The Self Made Artist Residency: Part 1, The Good, The Bad and The Ugly

After many dollars and hours spent applying for and being rejected from numerous artist residencies, I decided to make my own in sunny Florida at the start of this year. I posted about it almost every day on social media which generated a lot of interest from artist friends who had never considered this for themselves. I got many questions regarding how I did it, so I’ve broken down my process into three posts. This first one is a list of considerations I thought about and that you should think about before embarking on your residency adventure. The second is a step by step process for organizing your budget, location, accommodations, etc. The third outlines how I carved out an artist studio from a fishing cabin in rural Florida and the work I made while there. I hope this series helps you to buck the system and make your own way in residency bliss! It might also help you to refer to Residencies: The Artist Kind, a blog post I wrote about choosing and applying for a residency program.

I have been fortunate enough to have been awarded a few residencies in the past, so I have something to compare with my self-made residency and while there are obvious similarities there are also plenty of differences between the two. For some, being completely responsible for oneself as well as spending time alone is a dream, but for others, it might be pretty scary. In some cases the good things I’ve listed might be considered bad things and visa-versa. Consider this list just food for thought before you make the jump. After reading, scroll down for some digital drawings I made during my residency and visit my Instagram for more.

The Good

• You have no responsibilities to anyone but yourself, you can do what you want when you want.
• You can be in perfect solitude, choosing when and if you would like to socialize.
• No requirements to donate work, open your studio, offer a lecture/workshop, work in the kitchen, etc.
• No application process, essay writing or asking friends to be a reference for you.
• You choose where, when, what, how and how long.

The Bad

• You have no stipend and therefore absorb all financial responsibilities for your residency.
• You are responsible for all household duties-cook, clean, shop, laundry, etc. These are things you likely do at home, but might not want to do during a residency.
• No studio visits or critiques.
• No impressive or prestigious line to add to your resume.
• Likely, no designated studio space in which to be messy.

The Ugly

• You have to know yourself. Know who you are and what you can accomplish away from the structure of being at home. For example, if you don’t have a regular studio practice at home, you aren’t going to magically establish one away from home.
• Do you feel uncomfortable away from home? When you travel, does it take you a long time to acclimate to a strange place? Do you need a lot of time and/or a lot of space to create your work? Do you need a ton of materials at your disposal to make your work? If you answered yes to these questions, you’re likely not a good candidate for a self-made residency. If you feel uncomfortable or uneasy in a new place and it takes you a long time to make yourself at home, your creative energies will not be flowing and your time and money will be wasted.
• Although you’re traveling, this isn’t a vacation, you need to get to work. Know why you want to do this and roughly what it is you’d like to accomplish. Have some goals set and set up some kind of structure to your days. Even if you don’t accomplish all of your goals, you can at least strive for something good to happen during your residency.
• You are alone with yourself and your thoughts. This might be pretty ugly for some, but it was amazingness for me.

The Evolution Of A Mark, Part Two

Just about this time last year, I wrote The Evolution Of A Mark, in which I trace back to how and why I make the marks I make today…specifically speaking to the gouache paintings I’ve been developing on and off for many years and just recently got back into working again. Not just contemplating my navel, I’m hoping that by retracing how I got from there to here, I can help other artists look at their own work histories and trace back to what it is that sets their work apart. Once that thing is recognized, it can be developed.

My first post left off at gracefully closing the door on my textile design career and   blessedly opening a window into my fine art career at about my mid-20’s. I wanted a career in fine art, but I wasn’t a painter yet so I started by going back to my roots in textiles. I began by making art quilts that combined all of my loves at the time-photography, hand/machine sewing, found objects, beading, drawing, painting-pretty much everything but the kitchen sink. My modest success making and showing them got me into graduate school with a fellowship no less! I included some detail shots below…be kind, these quilts are OLD and so are the images.

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Celebration detail, Portrait, Flower detail, Portrait detail, Flower detail, All: Hand and machine embroidered, quilted, beaded, fabric paints, found objects, photo transfers, fabric/paper collage, found fabrics

My work in grad school was (and still is) rooted in drawing connections between the earth and body. How I make these connections changed many times over the years with various explorations, but back then I was interested in making those connections through visual patterns. I started with art quilts but quickly dove into line work and using the sewing machine as a drawing tool. I was captivated by the sewn line as well as by the thread itself. There was something so simple and lovely in the pile of cut thread scraps on my sewing table that I started to use them in the quilts and as inspiration for drawings. So enthralled was I by the thread, I eventually abandoned the fabric base and just focused on making quilts out of the thread alone. My explorations led me to discover the magic of Solvy, a water-soluble embroidery stabilizer and I was hooked. My process was to cut threads from many spools and place them in a pile, then sew them together by following the flow of the clumps as I arranged them. I was so excited that this process developed from the basic process of sewing and this is where my interest in process as a form of art making was born. The sewn thread pieces resemble pelts, grass, hair, skin, which to me, spoke visually of both earth and body…another exciting thing that told me I was on the right track to combining process, materials and content.

