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.

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!

5 More Mistakes I Made As An Artist

I find it very helpful to take stock at the end of the year, both of my professional triumphs and even more helpful, of my professional flops. Listing mistakes not only prevents us from repeating them, but allows us to learn from them and to recognize how we might not be who we are today without them.

Last year during this festive holiday season I wrote two blog posts outlining 10 Mistakes I Made As An Artist, Part 1 and Part 2. I find it very helpful to take stock at the end of the year, both of my professional triumphs and even more helpful, my professional flops. Listing mistakes not only prevents us from repeating them, but allows us to learn from them and to recognize how we might not be who we are today without them. 

  1. Not putting my best work out there. I have heard over and over again by many artists and art mentors that its best to put only your best pieces out there and keep and rework the unsatisfactory ones. But I wonder how many actually do this when pressed for time getting ready for a show? I’ve made paintings that are just blah and I can’t take the time to figure it out because I have a deadline and rush, rush, rush, it’s gone to Fedex and hanging on a wall with me cringing at the opening. What’s kind of silly is that some of these paintings are the first to sell at said opening, which makes me even more depressed because then I realize I can’t even judge the quality of my own work! The root of the problem lies in poor planning, poor studio discipline and poor time management. I may not be able to understand why my not so good paintings sell and the ones I love collect dust in storage, but I can do better at working on my time and studio discipline problems, especially before a show. 
  2. Not attending enough openings. Like a lot of us artist types, I’m an introvert and a bit of an empath. I don’t mind being around people for the most part, but interacting at openings truly exhausts me, as do many large group social activities. I also find it difficult to view the work at openings, which is what I really want to do when I’m there. But openings aren’t really for intimately viewing art, openings are for supporting the artist, discussing the art and meeting new people. A few years ago I decided to make a New Year’s resolution to attend at least one opening and/or one artist talk a month. Even though I go through a little social anxiety beforehand, I’ve pretty much stuck to it and the experience has been quite rewarding. I don’t stay long, but I make a point to interact, to ask questions and to introduce myself to either the artist or to a few others while I’m there. I’ve met many people, some of whom I now call friends. I’ve seen some amazing shows and created a new habit of sharing the work I’ve seen on my Facebook. It’s been a veritable win/win/win and instead of dreading openings, I actually look forward to attending them.
  3. Not taking enough art classes/workshops. I spend a good deal of my time sharing with and teaching others and although I learn a lot from my students, sometimes I want to be in the student seat, having fun and making a mess with new ideas, new products and new voices. I have only taken two workshops in the 15 years since graduate school-One with Lisa Pressman and the other with Laura Moriarty and both workshops were worth their weight in gold. I was at a crossroads in my work during each workshop and they both shook me out of my doldrums, I am grateful. But there have been many, many workshops I’ve passed over for one reason or another-mostly lack of time. One resolution I will add to my 2019 list is to take a workshop every year. I’m keeping my eyes open for unique workshops with well known instructors in plein air painting, oil/chalk pastels, markmaking, collage, creative writing, Chinese brush painting, mixed media, just to name a few. Suggestions are welcome. 
  4. Not taking enough risk in my art. If you read my recent post, The Evolution of A Mark, you’re familiar with my early creative development involving a career in textile design. Because of this, it’s ingrained in me to create with sale-ability in mind. I have pretty much broken this mindset over many years but it still lurks in the darkest shadows of the studio and poisons my creative mojo. For this reason, I have had many ideas I simply repressed because they were too risqué and that is more than sad!! I made a list of these ideas as I have recommended other artists do and I have made some things on that list, but wish I’d made more. Emily Hopcian of Unsettled writes “the moments we most remember — those which make our stories rich, our lives worth living and our dreams worth pursuing — are the ones where we just say yes. When we plunge head first into the things that scare the shit out of us.” I need to silence the little voice that screams NO, tells me that it’s a dust collector I’m creating and no one will buy it and for Pete’s sake, quit worrying if no one will buy it!! 
  5. Making work I’m tired of making because it sells. Many times during my career I have said ‘this is exactly the work I should be making right now’ and those times feel so good! But too many times that ‘right now’ passes and it’s time to move on but I don’t. I like my current work, but I don’t love my current work. I feel it’s work I should have made two years ago and did make, but I feel I’ve lingered in making it too long because it’s comfortable. I’ve done this many times over my 15 year professional career and need to cut those lingerings short, create and  experiment with abandon and do it more often. 

