Getting to the easel – part two

Following on from my last post I have been thinking even more on the subject of procrastination and getting to the easel. One of the biggest myths I have discovered – is that artists need freedom – freedom to decide where and when to work, no rules, just a desire to create good work. On the face of it, this seems like the perfect way of working but in reality, trying to create in this way meant that I got very little done.

Getting to the easel

The more routines I put in place and restrictions I put on my time the more work I get done. The structure of a routine gives me the freedom to work within the boundaries I have set myself.

This is really important: Just because you are working to a routine, it does not mean that your work becomes a routine (i.e formulaic) – the routine and structure just build a little safety zone around a period of time where you can create without distraction.

Page of opportunity

So what stopped me working before? How has my thought process changed?

1. Fear – fear of not getting enough done in my days in the studio (I don’t have enough time, I don’t have enough time, oops now I have no time)

Answer: The more I worry about lack of time, the less I get done – the best thing is just to get down and do the work in the time that you do have.

2. Fear – fear of spending a whole day creating rubbish and not having anything to show for it. (if I don’t create anything then none of can be rubbish so that must be better, right? Wrong!)

Answer: If you only create one piece of work a month or a week there is an awful lot of pressure on that piece of work to be good. If you create 50 pieces of work in a month or a week then if 4o of those are rubbish, 5 are mediocre and 5 are good/great then you have 5 successful pieces and 45 pieces to learn from! The more you create, the more chance there is of creating the occasional gem. The rubbish works are the journey to the great ones.

3. Distractions – phone, internet, dishes, gazing out the window, anything but painting.

Answer: At the end of the day (honestly) what would I rather be doing? The dishes or painting? Painting. So why am I doing the dishes then? That was my answer. (Gazing out of the window is allowed – dreaming is good)

4. Deadlines. Working to a deadline sends me into the typical formula of 95% of the time till deadline messing about, 5% of the time at the end trying to get everything done.

Answer: I don’t do well with deadlines. I do better when I just do some work, some thing every day. It all adds up and suits me better.

I think these are the most important lessons I have learned in my time creating art.

Wow there is so much to write about this. Tomorrow – a little about my studio routine and hints and tips for getting down to work.

Whilst thinking about this subject and researching I found some really interesting links.

Read more here. You won’t regret it.

Wake up, Wash Face, Do Routine, Now Paint

Being productive in the studio

There is also this book which I think I may purchase as it looks such an interesting read.

Would love to hear your comments and experiences on this subject.

x x x

 

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On my easel

on my easel

At the moment I have a great desire to be painting with no agenda other than to enjoy the materials, to see what will happen, to not worry about painting a finished piece, to just be laying down layers of colour shape. There can be a sense of ‘I should be doing this or that’ but I also know that working without expectation is an important part of what I do.

2013-11-24 00.25.19

Only a fraction of the work I produce is frame or wall worthy, but that is the way and nothing feels wasted. I learn something new every time I put paint to surface. As always I wish I had more time in the day and more days in the week but the more I am in the studio, the more I want to be there. Even when I don’t have time to paint for a few hours at a time, a one or two hour painting keeps my hand in and ensures I don’t have large gaps in-between painting days.

on my easel

It also feels good to leave work in a state where it is not completely resolved. Perhaps I will go back to these pieces. perhaps not. They are a good reference for when I am working on new pieces – each layer of a painting goes through a different phase – there are always the places where it is fresh and minimal, always there are the ugly stages and then there are flashes of something unexpected, so to have a few pieces around me at different stages gives me inspiration for new work. This piece was kind of a self portrait (so, so valuable to do I find) but in the end I think she became something else.

So I really would recommend just painting for the love of it on occasion, no expectations, no guaranteed result, just enjoy the feeling. For me all too soon it will be time to really get down to the work that does need to be done!

(Please excuse the dark shadowy photographs, I don’t seem to be able to pick the right time for photographing on these gloomy winter days.)

x x x

Productive Flourishing

Productive Flourishing

To say that in the past I have had difficulties with time-management and getting stuff done would be a vast understatement. The last couple of years have seen a great improvement in planning my weeks and days but I am still the ultimate to-do-list maker and when there are some weekends closing in and I have tackled only a tiny fraction of that to-do list I am easily disheartened.

I guess in my imagination I am living a life where all I need to do is show up to the studio and get to work, the days are long and full of potential and I have all the time in the world. Hmm well that would be bliss but the reality is somewhat different. Such a shame. I am definitely a girl trying to live another life hampered by modern living.

A peer recommended me this ‘planner for creatives‘ and I have been using it for a month and really, it is helping me to change the way I work and prioritise my week. When you are constantly adding to that daily or weekly list it is really difficult to keep seeing the bigger picture and your longer term goals and it is all to easy (for me anyway) to let dreams slide and get too caught up in the distractions of things that take longer than they need to.

With a few big projects planned for next year (e-course, solo show, more teaching, trying to cut work hours to focus more on my art) I need all the help I can get. It really isn’t rocket science and I am not using all of the Productive Flourishing as there is some overlap and I still really like writing in my diary every week but the parts that I am using are great! For instance I have not printed out the ‘daily planner’ as for me it is enough to have the annual, quarterly, monthly and weekly planner and then transfer the weeks tasks into my moleskine diary and colour highlight according to the project.

