Painting a Sense of Place | Tom Hauskens | TEDxYakimaSalon

how do you describe your sense of place

how do you describe your sense of place where are the edges in your world can

where are the edges in your world can

where are the edges in your world can you taste the Sun I paint a sense of

you taste the Sun I paint a sense of

you taste the Sun I paint a sense of place through paint in a program note to

place through paint in a program note to

place through paint in a program note to Maria I ran for neces play mud

Maria I ran for neces play mud

Maria I ran for neces play mud I read the possibility of being creative

I read the possibility of being creative

I read the possibility of being creative depends not on being shy with one’s

depends not on being shy with one’s

depends not on being shy with one’s intimate self and not being fearful for

intimate self and not being fearful for

intimate self and not being fearful for one’s personal standing we must take

one’s personal standing we must take

one’s personal standing we must take very delicate chances delicate because

very delicate chances delicate because

very delicate chances delicate because they are dangerous and delicate because

they are dangerous and delicate because

they are dangerous and delicate because they are subtle so subtle that while we

they are subtle so subtle that while we

they are subtle so subtle that while we experience a personal terror it could be

experience a personal terror it could be

experience a personal terror it could be that no one will notice I do not

that no one will notice I do not

that no one will notice I do not consider myself a writer by trade I am a

consider myself a writer by trade I am a

consider myself a writer by trade I am a painter my tools ground pigments oils

painter my tools ground pigments oils

painter my tools ground pigments oils solvents graphite and charcoal are the

solvents graphite and charcoal are the

solvents graphite and charcoal are the characters I use to describe my sense of

characters I use to describe my sense of

characters I use to describe my sense of place I have spent the past 32 years

place I have spent the past 32 years

place I have spent the past 32 years probing the secrets of this world with

probing the secrets of this world with

probing the secrets of this world with paint and blunt instruments whose faint

paint and blunt instruments whose faint

paint and blunt instruments whose faint tracks form my words and phrases

tracks form my words and phrases

tracks form my words and phrases unfortunately there is no dictionary for

unfortunately there is no dictionary for

unfortunately there is no dictionary for the words I use brush strokes have few

the words I use brush strokes have few

the words I use brush strokes have few meaningful cognates and there is no way

meaningful cognates and there is no way

meaningful cognates and there is no way to decipher my painted language and

to decipher my painted language and

to decipher my painted language and while some colors evoke common responses

while some colors evoke common responses

while some colors evoke common responses those responses are often biased seen

those responses are often biased seen

those responses are often biased seen through sentiment or nostalgia colors

through sentiment or nostalgia colors

through sentiment or nostalgia colors and brush strokes cannot be relied on to

and brush strokes cannot be relied on to

and brush strokes cannot be relied on to be read or understood consistently

be read or understood consistently

be read or understood consistently clearly some of my paintings will never

clearly some of my paintings will never

clearly some of my paintings will never be understood at all I paint a sense of

be understood at all I paint a sense of

be understood at all I paint a sense of place

place

place through paint here’s what I said about

through paint here’s what I said about

through paint here’s what I said about my paintings about 15 years ago plainly

my paintings about 15 years ago plainly

my paintings about 15 years ago plainly put the painting subject is paint by the

put the painting subject is paint by the

put the painting subject is paint by the formal disposition of one color field

formal disposition of one color field

formal disposition of one color field upon the next or proximal and by

upon the next or proximal and by

upon the next or proximal and by concurring deductions

concurring deductions

concurring deductions erosions concealments and cancellations

erosions concealments and cancellations

erosions concealments and cancellations a rich peripheral deposit evolves

a rich peripheral deposit evolves

a rich peripheral deposit evolves borders and adjacent seas that inventory

borders and adjacent seas that inventory

borders and adjacent seas that inventory acts of paint submerge in subsequent

acts of paint submerge in subsequent

acts of paint submerge in subsequent acts a digest of past process after the

acts a digest of past process after the

acts a digest of past process after the broad laying of the paintings

broad laying of the paintings

broad laying of the paintings constitutive fields these lean

