It's not uncommon that I'll see someone getting frustrated over not being able to "get" something or improve on some skill. In fact, it's all over the place, especially with people who compare themselves to others when they can pick the best artists that stand out to them from all over the world/internet. It's understandable, but everyone has their own limitations and conditions to work with and it's important to understand that. Being the very best like noone ever was is a goal many younger artist may have started out with, but in the end it just leads to constant disappointment and frustration. In the end it's all relative with nothing in art necessarily being "good" or "bad".
A statement like that may need some elaboration, so to do that: although even things in the field of art can be considered better or worse when there's an obvious aim based on something else ("this is supposed to be a . . ."), when it comes to the more abstract qualities this is where things may, in a way, resonate better with certain people more so than others depending on the subject. Finding those people can be a key factor that determines the success of an artist even more so than the "correct"-ness of the art itself. That may seem irrelevant, but if the artist is someone with the right experiences or skills to relate to people, the issue may be that they're neglecting their own natural skills or experiences and are obsessing too much about being more skilled in something they aren't as naturally skilled in as opposed to something else that could help them reach a goal they have with what they want to make.
Sure, the main core of the work could always be better, but the fact of the matter is that very few things can ever be good enough as it is. That's not even a bad thing, because it shows that you're constantly moving forward, and changing and improving. But if you keep polishing the same thing, you'll only be keeping yourself from going forward. Most people already know that, but this also applies to the bigger picture of the skills themselves as well. We all have our own strengths and weaknesses, and learning how to use your strengths to your advantage over anything else to form your own methods to advance is not only what can set you apart from others more strongly than anything else, it can be the best fuel to expand your creativity and style.
In other words, work with what you have and don't let the struggle of skill levels and learning stop you from actually creating. Because "limitations breed creativity", even in the case of limited skill. Because in the end, what matters most in art/music/etc. is all subjective. Sometimes people make something great with very little experience in a creative field but with the right creative influences and by thinking "outside the box". Sometimes those same artists are disliked by their old fans after they do become "objectively better" because there's a lack of the creativity their past limitations bred. That's why what matters most in creative work is creative thinking, which is beyond just what's on the paper. That doesn't mean to stop trying to improve yourself, but that it shouldn't (ironically) stop you from doing what you can with what you already know. Along with that, instead of trying to climb a wall that's beginning to seem impossible to climb, maybe turning to a more familiar direction can lead you to a shortcut around it.
A statement like that may need some elaboration, so to do that: although even things in the field of art can be considered better or worse when there's an obvious aim based on something else ("this is supposed to be a . . ."), when it comes to the more abstract qualities this is where things may, in a way, resonate better with certain people more so than others depending on the subject. Finding those people can be a key factor that determines the success of an artist even more so than the "correct"-ness of the art itself. That may seem irrelevant, but if the artist is someone with the right experiences or skills to relate to people, the issue may be that they're neglecting their own natural skills or experiences and are obsessing too much about being more skilled in something they aren't as naturally skilled in as opposed to something else that could help them reach a goal they have with what they want to make.
Sure, the main core of the work could always be better, but the fact of the matter is that very few things can ever be good enough as it is. That's not even a bad thing, because it shows that you're constantly moving forward, and changing and improving. But if you keep polishing the same thing, you'll only be keeping yourself from going forward. Most people already know that, but this also applies to the bigger picture of the skills themselves as well. We all have our own strengths and weaknesses, and learning how to use your strengths to your advantage over anything else to form your own methods to advance is not only what can set you apart from others more strongly than anything else, it can be the best fuel to expand your creativity and style.
In other words, work with what you have and don't let the struggle of skill levels and learning stop you from actually creating. Because "limitations breed creativity", even in the case of limited skill. Because in the end, what matters most in art/music/etc. is all subjective. Sometimes people make something great with very little experience in a creative field but with the right creative influences and by thinking "outside the box". Sometimes those same artists are disliked by their old fans after they do become "objectively better" because there's a lack of the creativity their past limitations bred. That's why what matters most in creative work is creative thinking, which is beyond just what's on the paper. That doesn't mean to stop trying to improve yourself, but that it shouldn't (ironically) stop you from doing what you can with what you already know. Along with that, instead of trying to climb a wall that's beginning to seem impossible to climb, maybe turning to a more familiar direction can lead you to a shortcut around it.