The methodology of intuition

Preface

Artists usually have to rest assured in the unpredictable and the uncertainty of our artistic process. We learn how to find ourselves more or less in constant limbo. A place where we are somewhere, we think we are on the right path, but sometimes it feels like we have to hold up and wait as part of our process. In this space and time of waiting, we have different strategies, and we painters tend to sit and stare at the painting until we either move on or go home. I would like to translate the “sit and stare context” into the possibility that we have a dialogue, it may not always be conscious or verbal, but it takes place either in a wordless way, or we could even talk to ourselves. It can even continue when we are not in the studio or near the painting we are working on. It is the dialogue going silent, or even dying, that scares you. 

The painting doesn't say anything anymore, and it is beyond rescue. It is over, and the only thing I can do is to paint over it. Sometimes I even destroy the painting; it is when I get so excited about the dialogue with the painting that I simply go too far and destroy it. I am so seduced by the moment, and paint without listening that all of a sudden, I have suffocated the entire painting. No oxygen or air is left in it, and it becomes challenging to give artificial respiration, although it can happen, if I start to listen again. 

I am curious about the dialogue, the communication, the relationship between the artist and the art itself and how they communicate — for example, communicating such as having dialogues with your voice with language and sound, with your body expressions and movements, or your performance, paintings or other artistic actions. I am curious about how these communication styles talk separately or to each other, and if these languages could reveal knowledge together.