constitutive fields these lean

constitutive fields these lean insinuated shards emerge paradoxically

insinuated shards emerge paradoxically

insinuated shards emerge paradoxically refined the wetted edge of a work that

refined the wetted edge of a work that

refined the wetted edge of a work that eschews impertinence by the mere

eschews impertinence by the mere

eschews impertinence by the mere strictness and specificity of its

strictness and specificity of its

strictness and specificity of its intention an installation of time in

intention an installation of time in

intention an installation of time in paint

paint

paint I still believe all of that is true but

I still believe all of that is true but

I still believe all of that is true but today I have softened a bit I give a

today I have softened a bit I give a

today I have softened a bit I give a great deal of credit to the landscape

great deal of credit to the landscape

great deal of credit to the landscape both internal and external for

both internal and external for

both internal and external for composition and color influences I give

composition and color influences I give

composition and color influences I give credit to my mood I paint about my place

credit to my mood I paint about my place

credit to my mood I paint about my place in the world I paint the things I see

in the world I paint the things I see

in the world I paint the things I see and feel and yet my engagement with the

and feel and yet my engagement with the

and feel and yet my engagement with the paint itself actually applying pigments

paint itself actually applying pigments

paint itself actually applying pigments to various streps substrates in order to

to various streps substrates in order to

to various streps substrates in order to make some sense of it all is what it’s

make some sense of it all is what it’s

make some sense of it all is what it’s all about I paint a sense of place

all about I paint a sense of place

all about I paint a sense of place through paint the artist Paul clay tells

through paint the artist Paul clay tells

through paint the artist Paul clay tells the artist to adapt himself to the

the artist to adapt himself to the

the artist to adapt himself to the contents of the paint box adapting

contents of the paint box adapting

contents of the paint box adapting yourself to the contents of the paint

yourself to the contents of the paint

yourself to the contents of the paint box he said is more important than

box he said is more important than

box he said is more important than nature and its study the painter in

nature and its study the painter in

nature and its study the painter in other words does not fit the world to

other words does not fit the world to

other words does not fit the world to himself

himself

himself he fits himself to the paint annie

he fits himself to the paint annie

he fits himself to the paint annie dillard in her essay a writer in the

dillard in her essay a writer in the

dillard in her essay a writer in the world relays an amusing story she writes

world relays an amusing story she writes

world relays an amusing story she writes a well-known writer got collared by a

a well-known writer got collared by a

a well-known writer got collared by a university student who asked do you

university student who asked do you

university student who asked do you think I could be a writer well said the

think I could be a writer well said the

think I could be a writer well said the writer I don’t know do you like

writer I don’t know do you like

writer I don’t know do you like sentences the writer could see the

sentences the writer could see the

sentences the writer could see the students amazement sentences

students amazement sentences

students amazement sentences do I like sentences well if he had liked

do I like sentences well if he had liked

do I like sentences well if he had liked sentences he could have begun painting

sentences he could have begun painting

sentences he could have begun painting is my vocation I am a plotter

is my vocation I am a plotter

is my vocation I am a plotter I love to work and rework a painting

I love to work and rework a painting

I love to work and rework a painting surface I love the stuff of painting the

surface I love the stuff of painting the

surface I love the stuff of painting the smell and feel of it the tubes and cans

smell and feel of it the tubes and cans

smell and feel of it the tubes and cans the brushes the canvas the paper the

the brushes the canvas the paper the

the brushes the canvas the paper the carefully mitered corners of the

carefully mitered corners of the

carefully mitered corners of the stretcher bar the thick glossy graphite

stretcher bar the thick glossy graphite

stretcher bar the thick glossy graphite of an 8b pencil the soft crumbling line

of an 8b pencil the soft crumbling line

of an 8b pencil the soft crumbling line of vine charcoal is this paint too thick

of vine charcoal is this paint too thick

of vine charcoal is this paint too thick or too thin how much turpentine how much

or too thin how much turpentine how much

or too thin how much turpentine how much linseed oil where did this ochre pigment