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Purity detail, Eleuthera, 12×12 inches, Purity, 6×4 feet each panel, Purity detail, White, 9×12 inches, Beginning, 2×3 feet, Rise, 4×5 feet, Beginning detail, Rise detail. All: Rust and Eco Stained fabrics, paint, machine quilted, embroidered, silk and cotton fabric, rayon thread.

From here, I made three 4×6 foot quilted ‘paintings’ for my thesis show that were comprised of the thread pieces, stained and painted fabrics, drawing and painting (pictured above). At the same time, I was also working on a series of drawings that started by manipulating and photocopying the threads, then using graphite paper to transcribe the photocopied images to another paper. The photocopy was placed on top, and the graphite paper underneath, I would then trace the photocopied image over and over without seeing the drawing I was creating underneath. The drawing created resembled a dense tangle of clumpy swirls, which referenced roots, veins, water systems and various other underlying channels integral to life.

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Thread drawing photocopy detail, Clump 1, graphite on print paper, 22×30, Thread drawing photocopy, Thread drawing photocopy detail, Clump 2, graphite on print paper, 22×30

The repetitive act of tracing and sewing the threads embedded in my psyche and I found myself instinctively using it whenever I was drawing. I’ve created many series using this mark and it has varied over the years as you can see in the gallery below. Even with its variations, I’m pretty much stuck with it…or it’s stuck with me. See more of these paintings on my web site here and paintings on plexiglass here.

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January in the Rockies 5, 9×12 inches, One Dark Cloud, 20×16 inches, January in the Rockies 3, 9×12 inches, Rain Over the Hill With Lake, 20×16 inches, Frost Fog, 16×20 inches

I hope you enjoyed this article and it’s helped you in some way. I always love hearing from you, so please feel free to comment (comment section is located in the upper left sidebar of this article). If you’re intrigued by line, want to find your personal mark or are just searching for some cool ways to add line to your encaustic paintings, my workshop at the encaustic conference is just for you! Read about it here and please feel free to contact me with any questions.

Stay tuned for my April blog posts-a two part series on the self-made residency I completed in January-February. I’ve gotten loads of questions about how to start one, where to stay, what to take, etc. and I’ll explain it all. I look forward to sharing this information with you and also sharing the work I produced during my residency. If you can’t wait, visit my Instagram for a sneak peak. See you in April, Happy Spring!

9 Art Works I Need To Exist

As I was writing my last post 5 Reasons Why the World Needs Art & Artists, I had wanted to include images of art works that have resonated with me, that I can’t imagine the world without. But instead of including them in the last post, I needed to honor them with their own post. To have examples of actual works drives home the point that art is needed in the world and you, as an artist, are needed in the world as well. I have to say that there are thousands of paintings, sculptures, installations, etc. that have made their mark in my world but to include all, of course, would need a whole blog devoted to the subject. (Actually, there such a blog called Oh What a World, What a World. It’s my first blog that unfortunately got hacked so I no longer can add to it, but you can still view the amazing artists on it.)

In order to pare down my list I came up with the following criteria…I had to have seen the work in person, I had to remember the work without too much thought or googling, the work had to mark a turning point in my thinking or life, I would have it my personal collection if I could and the number of works had to be less than ten. Now, you may have seen most of them before, they are not obscure, but that’s not what this list is about. This was an interesting exercise for me and although I write about each work, I can say that whenever I viewed these pieces, overall, I was immediately at peace and invited to escape into a dream for a moment.

Are there artworks that pop into your head that are of a profound significance to you? That for you, absolutely must live in the world? I’m curious what they are and what it is they did/do for you. Please add them in the comments section located on the left at the top of this post near the title.