Listing these mistakes at the end of the year helps in creating your Studio Resolutions for the following year. Stay tuned for my 2019 Studio Resolutions List coming up in January and read this post and this post for my 2018 Resolutions if you need ideas for your own list. I look forward to reading some of your resolutions in the comments section as well as some of your mistakes. (The comments tab is located at the top left of this post under the tags.)

I am overwhelmed by the support Art Bite Blog has received this year and I am truly grateful for all of you! Wishing you the very best of this Holiday Season, see you soon in 2019!

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern. Register Soon, Limited to only 8 Participants!

Pattern is, essentially, a compilation of elements of design: line, rhythm, repetition…Not slavish duplication, but echoing, re-enforcing, reminding….~author unknown

WORKSHOP NUMBER TWO
Mixed Media Encaustic: Pattern
Limited to 8 participants!
Level: Beginner to Advanced
$400 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($200) is due at the time of registration with the remaining 50% ($200) due on the first day of the workshop. Please contact Lorraine for payment details.

When
April 5-7, 2019, 10am-4pm each day

Where
Dora Ficher’s Fabulous Studio at Scott’s Mills
3510 Scott’s Lane, #118, Philadelphia, PA

IMG_6308

Dora Ficher’s amazing studio at Scott’s Mills

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number Two Description
Repeated use of a shape, color or design element unifies composition, creates pattern, rhythm and movement as well as reinforces content. This workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include creating motifs, rust printing on fabric, organic and geometric form, realistic and abstract imagery, patterned collage, stencils, tjaps and candy molds. Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the content message will also be discussed.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are here, here and here.

WORKSHOP NUMBER TWO WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 3-6 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual or images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • sketchbook or drawing paper and drawing media of your choice
  • package of razor blades or scraper
  • smock (optional)
  • sharp scissors
  • any tool or material for any technique that you normally employ while working with encaustic
  • iwatani torch (optional)
  • textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax.
  • materials for collage (papers, magazine images, photos, etc.)
  • decorative stencils, mesh, doilies, etc-anything flat with open areas that can be used as a stencil.
  • rusty metal objects or objects that will rust
  • ½ yard, even-weave, white or light colored natural fabric for rust/compost printing and painting. RTD or PFD fabrics are preferred and are available from dharmatrading.com. Alternatives are old sheets and/or tshirts that have been frequently washed.
  • paper punches (will be provided, however, if you have favorites, please bring them)
  • Tjaps (will be provided, however, if you have favorites, please bring them)

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • wood burning tools
  • Disposable gloves
  • Extra drawing paper
  • Wax paper
  • Parchment paper
  • encaustic paints
  • 2 cups salt
  • masking tape
  • 1 gallon size plastic bags
  • Tracing paper
  • Graphite transfer paper
  • cups for mixing instant indigo
  • Extra razor blades
  • Pans and cups for paint and medium
  • Linseed oil
  • paper punches
  • 2 iwatani torches with extra butane
  • instant indigo
  • extra fabric
  • extra rusty objects

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and coffee machine in the studio for your use as well as a wonderful cafe area with tables in the adjacent galleries.

 

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat

Jeff Juhlin & Lorraine Glessner take their collaborative teaching venture to Maui! Register now for this exciting opportunity!

Other things leave me, but it abides; other things change, but it remains the same. For me the balmy airs are always blowing, its summer seas flashing in the sun; the pulsing of its surfbeat is in my ear; I can see its garlanded crags, its leaping cascades, its plumy palms drowsing by the shore, its remote summits floating like islands above the cloud wrack; I can feel the spirit of its wildland solitudes, I can hear the splash of its brooks; in my nostrils still lives the breath of flowers that perished twenty years ago.

