The Myth of Talent

talent

There are too many variables involved in the processes and events related to achieving success. My original intention for this post was to put together two variables: talent and hard work. Specially for artists it seems like these two are either a blessing or a frustration. However, after consideration I decided to focus on the myth of talent by itself instead. Next post I can concentrate in the myth of hard work because each one of these two elements deserve their own discussion.

What is talent? According to the dictionary, talent is “marked innate ability, skill, aptitude or faculty“. In other words, you do something right naturally. We know that talent by itself is not enough to grant you success in most cases. Talent requires for us to work on it, learn and perfect what we naturally do. I’ve been drawing since I was 4 years old but if I didn’t practice and learned new things I could be probably drawing the same way I did back then. I’m pretty sure my drawing skills changed with time and practice. I’m pretty sure that since my first sculpture in 1997 my natural ability has changed because I’ve been practicing and learning. The innate ability is important for sure but if we love it and want to be better at it we need to put some effort to improve. 

Cultivated talent is sadly not enough to grant you success. It is just one variable in the equation. Judging for some artwork out there selling for a lot of money, some might argue that talent is not necessary. Someone marked a canvas with a crayon and since someone said it is art and it is backed up by an effective marketing machine then it is art, becomes famous and successful. Someone painted a box like a third grader project and because they made it into a ‘prestigious’ gallery then we can call that success. Honestly, I’ve seen successful art that my kids can do better. It is very frustrating when we see ‘overrated’ get recognition when ‘overqualified’ can’t even get the job.

The myth that all you need is talent is just that, a myth. At the end it goes back to the love for what you do and doing what you love. Trying to compete with what people call talent is fruitless. Do not compare yourself with others that make things different from you. Don’t let an elitist few to put you down because you don’t make the cut into their purpose. Follow your own purpose. Develop and improve your talent. Add knowledge and experience to it. It could pay off eventually but it will satisfy you always.

Observation and Perception

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Observation and perception are two of the most important skills for visual artists to develop. Yes, these are skills that can be developed. I won’t buy into the belief that you are born with them, and even if you do you need to exercise in order to get better at it. It is the same with every talent. If you don’t seek to develop the talent and rely only on the natural-born talent I might be dubious if there is passion involved. Those who are passionate for what they do and love are in constant pursue to get better at it. Talent development requires practice, effort, experimentation, and lots of work.

Observation requires much more than just looking. Observing requires deeper attention. Through observation we can notice things that will challenge logic and sense. In research language the observation process is a way to collect data. It provokes a detailed examination of the phenomena under analysis. This examination goes beyond looking and transfers to all senses.

Perception is like adding another sense; a sixth sense if you will. Perception creates a mental impression from which observations can be understood and interpreted. It is this conception or notion of reality that facilitates making sense of the information we receive. Perception can interpret external and internal information simultaneously and provides meaning to the observations.

In art these two elements are combined for the artist to make sense of the creation process adding meaning to the artwork. I try to mentally document how through observation and perception the elements acquire visual correlation in one cohesive sculpture or painting. I observe where a curve is not complete or following an angle with fluidity and through perception I can define where to fix it to make visual logic within the intention of the piece.