• Agnes Martin, The Rose, 1965, acrylic and graphite on canvas, 72×72   When I first saw this at the Philadelphia Museum of Art, I was still in my teens and I thought this plain old grid was so boring…then I looked closely and SAW it. It is a light pencil grid on an almost indiscernible pale pink ground. That an artist could capture the essence, delicacy and beauty of a rose within a simple grid pattern while using almost no color left me speechless and forever in love with exploring the possibilities of the grid.

• Cy Twombly, Shades of Night, 1978, oil paint, oil stick, graphite on paper, 41×27  The PMA has a special room for the suite of 10 paintings, 50 Days at Iliam. When I first saw it, I was in my late teens and the work angered me. I loathed these paintings. Despite my strong feelings of hatred, they intrigued me and I always made it a point to visit these works every time I was at the museum. I would stand and stare at them, the marks, the movement, the paint application, the paintings were so large and aggressive! Each time, I had a strong reaction and my hatred eventually turned to love as I learned about Twombly’s work and myself as an artist. I must say that every time I visit this room or any of Twombly’s works, I learn something more about painting.

• Klee, Fish Magic, 1925, oil, watercolor, on canvas, 38×46  Who doesn’t love this painting? It’s a relatively small work tucked into a dark corner of the museum. Reminiscent of a child’s scratchboard drawing, it was one of the first paintings that communicated to me the message that art can be fun!

• Picasso, Young Girl With A Goat, 1906, oil on canvas, 54×40  This lovely painting hangs high on a wall, close to the ceiling at the Barnes Museum. Despite my many visits to the Barnes, it was only on a recent visit that I noticed it. I can’t really put into words what attracts me to this painting except that its pink and gold and just makes me happy. I was in a happy place when I first noticed it and when I see it now, it takes me back to that moment. If I suddenly come into a large amount of money, it’ll be the first painting I purchase.

• Henri Rousseau, Carnival Evening, 1886, oil on canvas, 46×35  I was very young (maybe junior high?) when I first saw this painting at the PMA. I loved Rousseau’s dreamy, clean, graphic painting style. I could understand his work, unlike the abstract expressionist works my young mind wasn’t quite ready to absorb. This painting was a dream and for many years, the postcard I purchased in the museum bookstore allowed me to dive into that dream whenever I wanted.

• Georgia O’Keeffe, Music, Pink and Blue 2, 1918, oil on canvas, 35×29  If you’re a fan of this blog, then you know of the profound effect Georgia O’Keeffe had on my growth as an artist. This particular work was the first art poster I had in my room as a young teen, (it even took the place of Sean Cassidy, but I digress). I had it right in front of my bed, so it was the first thing I saw in the morning. I got lost in the sensual forms, tracing them with my eyes as I got used to the morning light. This certainly had some effect on my visual memory and likely carries into my paintings to his day.

• Sandy Skoglund, Revenge of the Goldfish, 1981, Cibachrome color photograph, 27×35  It was at the PMA that I first saw Skoglund’s work in my mid-20’s. I was always intrigued with photographs and loved how Skoglund could realize fantastical worlds in her work. Within a few years, I learned Photoshop and was on my way to realizing my own fantastical worlds.

• Picasso, Glass of Absinthe, 1914, painted bronze with absinthe spoon, 8x4x3  I’m not a big Picasso fan, so I’m totally laughing right now that two of his works made it to this short list. Although I’m not a huge fan, I learned to appreciate his work when I took a summer art history class in grad school. I had to choose one work of Picasso’s in the PMA’s collection for my paper and this one was it. Before that time, I didn’t know Picasso had done any sculpture and I loved the intimate scale and general fun-ness of this one. I researched the piece extensively and fell in love with the whole series. Once again, I was pleased to learn that an artist could wear many hats, make work in many disciplines and just have fun, Picasso or not.

• Leon Frederic, Four Seasons, 1894, oil on canvas, 49×32  I was very young when I saw these pieces at the PMA and to this day, still visit them whenever I’m at the museum. What I love about them is the joyful exuberance and pure love that the artist had for these works…love, that you as the viewer can actually feel standing in front of them. This was another postcard purchase that I carried with me and hung in my room for at least a decade, it always brought me joy whenever I looked at it.

5 Reasons Why the World Needs Art and Artists

Winston Churchill once asked a most important question, “What is society worth without poets and artists?” Over the last few years, I have had many conversations with artist friends and mentees who have the concern that it feels ‘selfish’ or ‘self-serving’ to make art in a world with so many horrible things going on in it. I’m sorry to say that according to history, the world always has and always will have horrible things going on in it…but it has always had art as well. To fall into despair and want to fight the wrongs is natural for all empathetic humans. But please don’t stop making your art or beat yourself up for wanting to work in your studio rather than go to a protest. The world is a fallen place and we need art now more than ever.
During the last year or so, I’ve asked workshop students what art does for the them, for the world and the following were the most popular answers. There are many such lists that answer this same question and I would suggest that when you feel the need to create protest signs in lieu of your art, read these lists! It will benefit you and lots of others as well.