Mark Twain, (Written after his stay in Maui)

What
Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat
Limited to 12 participants!
Level: Intermediate to Advanced
$1200 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment Payment of 50% of the workshop fee + materials ($600) is due at the time of registration with the remaining 50% ($600) due on the first day of the workshop. Please contact Lorraine for payment details.

When
October 21-25, 2019, 10am-4pm each day

Workshop Description
The mark of nature combined with encaustic painting creates timeless works which reference memory, change and time. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Easy to moderate hikes exploring the lush, verdant coastal areas of the North Shore, Maui are led by Jeff and Lorraine. Along with daily journaling, meditation, readings and expressive mark-making exercises, these immersive hikes will provide the inspiration for which to develop ideas and provide areas of focus for series based work while also developing your personal artistic voice. Considerations of our body’s connection and it’s direct relationship to landscape will also be discussed. Optional individual critiques with both instructors will be offered to all participants.

SCROLL DOWN TO SEE images of student work and fun scenes from hikes and studio time during Lorraine and Jeff’s 2016 and 2017 Artist Retreats in Torrey, Utah. Additional blog posts related to other artist retreats co-taught by Jeff and Lorraine are here, here and here..

Where  The Uaoa Art Barn located on Carla and Steve Thistle’s lush, rugged paradise on Maui’s North Shore. (pictured above: Uaoa Art Barn and surrounding property)

What Else?

  • Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
  • Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
  • Mark-making exercises geared toward making simple or complex marks to generate a personal language.
  • The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Jeff and Lorraine.
  • Some guided meditation time, planned hiking and beach walks will relax and open your mind and spirit to the ocean and land, helping to support and nurture your unique creative voice.
  • A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.
  • Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.

Images of the Maui, North Shore and areas near The Uaoa Art Barn

Who A collaborative teaching venture with Jeff Juhlin & Lorraine Glessner

Jeffjuhlin.com
Jeff Juhlin’s work references his experience of time and place. He explores the horizontal line and the layers and strata of things substantive and imagined. HIs work alludes to the vast space and geology of the western landscape where he lives. There, time makes itself present in horizontal layers evidencing the past, both building up and wearing away in a continuous process. Jeff’s methodology typically includes many layers of translucent strata composed of pigmented wax, oil, paper and other media, that are built up and worn away similarly in a compressed period of creative time. He accumulates layers of material, images and color that make up the whole of a painting, then goes back in to explore, excavate, expose and obscure. The end result is a non-literal visual form, a translation of that experience and process.
Jeff uses various materials and mediums to create these works however encaustic incorporated with mixed media including paper, ink and oil paint are most often the primary mediums. Encaustic’s luscious luminosity; physical presence and translucent quality seem the ideal medium to explore this process.
Jeff has completed Residency/Fellowships at the Virginia Center for the Arts and VCCA, Moulin Au Neuf, Auvillar France. He has been Artist in Residence 2010-2017 at the Hui Art Center in Maui, Hawaii. His work can be found in numerous private, corporate and public collections as well several public art commissions. Jeff holds a BFA degree from the San Francisco Art Institute. He maintains studios in Salt Lake City and Torrey Utah. He teaches Regularly at the Hui Art Center in Maui, Hawaii, the Kimball Art Center in Park City Utah and at his Studio in Salt Lake City.

lorraineglessner.net
Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, PA, a recently completed artist residency at Jentel Foundation and an acquisition by Kelsey-Seybold Cancer Center in Houston, Texas. Lorraine’s work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.