linseed oil where did this ochre pigment

linseed oil where did this ochre pigment come from whose bones were carbonized to

come from whose bones were carbonized to

come from whose bones were carbonized to make this black

I knew that I loved paint from the

I knew that I loved paint from the beginning but it took me some time to

beginning but it took me some time to

beginning but it took me some time to realize that my liking the stuff of

realize that my liking the stuff of

realize that my liking the stuff of painting like the author liking

painting like the author liking

painting like the author liking sentences was the really important thing

sentences was the really important thing

sentences was the really important thing foundational my explorations in paint

foundational my explorations in paint

foundational my explorations in paint like the author fashioning the sentences

like the author fashioning the sentences

like the author fashioning the sentences of a short story connecting words to

of a short story connecting words to

of a short story connecting words to illuminate our deepest probing is the

illuminate our deepest probing is the

illuminate our deepest probing is the same as connecting the edges of a field

same as connecting the edges of a field

same as connecting the edges of a field of warm white or deep blue gray pigment

of warm white or deep blue gray pigment

of warm white or deep blue gray pigment to 10 or 15 layers of varying shades of

to 10 or 15 layers of varying shades of

to 10 or 15 layers of varying shades of pink green or cool white on a substrate

pink green or cool white on a substrate

pink green or cool white on a substrate of stretched canvas paper or panel each

of stretched canvas paper or panel each

of stretched canvas paper or panel each of these forms of exploration the short

of these forms of exploration the short

of these forms of exploration the short story and the painting can connect us to

story and the painting can connect us to

story and the painting can connect us to a world of deeper understanding I paint

a world of deeper understanding I paint

a world of deeper understanding I paint a sense of place through paint I paint

a sense of place through paint I paint

a sense of place through paint I paint exclusively in my studio I paint from

exclusively in my studio I paint from

exclusively in my studio I paint from memory sometimes I see something so

memory sometimes I see something so

memory sometimes I see something so moving I know I’m not supposed to linger

moving I know I’m not supposed to linger

moving I know I’m not supposed to linger see it and leave I don’t take a picture

see it and leave I don’t take a picture

see it and leave I don’t take a picture of it I make a memory of it trust it and

of it I make a memory of it trust it and

of it I make a memory of it trust it and take it back to the studio as a delivery

take it back to the studio as a delivery

take it back to the studio as a delivery device for understanding painting is

device for understanding painting is

device for understanding painting is slow painting is a slow art form the

slow painting is a slow art form the

slow painting is a slow art form the drips and splatters in my painting may

drips and splatters in my painting may

drips and splatters in my painting may suggest a force and quickness of motion

suggest a force and quickness of motion

suggest a force and quickness of motion and thought but those moments are just

and thought but those moments are just

and thought but those moments are just intermittent bursts between long

intermittent bursts between long

intermittent bursts between long intimate pauses setting the stage for

intimate pauses setting the stage for

intimate pauses setting the stage for those bursts of activity take time and

those bursts of activity take time and

those bursts of activity take time and contemplation I trust intuition I employ

contemplation I trust intuition I employ

contemplation I trust intuition I employ chance and I trust my memory

chance and I trust my memory

chance and I trust my memory those bursts of painting are a response

those bursts of painting are a response

those bursts of painting are a response to silence henry david thoreau urged us

to silence henry david thoreau urged us

to silence henry david thoreau urged us more than a century and a half ago to

more than a century and a half ago to

more than a century and a half ago to pay attention to silence he writes there

pay attention to silence he writes there

pay attention to silence he writes there are many fine things which we cannot say