1. Asks Questions  In my recent blog post article 3 Essential Art Evaluation Questions, I cite this and the next list item as one of the essential parts of a good work of art. In fact, I think the best art offers no answers but allows for further questions and good art asks both big and little questions. When considering questions in this respect, it’s not the literal asking, but the thought that counts.
2. Expands Ideas Art provides an endless arena for experimental thoughts and ideas to enter our consciousness, both as a viewer and a maker. Just like asking questions without giving answers, it’s best not to spoon feed all thoughts and ideas right there in the work. Rather, allowing room for expansion of thought, discussion and even debate makes for the most interesting works.
3. Health Benefits Don’t you feel good after working in your studio? Even if the work wasn’t going particularly well that day, you still feel like you’ve unloaded a burden. Well, there is actually a physical and physiological reason why you feel so good and it’s all in this interesting Business Insider article Why You Should Be Making Art Even If You’re Bad At It. If you stop making work because you feel bad about the state of the world, well, you’re only going to feel worse. So get into that studio, start feeling better and make the world a better place in the process!
4. Create Beauty As serious artists, we aren’t supposed to mention ‘the B word’ these days. In fact, I’ve heard from a few curators if the word exists in your artist statement it knocks you down a few pegs. I’m a huge proponent of beauty in my own work as well as in the art I purchase. Ginny Ruffner is a well known artist who I have followed since grad school and whose life’s work has been focused on the idea and ideal of beauty. Also exploring the subject of beauty is the Ted Radio Hour Podcast, What Is Beauty? Each speaker makes the case for various kinds of beauty and that we may actually need beauty in our lives to survive. Denis Dutton is one of the speakers, whose work focused on beauty and why it’s actually essential to life. He states that the experience of beauty encourages us to make survival decisions by arousing and sustaining our interest…Beauty spurs us on simply by existing. Dutton also mentions a landscape structure that people all over the world universally consider beautiful. Artists Vitaly Komar and Alexander Melamid took this idea a step further by commissioning polling companies all over the world to conduct scientific research in order to derive what the public wanted to see in a work of art. The use of the poll was meant to mimic the democratic vote of the United States and to the make the point that if the general public could choose a president, why are they not a sufficient judge of art? The research data resulted in a series of paintings the two artists created of the ‘most wanted’ and ‘unwanted’ works of art, one of the most wanted is pictured at the top of this article. Also cited in the Ted Podcast is the inspiring story of Nathanial Ayers, the subject of the book and film, The Soloist, whose story serves as an excellent supporting example for why art and beauty is needed in the world.
5. Spread Hope & Healing In my opinion, one of the most important components to a work of art and one I strive to include in my own. Sometimes we just need a place to escape to and don’t know how to get there. Art presents a vehicle in which to transcend to another time/place in order to reflect on the present. Hope is what is gained from these experiences and from hope comes healing.

Workshop Highlight: Fiber and Structure

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Since 2001 I have been combining encaustic and fiber or fiber related techniques in my work. In fact, I actually initiated the practice of combining these two highly compatible and versatile mediums. The techniques I used in my work at that time and continue to use are all self taught and/or innovated by me. I continue to experiment, mix it all up and encourage exploration and a ‘just go for it’ attitude in all of my workshops. For more about my early work and other blog posts in which I reference my early explorations see (in order of relevance) this post, this post, this post and this post ..or just scroll down for more information and to see some of my paintings employing the techniques and material explorations covered in this workshop. See this post for student work from this and other encaustic and fiber related workshops.

Updated Workshop Description: With an emphasis on mixed-media, this workshop is specially created to address the interests of artists working in fiber and fiber related techniques such as quilting, weaving and surface design. This workshop will cover the basics of working in encaustic as well as encaustic application techniques to enhance or create structure and texture, color mixing, layers, surface manipulation, and the creation of pattern using stencils, candy molds and tjaps. Participants will also be introduced to alternative materials such as drawing with horse hair and water soluble embroidery film combined with machine and hand stitching. Innovative surface design techniques such as deconstructed screen printing (without harmful dyes), rust printing and indigo will also be introduced. Working two or three dimensionally, participants are encouraged to develop a personal vocabulary and explore current content interests by combining the infinite possibilities of encaustic in combination with fiber structures, surfaces and stitch.