It is teaching me how to choose my goals wisely, not to over-reach, how to break down the scariness of a looming New Year into manageable tasks and it is encouraging me to get stuff done in ways that don’t seem overwhelming. For instance have you noticed that I have blogged more in the past few weeks than I probably have all year?? Progress indeed  So far I have been using the Action Planners more than the Project Planners but I can see me using both equally as each project becomes more imminent.

Take a look. It might not be for you but it also seems very flexible in that you can choose the parts that make more sense.  It is very affordable and I really would recommend it – plus their blog is full of handy tips and info too.

PS I am not being paid in any way for this – just passing on something I have found works for me : )

x x x

On my worktable

On my worktable

When the studio is a mess the temptation is to either feel overwhelmed or get to tidying. But sometimes that mess means there is a lot going on and that is A Very Good Thing. So, no tidying for me today – I am just getting in there and embracing the chaos. This is just my small worktable. The real mess is behind me which is rather a good thing!

Happy Monday!

x x x

On my easel… Venturing into Oils.

On my easel

After many years working with acrylics (and loving all the possibilities that they allow) I am currently trying to put my fear aside about working with oil paints. Yep, I said fear. It has gone on for far too long. It is bordering on ridiculous. Acrylics I know, almost inside out. I know that used correctly they are one of the most stable painting materials around. They won’t flake, crack, fall off the substrate or discolour unless you do something really silly. Over the years, all the reading I have been doing about oils has put the idea into my head that they are the opposite unless you really know what you are doing. Because I have never known what I was doing with them, (fat over lean anyone? I know what it means but how much and when?) I have let them be. The odd tube I have purchased has taunted me into starting but never enough for me to open that lid. I know that as silly as it sounds, I will never really feel like a ‘painter’ until I can paint in oils. (yep…silly)

I have read and read and read and am currently reading The oil painting book by Bill Greevy and I have eventually decided that all the reading in the world is never going to make me an oil painter – only actually getting the brushes and paints out will give me even half a chance at that. So today I began. Confused, perplexed, trying to let go of doing it ‘right’ and just ‘doing it’. But I made a start and that’s what counts! Here’s to a new journey.

Changing the Subject

Changing the Subject

Small Harbour Houses

For the longest time it seems I have been focussed on the people in my work, character, expression and what we are about. But I have also had a long held fascination with the places we occupy, the places we come from.

small harbour houses 001

It is something I am really exploring in my latest work – figures and communities with the story also being told through the backgrounds and their environments but I have also wanted to work on some landscapes too.

small harbour houses 002

I have built up a fair amount of reference photos from visits to harbour towns and villages from holidays and places near my hometown and it has been great to dig these out and use them for some small pieces.

small harbour houses 003

I tried to work loosely – not wanting to forgo that haunting atmosphere that is such a central part of my work. Still wanting there to be emotion – a presence – an idea of the people that lived there. The landscape art that I connect with the most is that which says ‘someone walked over this land, lived in these houses’ the relationship between people and the places we walk or reside in. The way humans have touched the land and depended on it and changed it, for better or for worse.

small harbour houses 004

It was also fun to work in a series – painting four at the same time. They are only little (7 x 5 inches) but I can really see these marks and lines translating to larger work and can’t wait to try some bigger pieces.

I will have them for sale (£45.00 each) at the Holmfirth Art Market this coming weekend – mounted but not framed – so really affordable original art! Have worked on a few more today and hope to have some larger ones available too.

We all Cast Shadows

small bblog

I promised I would let you know a little more detail about this post last time and … well … the exciting news is that I am currently working on a body of drawings and paintings for a solo exhibition at the wonderful Heart Gallery in Hebden Bridge, East Yorkshire Autumn 2014. As we are only just into this autumn so the next one seems far away but I know that it will pass in the blink of an eye (so hard to savour every moment when they pass all too fast but it is a constant journey of trying). So the exhibition is to be called ‘We all Cast Shadows’ and the title itself has so many meanings to me which I will describe as the months go on.

The work itself is the culmination of a few years of obsession with the same subject and a desire to complete a whole body of work inspired by it – communities of women, bound together by uncertain times, (initially inspired by fisherman’s wives but it could be applied to many other communities) and I plan to blog the development of the work and the in progress pieces as I go along – the highs (as well as the lows probably) of working towards a solo show.

I have so much going on in my head right now it feels fit to bursting. What with building a new website (slow, slow progress on that front), working towards the solo show, and dum-da-da-daaa – writing and developing my first ever e-course (!) as well as working part time with older people and trying to do other things apart from work, my plate is very full right now but I am so happy and content with all that I am doing. It has taken a while (and as always is a constant work in progress) to get to this point and there is so much going on behind the scenes.

So now you know what the call out for info was on the last post and this new direction has been partly influenced by many people asking me if and when I was planning on teaching an ecourse and also my own desire to pass on my knowledge and experience and just share with likeminded folks. So thank you to everyone who sent me their comments and thoughts – I haven’t yet replied to them all but it was such a great help and I so appreciate your input.

So now I am back to the to-list, the note-making and the idea churning.

Incidentally if you would like to sign up to my email list to be the first to know about the upcoming course then you can do so here – email sign up.