are many fine things which we cannot say

are many fine things which we cannot say if we have to shout he also said I

if we have to shout he also said I

if we have to shout he also said I wished to hear the silence of the night

wished to hear the silence of the night

wished to hear the silence of the night for the silence is something positive

for the silence is something positive

for the silence is something positive and to be heard it’s difficult to think

and to be heard it’s difficult to think

and to be heard it’s difficult to think of silence as something positive and to

of silence as something positive and to

of silence as something positive and to be heard in a culture that wants to fill

be heard in a culture that wants to fill

be heard in a culture that wants to fill every moment with distraction where

every moment with distraction where

every moment with distraction where screaming passes for substance and a

screaming passes for substance and a

screaming passes for substance and a human trainwreck is entertainment

painting mandates that we engage if we

painting mandates that we engage if we are to receive its gifts it requires us

are to receive its gifts it requires us

are to receive its gifts it requires us to look and accept it in silence and

to look and accept it in silence and

to look and accept it in silence and allow its gifts to slowly unfold I

allow its gifts to slowly unfold I

allow its gifts to slowly unfold I choose my colors carefully or perhaps

choose my colors carefully or perhaps

choose my colors carefully or perhaps they choose me I have not made friends

they choose me I have not made friends

they choose me I have not made friends with some colors I’m not sure if I just

with some colors I’m not sure if I just

with some colors I’m not sure if I just haven’t found the right painting for

haven’t found the right painting for

haven’t found the right painting for them or if perhaps they are the wrong

them or if perhaps they are the wrong

them or if perhaps they are the wrong words the wrong characters colors that I

words the wrong characters colors that I

words the wrong characters colors that I would never use because they are vulgar

would never use because they are vulgar

would never use because they are vulgar or hurtful

or hurtful

or hurtful perhaps I should treat them as opponents

perhaps I should treat them as opponents

perhaps I should treat them as opponents a worthy debating partner with an

a worthy debating partner with an

a worthy debating partner with an opposing point of view when I begin a

opposing point of view when I begin a

opposing point of view when I begin a painting I start with large fields of

painting I start with large fields of

painting I start with large fields of rich saturated color they are hot

rich saturated color they are hot

rich saturated color they are hot vibrant colors the colors are close to

vibrant colors the colors are close to

vibrant colors the colors are close to their original chroma and tint directly

their original chroma and tint directly

their original chroma and tint directly from the tube as the painting evolves

from the tube as the painting evolves

from the tube as the painting evolves each subsequent layer is a direct

each subsequent layer is a direct

each subsequent layer is a direct response to the previous layer as the

response to the previous layer as the

response to the previous layer as the composition of the painting begins to

composition of the painting begins to

composition of the painting begins to emerge the colors become more muted and

emerge the colors become more muted and

emerge the colors become more muted and personal they begin to relate more to

personal they begin to relate more to

personal they begin to relate more to the memory

the memory

the memory I’m trying to portray the underpainting

I’m trying to portray the underpainting

I’m trying to portray the underpainting recedes oftentimes there is just a small

recedes oftentimes there is just a small

recedes oftentimes there is just a small edge a shard of color remaining where

edge a shard of color remaining where

edge a shard of color remaining where two or more edges converge the edges are

two or more edges converge the edges are

two or more edges converge the edges are where it all happens where the past and

where it all happens where the past and

where it all happens where the past and present collide and exists together for

present collide and exists together for

present collide and exists together for a brief moment sometimes the color field

a brief moment sometimes the color field

a brief moment sometimes the color field is completely obscured but that doesn’t

is completely obscured but that doesn’t

is completely obscured but that doesn’t negate the colors influence the color

negate the colors influence the color

negate the colors influence the color field still exists it is still an

field still exists it is still an

field still exists it is still an integral part of the painting with all

integral part of the painting with all

integral part of the painting with all its power and meaning still intact I

its power and meaning still intact I

its power and meaning still intact I think that is one of the things I like

think that is one of the things I like

think that is one of the things I like most about painting that unlike writing

most about painting that unlike writing

most about painting that unlike writing or moving pictures the editing I do in a

or moving pictures the editing I do in a

or moving pictures the editing I do in a painting is still part of the painting

painting is still part of the painting