 

Student work and other fun stuff from Torrey Retreat, 2016-2017

Materials Included: the following list of materials is provided for the student

  • All encaustic paints, encaustic medium, tools and equipment
  • a variety of pigment sticks
  • Sumi ink & other misc. drawing media
  • Misc. drawing papers
  • Paper towels/rags
  • Extra encaustic brushes
  • 8×8 & 10×10 1″ cradle birch painting panels for sale

What to bring: the following is a list of materials for the student to bring to the workshop

  • Sketchbook/notebook, pencil or pen for note taking
  • 1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)
  • Closed toe shoes for safety in the studio
  • Lunch and beverage each day
  • 6-10 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, 3-ply matt board, whatever you bring, it must be rigid, but nothing coated in acrylic or acrylic gesso!! NOTE: There will be 8×8 and 10×10 1″ cradled panels for sale in the studio, so it is not necessary to bring panels if this presents a hardship due to travel.
  • 2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
  • 5-10 hake or hog’s bristle natural hair brushes in 1-2 inch sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • Optional Materials Smock, any encaustic paint color or pigment stick color you favor, iwatani torch with extra butane, any tool or material for any technique that you normally employ while working with encaustic, textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax, 1-2 inspiring books to share with the class.
  • For a helpful list of portable art materials for traveling and hiking, read this recent blog post. 

 Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • butt pack or small backpack
  • comfortable clothing
  • light rainwear
  • Hat
  • water bottle
  • Digital Camera or smart phone or point and shoot camera or DSLR
  • bag for collecting found materials

Cancellation In the event that you need to cancel your workshop, please notify Lorraine at least 45 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 45 days from the start of the workshop.

Accommodations  This web site offers a full list of air B&B’s along the North Shore in Haiku. Book early, they fill up quickly!

Two Within walking distance…

  1. Holomakai   Look at images on the Airbnb site, but email Carla Thistle for discount info-DO NOT USE THE AIRBNB SITE.
  2. Queen bed, small kitchen, bathroom, beautiful ocean view, clean and safe:
    100.00 cash a nite, 7 day minimum, 2 persons only. Email Jen Shannon for details and mention Carla Thistle.


Food
Filtered water will be available for drinking and tea, however, you may want to bring other preferred beverages. There will be no food served during the workshop, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. A full list will be provided to registrants a few weeks before the start of the workshop.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

3 Essential Art Evaluation Questions

In this article, I introduce three simple questions that encourage artists to delve deeper and therefore allow for the exchange of new ideas regarding how and why we look at, respond to and appreciate art. Once I began introducing these questions to my group critiques, participants were also able to apply them to their personal work. I’m happy to share them with you so that you can do the same.

How do you evaluate your art or the art of others’? What makes a good work of art? Do you only know you ‘like’ or dislike something about it? What is that something? Certainly there are many other questions that come to mind when looking at art and those answers will always include some measure of subjectivity, which is always welcome and makes for a lively discussion. Its the usual questions regarding design fundamentals and what is ‘liked’ about the work that usually does not make for interesting discourse. Please note, I’m not bashing the consideration of design fundamentals-they should, and always enter the conversation. However, it’s the discussion of ONLY these things that makes for a very technical conversation and one that really doesn’t cut to core regarding what makes us RESPOND to a work of art. When I was teaching at Tyler, I found critique questions that attempt to push beyond design fundamentals to be too esoteric and often led to discussions that were not helpful in actually growing the work. To begin the discussion and to simplify things a bit I came up with three simple questions that would allow each student to delve deeper and therefore allow for the exchange of new ideas regarding how and why we look at, respond to and appreciate art. Once I began proposing these questions in my critiques, students were also able to apply them to their own work and I’m happy to share them with you so that you can do the same. After each question listed below, I have included a list of characteristics that I notice I consistently respond to in a work. I have also included a few examples below of my answers to these questions in reference to specific works from my recent art travels.

  1. What attracts you to this work? What makes you cross the room to take a closer look? Detail, use of color, drama, movement, materials, pattern, ornament, gesture, visual poetry, repetition, raw emotion, deconstruction, drawing and line.
  2. Once you cross the room to view it, does it hold you there? What is it about the work that keeps you looking? Mystery, poetry, finding hidden treasures, a puzzle, a story, innovative use of materials or structure, surfaces, layers, not necessarily having all of the information slapping me in the face, good design, process, skillful craftsmanship and execution, immersive-ness, hauntingly dark, strange anomolies.
  3. Does the work introduce a thought, concept, idea and/or make you think on a higher level? Anything that speaks to dreams, time, memory, connection, open-endedness, explanations of personal struggle, redemption, vindication, love, loss, good/evil, hope, life lessons, experience, transcendence, inspiration, imagination.

