My core aesthetic principle is that if I can do something, then it is not art. While this is (mostly) intended as humorous, it is well founded—I have no artistic talent. Despite this, or perhaps because of this, I taught Aesthetics for over two decades.
While teaching this class, I became very interested in two questions. The first was whether a person without any artistic talent could master the technical aspects of an art. The second was whether a person without any artistic talent could develop whatever it is that is needed to create a work of genius. Or, at a much lower level, a work of true art.
While the usually philosophical approach would be to speculate and debate, I engaged philosophical blasphemy and undertook an empirical investigation. I would see if I could teach myself to draw. I would then see if I could teach myself to create art. I began this experiment in the August of 2012 and employed the powers of obsession that have served me so well in running. It turns out they also work for drawing—I have persisted in drawing, even when I had to scratch out sketches on scraps of paper using a broken pencil. Yes, I am like that.
While this experiment has just one subject (me), I have shown that it is possible for a person with no artistic talent to develop the technical skills of drawing. I have trained myself to become what I call a graphite technician. My skill is such that people say, “I like your drawings because I can tell who they are of.” That is, I have enough skill to create recognizable imitations. I refuse to accept any claims that I am an artist, because of the principle mentioned above. Fortunately, I also have an argument to back up this claim.
When I started my experiment, I demonstrated my lack of drawing ability to my students and asked them why my bad drawing of a capybara was not art. They pointed out the obvious—it did not look much like a capybara because it was so badly drawn. When asked if it would be art if I could draw better, they generally agreed. I then asked about just photocopying the picture I used as the basis for my capybara drawing. They pointed out the obvious—that would not be art, just a copy. This experiment began before the arrival of AI image generators, otherwise I might not have even bothered with the experiment.
One reason a photocopy would not be art is that it is a mere mechanical reproduction. When I draw a person well enough for others to recognize the subject, I am exhibiting a technical skill—I can re-create their appearance on paper using a pencil. However, technical skill alone does not make the results art. After all, this technical skill can be exceeded by a camera or photocopier. Just as being able to scan and print a photo of a person does not make a person an artist, being able to create a reasonable facsimile of a person using a pencil and paper does not make a person an artist—just a graphite technician.
Why this is so can be shown by considering why a mechanical copy is not art: there is nothing in the copy that is not in the original (laying aside duplication defects). As such, the more exact the copy of the original, the less room there is for whatever it is that makes a work art. So, as I get better at creating drawings that look like what I am drawing, I get closer to being a human photocopier. I do not get closer to being an artist.
This sort of argument would seem to suggest that photography cannot be art—after all, the photographer is just a camera technician. One might note that an unaltered photograph merely captures an image of what is there. One counter to this is that a photographer (as opposed to a camera technician) adds something to the photograph (I do not mean digital or other manipulation). This seems to be their perspective—they select what they will capture. So, what makes the work art is not that it duplicates reality but that the photographer has added that something extra. This something extra is what makes the photograph art and distinguishes it from mere picture taking. Or so photographers tell me.
It could be countered that what I am doing is art. Going back to the time of the ancient Greeks, art was taken as a form of imitation and, in general, the better the imitation, the better the art. Of course, Plato was critical of art on this ground—he regarded it as a corrupting imitation of an imitation.
Jumping ahead to the modern era, thinkers like d’Alembert still regarded fine art as an imitation, typically an imitation of nature aimed at producing pleasure. However, his theory of art does leave an opening for a graphite technician like myself to claim the beret of the artist. d’Alembert defined “art” as “any system of knowledge reducible to positive and invariable rules independent of caprice or opinion.” What I have done, like many before me, is learned the rules of drawing—geometry, shading, perspective and so on. As such, I can (by his definition) be said to be an artist.
Fortunately for my claim that I am not an artist, d’Alembert distinguishes between the fine arts and the mechanical arts. The mechanical arts involve rules that can be reduced to “purely mechanical operations.” In contrast, d’Alembert notes that while the “useful liberal arts have fixed rules any can transmit, but the laws of Fine Arts are almost exclusively from genius.” What I am doing, as a graphite technician, is following rules. And, as d’Alembert claimed, “rules concerning arts are only the mechanical part…”
What I am missing, at least on d’Alembert’s theory, is genius. On my own view, I am missing the mysterious something extra. While I do not have a developed theory of “the extra”, I have a vague idea about what it is in the case of drawing. As I developed my technical skills, I got better at imitating what I saw and could cause people to recognize what I was imitating. However, an artist who draws goes beyond showing people what they can already see in the original. The artist can see in the original what others cannot and then enable them to see it in her drawing. All I can do is create drawings where people can see what they can already see. Hence, I am a graphite technician and not an artist. I do not claim this to be a proper theory of art—but it points vaguely in the direction of such a theory.
That said, the experiment continues. I intend to see if it is possible to learn how to add that something extra or if, as some claim, it is simply something a person has or does not have. As of this writing on March 19, 2026, I still lack that something extra. I am persisting in the face of AI image generators, although my own failure at creating art might provide some insight into why AI generated images are not art. AI has, however, changed one thing about my drawing. When I was good enough to create images people could recognize, I would do birthday drawings of people and post them on Facebook—the responses were generally favorable, and some people really appreciated the effort. The arrival of AI image generators changed this: people now assume images are AI generated and, of course, the drawings ceased to be valued. After all, someone can create a much better image in seconds using AI. I’ll write more about this in the future.
The drawing pictured is of my husky, Isis, whio died in 2016. This is the only drawing I have saved; I compost my drawings.