jeru

The idea that a work of art must be totally and utterly flawless and without errors, such as a spelling or gramarrical error, performative error, misdelivered line, or any somewhat incorrect aspect or err is a misconception that has come from not only an over-saturation in recorded works, but an over-abundance of highly polished yet structurally, formally, and formatically lacking, they are corporate “factory” media. If one hears a voice crack, or some few sharp notes, or if a painting is unrealistic, or some plot leaves a detail unexplained, these are often regarded as legitimate issues or discussed as criticism. The reality of these discussions is that they are often off-topic on the subject of if some issue can truly be considered detrimental to form, or if it can still be considered good art. The voice crack or sharp notes might be considered emotive, evocative, the painting is not ‘unrealistic’ but is using an exaggerated expression of form to say something beyond what realism would offer, the topics left ambiguous in a story may be better left implied or ambiguous, the plot detail wasn’t important enough to make the story falter, the ad lib was offering something useful to the plot… These mistakes can be useful and they can be leaned into in order to express some new idea.

One’s idea of perfection, or beauty, could be different than someone else’s, and some styles or performances may be good for one and not for another. Some idea of beauty may be too high-brow, too saddening, or too uplifting or emotive. Maybe a work is in a style most don’t appreciate, or a form that is unknown or some regard as trite. One form of beauty is in the concept of ‘perfect harmony,’ when the reality is that an abundance of harmony and harmonic resonance causes dissonance itself, and that a nominal amount of dissonance in harmony is to be expected and desired, innate, natural, and inborn. The balance of harmony and dissonance is beautiful because it lends itself to the ups and downs, the arcs of the stories of life, and our lives. Therein lies the issue, for if beauty is informed by ugliness, then there is no penultimate beauty, and if harmony is informed by dissonance, then there is merely optimal resonance, since dissonance leads to harmony being more beautiful than harmony alone… Is there something that can truly be called a penultimate perfection, and does perfection really exist in that form?

The purpose of pointing out that imperfection may be beautiful, as in harmony and dissonance, is such that it must retain its humanity, or the elements that come from the artist. Some work of art, any work should be polished and practiced and an expression of skillful artistry, but yet, the concept of penultimate perfection is simultaneously impossible, misrepresentative, and contradictory. Not only is it totally impossible to combine structure, style, and form to create some penultimate work, or yet have many others agree on its perfection, but yet, if that were attainable it would quickly be rendered imperfect, or irrelevant, since many other artists would strive to create that very same level of perfection, in that same form, style, or structure. When the unattainable desire for and pursuit of perfection is held over the desire for and pursuit of enjoyable works, then an artist’s art and sometimes art itself will suffer. If an artist focuses their motivations and creativity on creating something enjoyable that conveys meaning and inspires people, an artist’s art will invariably be better than if some impossible goal of perfection is prioritized.

Creativity, expression, and novelty go together, such as with creating or expressing in novel ways and forms, and thus penultimate perfection counters and counteracts these concepts. Art should retain its humanity and some small level of imperfection, as they are innate characteristics implied by form, imposed by form, and combining those with the tendencies and motivations an artist assembles to create art is, in itself, the artist’s humanity and truth to style. These inborn characteristics in expressions of art are not imperfections, but yet, when understanding the nature of expression through the creation of art, we comprehend the beauty of imperfection, just the same as with harmony and dissonance. In fact, the concept of ‘perfection’ and the meaning it implies with regards to artworks should not mean something is absolutely flawless down to the finest degree, but yet it should be understood to mean that it is reasonably as good as it can get given the limitations imposed upon and implied by style, structure, and form.

The nature and expressions of art, through genre, style, form, format, which tools and instruments are used, these make up an artist’s primary modes of artistic conveyance. Expressing ideas invariably lends itself to and is lent to itself by the author’s inherent tendencies, no matter the style or form. These tendencies can be broadly applied as a form of philosophy of art, and color everything an artist does. A style and a form are less some mechanism intended for repetitive reproduction, but yet, is an ever-changing flow that should involve growth and introspection.

In terms of artistic input and output, perceiving some work may inspire one to employ a new technique of stylistic proclivity. The intake of some work also invariably affects one’s art in style, format, form, and structure. In terms of considering a body of work the artist’s growth should be apparent. The pursuit of improved skills and forms and styles, they are noble pursuits, yet the pursuit of perfection is a weight on an artist’s back if anything. Pursuance of an absolutely flawless work is a suffocation of the artist and their work, it suffocates the creative flow completely.

The artist’s accidents, flaws, imperfections, they can very often be seen as a part and parcel of an artist’s style, and yet, still be regarded as good as it can be, despite the circumstances. Perfection is unattainable, moreover, the connotations of penultimate flawlessness tears the heart and soul out of a work, fogs the mind in a failing effort, and blocks rationality of the work itself out. The pursuit of improvement in one’s form with their instruments and tools, their form with regards to style, these are noble pursuits, yet many get lost or lose their drive trying to attain the unattainable. Fatigue arising from perfectionism is the killer of the artist’s art, so simply enjoy the ride and create and convey concepts, ideas, emotions, moods, atmospheres, etc., there’s something there, too, that when an artist enjoys making their art it shows, even in subconscious and unspoken ways.