[ Rather than be dissuaded, an inner light shines in Clea when the man pushes back against her. Some minute percentage of formality eases in her bearing, and the artist leans toward him with a fierce light in her eyes, ready to defend and expand on her position with an openly pleased smile on her face. If she were of the feline persuasion, her tail would be quivering.
Yes. Finally. Someone who isn't him with informed artistic opinions. ]
Let us also not pretend there's no difference between influence and derivation. A work is derivative if there is no addition, if the artist does not add their own touch and soul to the work. If I were to render one of Pollock's pieces as a Canvas in direct translation, that would be entirely derivative. The line between the two is the thought and craft of the artist. Nor do I agree with you that art must be universal to be of the highest value. Art can expand the human condition as well as reflect it, and often the most expansive art has the most niche audiences. That does not impact its worth.
[ Though, in the spirit of having a true discussion, Clea must concede at least one point in the stranger's favor. ]
I will grant that we on occasion also produce derivative slop. Most of the Impressionists and the Pastoralists are clerks in the garb of an artist and barely worth considering.
[ What she'd done? Ah. Yes. She's going to need to get used to explaining herself. That's going to become tiring. Clea holds her hand over the pages again, drawing Chroma to her and letting it ripple, a distortion in the air above the pages, resuming the movement. ]
I'm a Paintress. I create immersive works. This is a technique sometimes used to help us understand how a piece will flow in motion or through time before we go to the work of constructing a Canvas.
[ It's common to sketch out or sculpt ideas and use Chroma to move them. Without anything to attach to, it doesn't last, and there's no immersion, but it helps when considering matters such as how a creature should move, or how starlight should shine. ]
There's clear cohesion in these pieces, layered on top of one another. I am trying to examine them so I understand.
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timeasmymeasure
no subject
Date: 2025-07-14 06:57 pm (UTC)Yes. Finally. Someone who isn't him with informed artistic opinions. ]
Let us also not pretend there's no difference between influence and derivation. A work is derivative if there is no addition, if the artist does not add their own touch and soul to the work. If I were to render one of Pollock's pieces as a Canvas in direct translation, that would be entirely derivative. The line between the two is the thought and craft of the artist. Nor do I agree with you that art must be universal to be of the highest value. Art can expand the human condition as well as reflect it, and often the most expansive art has the most niche audiences. That does not impact its worth.
[ Though, in the spirit of having a true discussion, Clea must concede at least one point in the stranger's favor. ]
I will grant that we on occasion also produce derivative slop. Most of the Impressionists and the Pastoralists are clerks in the garb of an artist and barely worth considering.
[ What she'd done? Ah. Yes. She's going to need to get used to explaining herself. That's going to become tiring. Clea holds her hand over the pages again, drawing Chroma to her and letting it ripple, a distortion in the air above the pages, resuming the movement. ]
I'm a Paintress. I create immersive works. This is a technique sometimes used to help us understand how a piece will flow in motion or through time before we go to the work of constructing a Canvas.
[ It's common to sketch out or sculpt ideas and use Chroma to move them. Without anything to attach to, it doesn't last, and there's no immersion, but it helps when considering matters such as how a creature should move, or how starlight should shine. ]
There's clear cohesion in these pieces, layered on top of one another. I am trying to examine them so I understand.