What You Will Learn

See this post and read both workshop descriptions in the post as well as see lots of additional eye candy of the techniques covered in this workshop.

Additionally…

• Because Jeff has generously offered the use of his printing tables, we will explore the innovative technique, Deconstructed Screenprinting..a very loose, super fun printing method that creates multi-layered, multi-colored textures on fabric. I have practiced this technique and have adapted a way to do it without using harsh textile dyes and chemicals. These fabrics are works of art in and of themselves, but can also be used as a wonderfully inspired basis for your encaustic paintings. Scroll down for images of my paintings utilizing these fabrics as a base.
• Covering a board with fabric or paper..not just applying to the front of a board, but wrapping all the way around..activating the sides of a cradled board and utilizing book corners so that your painting becomes an all around beautiful object.
• We will create 3 dimensional sewn drawings using the amazing water soluble embroidery stabilizer, Solvy. These sewn constructions can be used to collage into paintings, stiffened with wax for sculptural possibilities and much more.
• The application of thin layers of encaustic for collage and a discussion of the conceptual use of layers, pattern and repetition.
• Much more…if you haven’t done so yet, be sure to visit this blog post for more of what will be covered in this workshop. I look forward to working with you!

Where Do I Sign Up?

Jeff Hirst Studio
Chicago, IL
Workshop Web Site and Registration

Images of My Encaustic Work and Additional Student Work

Art Podcast Favorites List

The holidays are over, its cold and you’re stuck inside during the January doldrums. Time to grab your phone, start downloading some new art podcasts and get inspired! In my last post, I mentioned that one of my weekly studio resolution carry overs from last year was to keep my habit of listening to or watching Art Podcasts or Videos. In fact, I increased my listening and watching from last year’s 2-4 per week to 10-15 per week this year because I’m kinda addicted. I got so many requests for a podcast list, I see that there are some hungry for art inspiration listening ears.

I should mention that I actually subscribe to many Youtube video channels, but few of them are focused on art. If I watch an art video, it’s usually because its focused on a technique, a product or an artist interview-these are things that I’ve searched for specifically, so I don’t usually subscribe to any one art channel. For that reason I’m sharing with you my favorite Artist & Art Marketing Podcasts only. I subscribe to many, but I kept this list to 10 so as not to get too crazy. I also mention timing, especially the ones focusing on artist interviews…I have a short attention span, I don’t have the stamina for a 2 hour interview and I absolutely cannot listen to an incompetent interviewer. I would love it if you have a favorite art video channel or podcast you would like to share, please list it in the comments section (comments are at the upper left of the blog post title) so everyone can see it. I’m always looking for something new and my readers will appreciate some recommendations as well. The following Podcasts are listed in no particular order.

1. Onward Creatives A marketing podcast that is not just focused on artists, but on all creative professionals writers, designers, etc. and I love listening to it for that reason. It’s good practical advice that can be applied to many aspects of creative marketing..and life for that matter.
2. The Savvy Painter Artist Antrese Wood is the Savvy Painter who has a fun, friendly conversational interview style and edits her interviews to 50 minutes. What I really like about her is that she asks the questions I want to hear the answers to and asks them as they arise in the conversation. It’s an authentic, interesting and easy going listen.
3. The Art History Babes Most of the workshops I teach include some aspect of art history because it is integral to understanding the context of one’s own work. I find that most of my workshop participants are craving some kind of art history in their lives and this podcast offers it up in a fun group chat by extremely knowledgeable women.
4. 99% Invisible Not necessarily and ‘art’ podcast, but one that focuses on ‘invisible’ art–design and architecture. I love the relaxed interview style and relatively short snippets of succinct information. This podcast also has a knack for delving into unusual and extremely interesting subjects. I always learn so much from listening even for a short time.
5. Art Marketing Podcast Helpful, practical information on a subject that all of us artists could use help with and delivered succinctly-most podcasts are under 30 minutes.
6. Artists Helping Artists Two artists, Leslie Saeta and Margaret Sheldon discuss art marketing, materials, studio discipline, process, artist interviews and more in a fun, friendly, non-pretentious way.
7. Hyperallergic Artist interviews from this always interesting art magazine. Most podcasts are under an hour.
8. John Dalton Gently Does It Conversational artist and critic interviews. Very interesting guests and spot on interviews with great questions. Give yourself some time to listen to these interviews, they tend to go on a bit.
9. Make/Time I come from a fine craft background in textiles, so I really appreciate these bite-sized (most 20 minutes and under) fine craft artist interviews focused on process and materials. Unfortunately, a new episode has not been added since August of last year, but I definitely recommend listening to the back episodes.
10. Modern Art Notes-This is a bonus addition to my personal favorites list and comes from art friend and mentee, Celia Johnson, who highly recommended this podcast. It has since been added to my subscribed list, but unfortunately, I haven’t listened to it yet. However, judging from the podcast listings, it looks fantastic. Thank you, Celia!