Examples

  1. Ryoko Aoki Installation at the Armory, NYC

I was attracted to this installation because of my love of anything textile and embroidery, the placement of the pieces with lots of white space around them and the geometries of the forms having a conversation that invited me to listen. Getting in close,  I was loving the pattern, exquisite craftsmanship and detail, references to drawing and home, handwork, domesticity. Despite the crowd, there was a calm, delicate, quietness that hovered over the whole installation and as I continued to study each grouping, the room slowed and got quieter. I walked around the table a number of times and fell deeper in love with where this piece took me each time.

2. Patrick Jacobs, Pink Forest at the Armory, NYC

If you follow me on Instagram, you know I love me some pink! So of course, I was attracted to this loveliness as well as the combination of interesting materials. Similar to displays at a natural history museum, the installation was inset so the viewer could stand close enough to touch it and almost feel a part of it. I spent a lot of time getting to know this world, I was transfixed by the details and kept finding hidden treasures within this strange forest. It was interesting to discover that the piece is composed primarily of man-made materials made to look natural, which brought ideas of our fading environment to the surface. My mind started to drift as I stared into the seemingly distant center and then the questions….It looks like a landscape I would see everyday, but what is that strange landform in the center? What made this world turn this strange color? Is it toxic? Will it make me sick to stand in front of it? Because of its friendly pink color and serene forest scene, it would appear calming but the longer I stood there and the more questions that came to mind about it, the more off putting it became. I loved that I couldn’t solve this mystery and that it took hold of my imagination.

3. Gustavo Diaz, cut paper sculpture at the Armory, NYC

I was delighted to discover these wonderful cut paper pieces, the tiny details and the unique nature of the work beckoned me to take a closer look. The pieces are interesting from every angle so that keeps the viewer interested in looking-enjoying the many layered details, trying to figure out how these pieces were constructed and how they are staying together being so ridiculously delicate as they are. These piece brought to life a few of the cities described in one of my favorite books, Invisible Cities by Italo Calvino and just like the cities in the book, I wondered what it would be like to live in one of these cut paper pieces. I began to imagine tiny people, vehicles, trees, grass, etc. populating the cities. Even so, there is something about these cities that is unfathomable, uninhabitable, peculiar, not quite right..and that’s what kept me looking even longer.

4. Tomas Saraceno, Entangled Orbits at the Baltimore Museum of Art

Probably my most favorite work of the year so far, this piece attracted me because of its drama. Set in an extremely dark room that forced me to immediately turn a corner upon entering, I was a bit disoriented and it took my eyes a moment to adjust-there is no hint to what one is going to see here. Within a vitrine in the middle of the room, the only lights were highlighting these amazing spider webs!! I ran over and stared, were they real? I’m a bit squeamish of spiders and for a second I wondered if there were a number of them in there, but I looked a little closer to realize that the webs were made from wire. Again, thoughts of man replicating nature and doing it quite well made me both sad and intrigued. I stayed in the dark, quiet room checking it from every angle, immersed in the craftsmanship, process and patience it must have taken to create this amazing spectacle.

I hope this article was helpful to you. As always, I look forward to your comments, questions and suggestions-the comments section is located at the upper left sidebar of this post. Please let me know if you’ve applied these questions when out gallery or museum hopping this week or if you’ve developed your own series of evaluation questions. I’m also interested in what characteristics you can add to the lists above. What characteristics most make you respond to a work? I’m most interested to hear whether or not these questions have helped you in your own studio or teaching practice. Let me know, I love hearing from you!

Stay tuned for my next post which was suggested to me by a reader. This post pares down my list of favorite encaustic colors to those I recommend for the beginner. It’s a helpful list whether you are a professional artist or a beginner-you might just be surprised at what few paint colors you actually need in the studio.

