4ST EDITION Vol. 2 Technique

PROLOGUE
The funny thing about ‘technique’ is that it’s
a noun; but it feels like a verb. It feels like
something you might do, it feels like it should
be an action of some kind, but instead you act
with technique. So, what is this elusive concept
that comprises our second issue? Well, it’s the
way you do whatever it is you’re doing. It’s
the skill involved. Classic examples of flawless
technique include: the sham interest of our
government in climate action, the manner in
which Trump concluded his time in office, and
the Tate Modern’s recent exhibit Literal Rubbiśh
Off The Floore.
That aside, the word itself suggests proficiency;
we’re used to hearing about the ‘flawless
technique’ of great masters before us. Though
in truth, technique is not always good.
Whatever technique you follow to paint that
portrait might not be the ‘best’ technique.
It might not even be the second best. Your
instructor sweetly reminds you it is pretty much
the worst way anyone has ever painted ever.
Hold on, we think: “Sorry painting instructor,
who made you king of the world??? Who
decides your technique is right, and what gives
you the right to tell me my way is wrong?”
Of course, the answer is: they aren’t and they
can’t.
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