing modes that people engage in, either naturally or otherwise. First, there are those for whom the gift of seeing is inherent in their makeup and they have exercised this ability since early childhood. Second, there are those who understand the need to see artistically and have been trained to see beyond their natural abilities. Finally, there are those people who do not have the ability or the desire to see any differently.
The physical eye assesses and establishes the rudiments of compositional structure.
The eye of the mind (soul) interceded, penetrates, and prevails in places uninhabitable by the physical eye alone.