 

 

 

 

MindMapping For Artists

What’s your art about? Are you stumped by this question? Learn how to organize your thoughts and ideas in this article.

Do you silently cringe, not knowing what to say when someone asks you what your work is about? Have you tried time and again to write an artist statement but don’t know where to begin? In my first Resolutions post I challenged you to read everyday something that is pertinent to your work, but what if you don’t know what books to get? If any of these questions resonated with you, making a MindMap will help you.

MindMapping may seem like a relatively new concept to most, but its actually been used for centuries to brainstorm and organize ideas, to streamline them and keep from getting overwhelmed. MindMapping is used in many applications and most prevalently in education, business and psychological circles. Alyson Stanfield writes about MindMapping for art business and many other art related purposes in this blog post. What’s interesting is that MindMapping is a VISUAL tool and I’m always surprised when I find that most visual artists have never heard of it. Basically, it’s a diagram with a big idea in the center and smaller, supporting ideas branching off from it-sort of like an idea tree. I first heard about and used MindMapping in my grad school seminar course when it came time to write my thesis paper and it turned out to be an integral tool as I could barely write an artist statement at that time. I was lucky enough to actually find my grad school mind map and after some photoshopping, it’s proudly featured at the top of this article. I have used MindMapping many, many times since, mostly for writing and research purposes when my studio work has shifted and I need to figure out where its going.

If you Google MindMapping, you can find many useful tips, information and digital templates, but I think its much more fun to draw it out yourself in your sketchbook. This is a fun blog with lots of inspiration for hand drawn MindMaps and this site is totally devoted to MindMap art and artists. This post outlines the hand drawing process from start to finish, but I would recommend simple is best for beginners. Basically, the process is to put the BIG idea in the center and then branch off with other related ideas from there. Subsequent supporting ideas branch off from those ideas and so on. Your Map can be diagrammatic, pictorial or it can be a simple outline. You can use colors, patterns, symbols, anything you’d like in order to organize your MindMap. Scroll down for some fun examples below, ranging from extremely elaborate to absolutely no frills. The step by step process I use to create my MindMaps is very simple and, with her permission, I’m using a recent starter MindMap I created with one of my mentor clients as an example below. I use the outline format for simplicity and color code the steps to correspond with the Map:

  1. Think about The BIG Idea and write it in the center.
  2. Draw 3-4 branches from the big idea and write Secondary Big Ideas relating to the big idea. They should be related, but different and significant enough that they qualify as a secondary branch.
  3. From those 3-4 secondary branches, draw 4-5 Tertiary Branches and label with topics related to and descriptive of those ideas.
  4. *NOTE* Your topics can repeat-circle repeating topics and make a list of them to use later. You can also add branches anywhere you’d like and you don’t have to fill in all branches you’ve drawn.
  5. Follow tertiary branches with 4-5 Fifth Tier, 6th Tier, 7th Tier branches and so on. Label with even more detailed, more descriptive topics.
  6. The MindMap could go on forever, but I usually stop at 3-4 tiers and take stock of what I’ve done–What could I add, what subjects have I ignored, what branches could be moved, shifted or repeated, what branches are going in a strange direction, what repeating words should be circled, etc.
  7. Create your MindMap over the course of several days as more ideas will surface over time.
  8. Once you’ve completed your Map, use the words you have generated as you would a library card catalog of subjects to find books and articles in which to focus your research or writing.  The repeating words you’ve circled could be the subjects you begin reading about first, then follow with the secondary and tertiary subjects.
  9. Save your Map, it will be a good starting point for the next time you need one.
  • Form (the big idea)
    • Color
      • Color forms
        •  Play
        • Children
      • Post modern abstraction
        • Abstract expressionism
      • Color theory
      • Abstraction
        • De Stijl
          • Mondrian
    • Systems 
      • Highway
      • Public transportation
        • Subway
          • USA
            • List Cities
          • Europe
            • List Countries
        • Bus
        • Train
      • The body
        • Veins
        • Brain
      • Maps
    • Construction 
      • Building
      • Architecture
      • Toys
        • Blocks
    • Pattern 
      • Textile
      • Wallpaper
      • Types
        • Allover
        • Damask
        • Geometric
    • Design 
      • Textile
      • Interior
      • Architecture
    • Ornament 
      • Medieval
      • Renaissance
      • Moroccan
      • Coats of Arms
        • Family Crest
        • Identity
          • Nationalities/Ethnicity

