This short clip about artist and maker Zina Nicole Lahr may be as tragic as it is beautiful. Earlier this fall Lahr approached her friend Stormy Pyeatte and asked if they might shoot a quick video for her portfolio. The video was shot and edited in just two days and demonstrates Lahr’s insatiable desire to build, invent, and “bring life to something inanimate,” a process she called her “creative compulsive disorder.” Almost unthinkably, Lahr was killed in a hiking accident in Colorado on November 20th, a few weeks after this was shot.
I didn’t know Lahr, but if this brief glimpse into her life is any indicator it’s clear she possessed an extremely rare spirit that feels completely genuine and infectious. It seems she was involved in practically every genre of creativity we normally cover here on Colossal. Make the most out of every day, folks. Lahr certainly did.
London-based artist and designer Dominic Wilcox recently completed a 30-day Speed Creating project where he created one object/concept/tool per day for 30 consecutive days. Dominic describes himself:
Dominic Wilcox is an artist, designer, inventor and ‘thinkeruper’ who works within the territory of the ‘everyday’. Everyday objects, environments, buildings, human interaction, no area of normality is out of reach. His work, which is usually layered with an ultra dry wit, places a spotlight on the banal, always adding a new, alternative perspective on things we take for granted.
To all of you struggling with that one huge albatross of a project, Dominic’s quantity vs. quality experiment could be a great exercise. This all reminded me of a great quote from the book Art & Fear:
The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pound of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot -albeit a perfect one – to get an “A”. Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work – and learning from their mistakes – the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.