My 2019 Weekly Studio Resolutions

Happy New Year! It’s that time of year again-time to reset, re-evaluate, re-order and re-invigorate. Have you created your 2019 Studio Resolutions yet? As promised, I’m sharing with you my list of New Year Studio Resolutions to help give you ideas for your own list. At the turn of the new year, on my favorite list making phone app, Evernote, I check my list from the year before, add/remove items, rewrite, redo. I make a list of daily, weekly, monthly and annual Studio and Marketing resolutions that I check frequently throughout the year to make sure I haven’t forgotten what I’ve resolved to do. Having the list in a convenient place on my phone and using an app that syncs to all of my devices, I’m easily able to check and recheck it in order to keep myself accountable.

Last year I shared with you my Daily Studio Resolutions in this and this post. This list has pretty much stayed the same, so this year I will share with you my Weekly Studio Resolutions. I combine my Studio and Marketing lists in my Evernote, but for the purposes of this and the next blog post, I will only be sharing my Studio Resolutions.

1. Work in the studio 25-35 hours These studio hours reflect the hours I’m actually in the studio making something, producing or experimenting. I made this resolution way back when I was still teaching 2 days a week at Tyler and even though I’m almost three years retired, I haven’t added more hours as I thought I would. What I have added are more hours devoted to things that contribute to the making such as reading and drawing, photographic journaling, hiking, etc. Keep in mind that depending on what I have to accomplish in the way of deadlines, etc. my resolution hours may fluctuate from as low as ten hours a week to 70 hours or more. However, these are extremes and will only occur a few times a year. My resolution is an average-a mark to determine my success or failure weekly and/or monthly. To see how I log my studio time hours, read the first item in Part 2 of My 2018 Resolutions in which I detail how I keep my Studio Notes.
2. Experiment at least two hours each studio day OR 1-2 days per week If you’re a regular reader of Art Bite, you may have read my recommendation for devoting a percentage of studio time toward experimentation, better known as the 40/60 principle outlined in this post. It is very important to do this in order to consistently grow and evolve your work. But as with anything, the world of ‘shoulds’ gets in the way which is why I consider it my most important resolution. If you find it difficult to devote time toward experimentation, either follow my lead as explained in the post or actually block out a day each week to experiment. It isn’t imperative that you do this for exactly 40 percent of studio time, but it is so very important to make time for it even if it’s an hour per month.
3. Watch/listen to 8-10 art videos OR podcasts I must confess, I have become a Youtube and Podcast junkie and as a result I changed this resolution from last year’s 2-4 videos/podcasts to 10-15 for this year because it reflects what I actually do. I listen while I work, while I drive, before I sleep in order to relax. I listen and watch a variety of subjects, all inclusive my listening time is way over 10-15 but I want to make sure that a portion of my listening time is devoted to art. My Instagram viewing included, I probably watch a lot more videos than this, so what I’m including here are only artist interviews, comprehensive painting demonstrations, product demonstration, artist biographies, etc. I do believe that the videos and podcasts are contributing to my studio work, not taking away from it and that is why I increased the hours. Sometimes watching videos, even if they are about art, can become a substitute for studio work and we must be careful not to let that happen.

When you do make your list, print it out and sign it. Put it somewhere that you can see it and also keep it on your phone so you refer to it and be reminded of it often. If it’s your first time making a list like this, it will need to be adjusted a few times. Most importantly, don’t make these resolutions and forget about them by mid-February! Really try to stick to them and if you find yourself failing, adjust the list accordingly. If you’re having difficulty making a list like this and/or keeping to your resolutions, please don’t hesitate to contact me for a mentoring appointment-the start of a new year is the best time to begin….

Wishing you all an amazing year of Studio Resolution keeping and creatively productive time in the studio!