Making your MindMap should be fun, but if you find yourself stuck or not even knowing where to begin, sign up for a mentor meeting with me and let’s get started!

Once again, I invite your comments, questions and suggestions on this post–comments are now located in the upper left corner of this post, scroll up instead of down. I would love to hear if any of you have implemented MindMapping in any way and of course, would love to SEE some of your MindMaps too!

By popular demand, my next post will highlight some of my favorite drawing/mark-making exercises to either get you started or keep you going on your daily drawings!

Above left to right: IllumineHand Drawn AdvantagesNature Picks Up Your Vibes, Balanced ScorecardSimple Pen and InkWind Surfing SensationsTime ManagementMind Map 1Eye, Art & Design

My 2018 Studio Resolutions, Part 2

Read the complete list of my 2018 Studio Resolutions so you can get started off on the right foot this year!

I hope you all have been spending the last two weeks purchasing books, reading at least 30 minutes a day and drawing, drawing, drawing everyday! If you haven’t done so, please be sure to read Part 1 of this post, which includes the how and why these resolutions are so important to me and my guarantee that they will get you started on the right foot this year. Remember, they will only work if you give them a determined try.

  1. Studio notes every studio day I’ve mentioned in a few recent posts why reading about what interests you in your work is so important and directly related to reading is writing. It is imperative that an artist write well! After all, we have to write statements, biographies, exhibition and teaching proposals, grant and residency applications, catchy snippets on social media, BLOGS..the list goes on. The only way to get better at writing is to practice writing. Remember Julia Cameron’s Morning Pages? I learned to love writing by making this a part of my practice way back in the 90’s and then fell in love with writing again in graduate school while writing my thesis. Reading is a huge help in sharpening writing skills, but you also have to put pen to paper and write your own words as well. What better way to do that than writing about your work every studio day in a short paragraph. I call it my Studio Log–it’s basically a short diary entry, (written in sentence and paragraph form with an actual pen on paper), that explains what you did that day in the studio-what you made, your process and how it turned out. Begin each entry with the date and how many hours you spent in the studio and add up those hours every week-this helps you track your progress and creates a feeling of accomplishment. Please note that while I know bullet journaling has become a very popular thing and it’s totally fun, we are working toward sharpening our writing skills with these entries, so you  must write in complete sentences in paragraph form. Writing in this way helps you to organize your thoughts, put things into proper perspective and see your accomplishments in writing. It’s also important to note that actually writing in a designated book or sketchbook and not on the computer completes the connection between your thoughts and your hand, the computer is a third party that breaks that connection. Further elaborations on your log entry can include but are not limited to…Do you like what you did that day and why, Do you hate what you did and why, What thoughts surfaced from the subconscious while you were working, Did you make any changes of note to your process or thinking, What are you going to work on tomorrow, next week or next month and/or any other thing pertinent to you and your work that day. I rarely look back at my daily log entries, but when it’s time to write a statement or a proposal, I have a wealth of information right at my fingertips.
  2. Visually document every studio session Something we should all be doing in order to promote ourselves in a social media obsessed world. Even if you don’t contribute to social media, photographing what you do in the studio will accomplish two things…1. It will enable you to gain insight into your process and 2. You will be able to track your progress and achieve a sense of accomplishment.  