At various points in my life I have learned things about the artistic process from people who are genuine masters. As a student and an amateur (that is, a non-professional lover of art) I have admired several traits that masters seem to have in common, especially when they have swooped in and lovingly rescued my work from disaster. A master of any art will not let her media dictate the results of her intended project. Neither, having painstakingly chosen her materials, will she forsake the medium and its potential if it proves sub-optimal once the artistic process has begun. A master has the training, the inner resources, the perspective, and the tools to respond and to adapt, to re-calibrate his vision and expectations if the block of marble or batch of gesso or piece of wood reveal faults or surprises. This is a powerful and mysterious dance to witness: the artist’s respect for the material calls forth a genuinely two-sided conversation. If the student is too deferential or too dominating toward the materials (and I have been both), the result is either a monologue or an argument. Neither produce good art.
Can I not do with you, O house of Israel, just as this potter has done? says the Lord. Just like the clay in the potter’s hand, so are you in my hand, O house of Israel.