S.L. It has already been done. H.E. It has already been done. You add knowledge to knowledge with science and this is where it is so profound because it has built up a body of knowledge which is abso- lutely unique. But as soon as a theory is created and it be- comes law, then it exists for a great deal of time. There are many cases where changes have been accomplished with laws but only after several hundred years. S.L. Is this because as a law, people feel they can’t touch it? H.E. The law is so profound. If you are approaching it like you might be as an Einstein or someone, you must expect opposition. S.L. To say the earth is round not flat... H.E. Whatever it is, you find you are threatening an al- ready established situation. The artist does this all the time. He has this ability to be free. S.L. He enjoys it. H.E. Unless he has gotten into a groove. There are many artists who find that financially it is to their benefit to repro- duce the same type of thing, and laugh all the way to the bank. Those people are just as much tied by the system they have invented as the scientist. S.L. They don’t want to take the risk for fear of the un- known? H.E. No, the fear of losing money. Planet of the Arts S.L. What function should a good art school provide for the student? : H.E. The enlivenment of the mind. It takes a long while before you find the avenue that really belongs to you. But unless you have been introduced to all sorts of avenues, it takes even longer. Many artists do change their direction and accomplish very good work at every level. An art school should teach you how to use your senses, all your senses, and then to apply those experiences you have gained through your senses in the way that you can com- municate with other people an excitement. S.L. What about good instructors? H.E. One of the great problems about education generally — is whether the teacher is flexible enough to allow the stu- dent to exceed his own abilities. Many teachers like little images of themselves. Now, if one is thinking of develop- ing the art world, one must go beyond one’s own capacity, and at the student level this can be accomplished. On the other hand, students very frequently admire their teachers so much, they wish to emulate them. S.L. That is dangerous. H.E. Yes, however, if the student actually violates all the ideas the teacher has, then he gets into trouble. There are no rights or wrongs. It depends entirely upon oneself. There have been many exhibitions that have been across the other side of the road at the time of the main exhibit, that led the way to the future. S.L. Jan Peacock, an instructor from the Nova Scotia School of Art, recently came to Emily Carr and gave a pre- sentation. One of the things she mentioned was that 2% of students that graduate from art schools in Canada ever go on ' to any art-related fields, including curatorial work. Even nay q fewer than that 2% ever become artists. This is a horrible statistic. H.E. There are problems here. If one pushes this form of thinking to its utmost, I think that what one gets from an art school is the art of living. There can be nothing finer than the art of living. If, on the other-hand, you want an educa- tion which is a vocation, you are then worried about not what is my future going to be, but what is my earning capac- ity going to be. And this is where the trouble comes in a so- ciety that has little patience with art because it is a mirror of itself: S.L. In many ways, the art school ts like a cocoon. We enter expecting some sort of metamorphosis to occur. Once we leave, we no longer have the nurturing support structure around us that the school provided. This is frightening. H.E. This is always the case. As soon as one leaves the portals of education on one’s own, the fear of the outside world is there. Once you have conquered that fear and have the courage of your convictions, then the door opens as wide as you want to push it. It is always up to you but you have to have the flexibility of mind so that your frustrations are turned into inspirations. Page 7 | Drawings by Jeon Weatuchek @, —— Saeed fett the Si PEO POET MT BRE -- 5s 4% + § pee eRe c SOO LITIL ther wl wot. Dear ae Ppees / J, a Seemed, Ss ae =e BiLnene S.L. Ithas already been done. HLE, It has already been done. You add knowledge to knowledge with science and this is where itis so profound because it has built up a body of knowledge which is abso- lutely unique. But as soon as a theory is created and it be- ‘comes law, then it exists fora great deal of time. There are ‘many cases where changes have been accomplished with laws but only after several hundred years. 'S.L- Is this because as a law, people fee! they can’t touch, a HE. The aw isso profound, Ifyou are approaching ike ‘you might be as an Einstein or someone, you must expect ppeniton S.L. To say the earth is round not flat HLE. Whatever iis, you find you are threatening an a: ready established situation. The artist does this al the time. He has this ability tobe free. S.L. He enjoys it. HLE. Uniess he has gotten into a groove. There are many artists who find that Financially its to their benefit to repro- duce the same type of thing, and laugh all the way tothe bank. Those people ae just as much tied by the system they hhave invented asthe scientist. S.L. They don't want to take the risk for fear of the un- known? HLE. No, the fear of losing money. Plictofthe Ans Page? 'S.L. What function should good art school provide for the student? HLE. The enlivenment of the mind, It takes a long while before you find the avenue that really belongs to you. But unless you have been introduced to all sorts of avenues. it takes even longer. Many artists do change their direction and accomplish very good work at every level. An art school should teach you how to use your senses. all your senses. and then to apply those experiences you have ‘zained through your senses in the way that you can com: ‘municate with other people an excitement S.L., What about good instructors? HLE. One of the great problems about education generally — is whether the teacher is flexible enough to allow the stu dent {0 exceed his own abilities. Many teachers like mages of themselves. Now. i one is thinking of develop: ng the art world, one must go beyond one’s own capacity. and at the student level this can ‘other hand, students very frequently admit so much, they wish to emulate them their teachers That is dangerous. Yes, however, ifthe student actually violates all the ideas the teacher has, then he gets into trouble. There are no rights or wrongs. It depends entirely upon oneself. There hhave been many exhibitions that have been across the other side of the road at the time ofthe main exhibit, that led the S.L. Jan Peacock, an instructor from the Nova Scotia ‘School of Art, recently came to Emily Carrand gave a pre- sentation. One of the things she mentioned was that 2% of students that graduate from art schools in Canada ever go.on to any art-related fields, including curatorial work. Even fewer than that 2% ever become artists. This is a horrible HLE, There are problems here. Ifone pushes this form of thinking to its utmost think that what one gets from an art school is the art of living. There can be nothing finer than the art of living. If, on the otherhand, you want an educa- tion which is a vocation, you are then worried about not ‘what is my future going to be, but what is my earning capac: ity going to be. And this is where the trouble comes in aso- ciety that has litle patience with art because itis a mirror of itself: 'S.L. In many ways, the art school is like a cocoon. We ‘enter expecting some sort of metamorphosis to occur. Once we leave, we no longer have the nurturing support structure around us that the school provided, This is frightening, HLE. This is always the case. As soon as one leaves the portals of education on one’s own, the fear ofthe outside world is there. Once you have conquered that fear and have the courage of your convictions, then the door opens as wide as you want to push it. Itis always up to you but you hhave to have the flexibility of mind so that your frustrations are turned into inspirations. Prowings by lem Wlntochsh © eS | \ Sometimes he felt the Siiggohocss Aery form an wrong she Semetrica it seemed fhe Vlei teceme Decrefee = Me had hepd fo cist” Eye char