Although you may choose to share these images , the purpose for collecting them is to see where you’ve been, where you are and where you’re going. If photographing while you work is distracting, just take a few photos of your work at the end of the work day to note progress. Or you may choose to do this at the beginning of the work day. Either way, it’s your studio photo journal and can be set up any way you wish. At the end of the week/month/year you have a collection of images that actually track your progress and this is so important for those times when we’re down on ourselves or feeling like we’re not doing enough. Even more elusive to us than a sense of progress is analyzing our process. We’re artists, we are visual people, we have to SEE things! Sometimes it’s not easy to see what is happening with the work until you look at from a different perspective -laying it flat or hanging it up. These photos offer many perspectives for viewing work, providing the opportunity to turn the image every which way, crop it, blow it up, etc . Observations made from these images can be shared in your studio log and used for social media posts, statements, proposals, etc. Understanding your process is an important part of knowing who you are as an artist, it sets you apart from everyone else, it’s defines you and helps shape how you and others view your work. More than anything else you can do to document your studio work, photographs give you insight into that process.While the studio log you’re keeping is helping to organize your thoughts and progress, keeping photo documentation will help you visualize this progress.
  3. Work toward a studio hours goal every week Your studio log entry requires that you log in your studio hours for the day and then add them up at the end of the week. This is yet another way to track your progress to make sure you’re meeting your studio goals. This was the first resolution I made to my list when I first started doing this in 2015 and I simply set a workable goal for a range of weekly hours I could get to into the studio. Everyone is going to have different hours due to addtional work and life responsibilities, so the key to achieving your weekly goals is making them feasible as well as slightly challenging. In 2015, I was teaching 2 days a week at Tyler School of Art, plus at least one day to prep for teaching. My goal for the studio was to do 25-30 hours a week with 25 being the minimum and 30 being the maximum (with plus or minus a few on both). I arrived at this number by creating a weekly calendar and crossing out the days and hours that I was scheduled for other things like teaching, paperwork, appointments, etc. I then began to fill in the open hours of each day with hours I could feasibly work in the studio and added them up. Once you arrive at a schedule and weekly goal, sign it and hang it up on your studio door or on the fridge, wherever you can see it that it will remind you of the promise you made to yourself. I also made rules as to what activities would fall under studio hours and again, your rules will be different. At first I was very strict and said that only activities contributing to making actual work could count toward my hours. I eased up after realizing that there are so many things I do that contribute to the making of my work-reading, drawing, photo research, even cleaning the studio counts! Give yourself at least 2 months to implement this schedule and if you find you were egregiously off in your hourly estimates, don’t be afraid to adjust the schedule. It is better to make a slight adjustment then to give up altogether due to frustration or feeling you have failed.
  4. Walk outside 15-30 minutes everyday I just added this resolution this year and I’m only doing so-so at achieving it due to the extreme cold we’ve had this winter…but I’m working on it! In the spring, summer and fall I walk everywhere I can and make a point of walking every night after dinner, rain or shine and I notice a significant change in my outlook and productivity. I have always known I’m just ‘better’ in the warmer weather and there are many factors that contribute to this, but I’m sure a huge part of it is walking and hiking. You may already know that there is much research to support a direct correlation to walking and boosted creativity, but just in case you don’t, this article is a good read. Another benefit to walking is the opportunity to snap photos of anything along the way that strikes your fancy, which can then be called ‘photo research’, which can then count toward your studio hours! The image at the top of this post is one of those images of mine taken on a walk on the dunes in Provincetown. So….Walk, get in shape, boost creativity, add to your studio hours…win, win, win, WIN!

By now you may have already forgotten your original 2018 New Year’s Resolutions, so you can now try these! Please feel free to post in the comments section (comments are now located upper left of this post), I would love the hear what you do to keep your studio practice alive and if any of my ideas have resonated with you. Remember, they are designed to work together with Part 1, so if you try them, please make sure to come back and post about your experience.

Stay tuned for my next post on Mind Mapping for Artists. What if you get to the studio and don’t know what to make or you have a whole body of work ready to go out in the world but you don’t know what it’s about? What if you don’t know what books to get or what subjects are pertinent to you or your work? Mind Mapping will help you narrow this all down. See you soon!