painting is still part of the painting all of the process is there the

all of the process is there the

all of the process is there the experience of the painting remains whole

experience of the painting remains whole

experience of the painting remains whole and connected the art of the artist

and connected the art of the artist

and connected the art of the artist Philip Guston says a painter has two

Philip Guston says a painter has two

Philip Guston says a painter has two choices he paints the world or himself

choices he paints the world or himself

choices he paints the world or himself and I think the best painting that’s

and I think the best painting that’s

and I think the best painting that’s done here is when the artist paints

done here is when the artist paints

done here is when the artist paints himself in this environment in this

himself in this environment in this

himself in this environment in this total situation I paint a sense of place

total situation I paint a sense of place

total situation I paint a sense of place through paint for many years I made a

through paint for many years I made a

through paint for many years I made a living in fine dining when I was working

living in fine dining when I was working

living in fine dining when I was working in Napa Valley one of my Jobs was to

in Napa Valley one of my Jobs was to

in Napa Valley one of my Jobs was to judge a wines to pissah tea and evaluate

judge a wines to pissah tea and evaluate

judge a wines to pissah tea and evaluate its expression of terroir terroir is a

its expression of terroir terroir is a

its expression of terroir terroir is a wine term used to describe the wines

wine term used to describe the wines

wine term used to describe the wines ability to express its sense of place in

ability to express its sense of place in

ability to express its sense of place in other words it’s the wines ability

other words it’s the wines ability

other words it’s the wines ability ability to communicate where it came

ability to communicate where it came

ability to communicate where it came from how much sunlight did it receive

from how much sunlight did it receive

from how much sunlight did it receive how much rain was there wind when a wine

how much rain was there wind when a wine

how much rain was there wind when a wine has expressive terroir you can taste the

has expressive terroir you can taste the

has expressive terroir you can taste the composition of the soil you can taste

composition of the soil you can taste

composition of the soil you can taste the minerals and rocks

the minerals and rocks

the minerals and rocks in which the roots were entangled you

in which the roots were entangled you

in which the roots were entangled you can taste the herbs and wild flowers

can taste the herbs and wild flowers

can taste the herbs and wild flowers that grow nearby you can taste the Sun

terroir is that weird intersection of

terroir is that weird intersection of the known and unknowable where sunlight

the known and unknowable where sunlight

the known and unknowable where sunlight becomes flavor wind becomes texture and

becomes flavor wind becomes texture and

becomes flavor wind becomes texture and minerals become scent in the best of

minerals become scent in the best of

minerals become scent in the best of circumstances a wine can express many

circumstances a wine can express many

circumstances a wine can express many things in the hands of a master vintner

things in the hands of a master vintner

things in the hands of a master vintner it can express an unnameable quality

it can express an unnameable quality

it can express an unnameable quality that is ethereal inexplicable you can’t

that is ethereal inexplicable you can’t

that is ethereal inexplicable you can’t describe it you just know it I left that

describe it you just know it I left that

describe it you just know it I left that life of fine dining in order to focus on

life of fine dining in order to focus on

life of fine dining in order to focus on the daily practice of painting I had to

the daily practice of painting I had to

the daily practice of painting I had to give up the job but I have not given up

give up the job but I have not given up

give up the job but I have not given up the search for terroir the search for

the search for terroir the search for

the search for terroir the search for that unnameable quality that weird

that unnameable quality that weird

that unnameable quality that weird intersection were the known and

intersection were the known and

intersection were the known and unknowable live I just paint about it

unknowable live I just paint about it

unknowable live I just paint about it now I look for the sublime in places

now I look for the sublime in places

now I look for the sublime in places where great thoughts aren’t rumoured to

where great thoughts aren’t rumoured to

where great thoughts aren’t rumoured to happen I’m not looking for truth or

happen I’m not looking for truth or

happen I’m not looking for truth or accuracy I’m looking for contact and

accuracy I’m looking for contact and

accuracy I’m looking for contact and connection I paint a sense of place

connection I paint a sense of place

connection I paint a sense of place through paint how do you describe your

through paint how do you describe your

through paint how do you describe your sense of place where are the edges in

sense of place where are the edges in

sense of place where are the edges in your world can you taste the Sun thank

your world can you taste the Sun thank

your world can you taste the Sun thank you

you

you [Applause]