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Value in 'bad'

Surely an absolute willingness to make some bad paintings along the way is

Degrees of Separation Graphite/Pigment/Joint Compound on Sheet Rock  click image to enlarge

essential to developing one's art; how else does one risk new techniques, identify bad habits, challenge one's own senses. Out of the worst of my drawings/paintings has come the most learning (where did it go wrong; why did it go wrong?) and dedication to the idea that play and and process inevitably produce sweet fruit.

Few become masters

The magic of art, like any other skill, is in the person and not in a name, tool or technology. One can learn techniques after techniques, read and re-read books and even duplicate others. In the end the person who chooses to learn, experiment and struggle to reveal the magic of their work will be grand. Nowadays, money, advertising, office address and trends are our obstacles. Only a few can truthfully surpass these obstacles and become masters of their art.

Male-female ratios

In your photo of the group of Pearl workshoppers, where are all the guys?

Gulf of Mexico original painting  click image to enlarge

I know that in my plein air group there are very few guys, usually only me. I don't do workshops--haven't in awhile. Lack of funds mostly, that could be used for more materials or frames, etc. Is there something to that--a reason we see so few male participants in these venues?

(RG note) Thanks Brad. Women are often natural networkers and enjoy togetherness. Men are more likely to go to their rooms. Both systems can contribute to competence. Statistically, in North America, for every five painters, four will be women.

Working flake on a roll

I'm one of those WFs you speak of. I was asked once if I thought of

Widget as Bacchus original painting  click image to enlarge

completed works as children or used Kleenex and after some reflection I decided on footprints. If they're still around when I walk back that way I take some small notice, but I don't pay much attention once I consider them completed. I wouldn't have room to move (well, I don't have room to move, but that's works in progress...). I do get asked for advice and my usual suggestion is to get a roll of brown construction paper, 3' x 50' - 150 square feet of drawing surface (with a pretty nice tooth), and some charcoal and white pastel, and go through it quickly. If something happens that you want to save, great, but you don't feel under such constraints to make it perfect, and you can relax and enjoy a bit.

Demonstration or instruction?

Something is bothering me here. I believe it's in the instructional part, the "how to's"--a demonstration is just showing what you do, your technique and then the demonstratees try the same technique (which is yours). Wow! I can do that too? My point is we are individuals and we often have a unique technique to start with. I love it when you say go to your room and find your potential. Yes, but where is your room? That's what I would ask a young artist. Six months to a year is a good start and that's just to find where your room is. I see so many artists spending money and precious time taking instructions and I see their paintings and recognize which instructor has instructed them. Oh! so you took Charles Mcgee's class this time.

(RG note) Thanks Schar. In my workshops, which are few and far between, I try to home in on what others are doing and slant my demos to systems that might help them in the direction they are already going. It's difficult in a larger group—but there are often similar needs. Getting folks to clone techniques is the modus operandi of some other instructors, not me, and it may be valid, because artists grab what they need and perhaps move on.

Experience guides creativity

Although I practice in a different medium (digital art), I appreciate the

Prescott Blufs 2 digital photographic artwork  click image to enlarge

connection with "Bashing them out". It's connotation for me is akin to "letting it happen", or not getting in the way of the creative flow. When you push yourself, you flex your potential, and if you're listening carefully, you'll sense that the experience is the teacher, so by all means "Bash them out" and let growth through experience guide you toward creativity. As you said, without this perspective it's so easy to become enamored with your own work, and begin to spend more time on less creativity. When I personally feel growth, I am on a roll, and all of a sudden in the midst of "letting it happen" something wonderful appears. And it is because of this sense of abandonment of what is conventional, which Buddhism describes as "Not Blocking the Blocking" that I fully support this idea, so keep on "Bashing them out".

Moved to a new light

I have recently moved to France, after a new building blocked all

Cardaillac watercolor painting

natural light from my apartment/studio in Manhattan. I was able to sell the apartment but did not get enough to replace it. So I am spending the money instead turning my barn in a little French village into a wonderful studio where I teach and paint. It's a little scary - I have been illustrating children's books for about twenty-five years but my work is not cutting edge enough to compete with computer games. It's not the direction I want to move into. So here I am, getting away with a couple of trips to the States a year to visit schools, meet with editors and execute portrait commissions. Your emails confirm my recent life decisions.

I create my joy

Thank you so much for being here at this moment! Being widowed 18 months ago, at once seems like a lifetime and all too recently. But, tonight I celebrated our 25th anniversary with a toast to close that chapter and tomorrow, November 1st, I will go forward into my studio and my life and bash it out. I look forward to the process of falling in love with my priorities, my singular vision and my creativity. I have played life safe until I got my feet under me. I was afraid I had lost my enthusiasm and spark. Thank you for reminding me that I create my joy, my life and my art. It is only possible by taking risks, not being afraid of mistakes and emoting with wild abandon. Ha! I look forward to it.

Where the art is

I have been trying to get back to the attitude of preciousness that is

Cremem mauve original painting  click image to enlarge

akin to idealism and which is intrinsic to myself as one who paints. Rather than let myself be competitive and seek acceptance and accolades, my original and superior inclination was to crystalize ideals and metaphors. I have enjoyed much painting since, but have been bounced around psychically by counsels from folks whom I errantly presumed were 'artists'. The fact is that artists rarely have much in common, one with the next, and I see it is one's business to be true to one's self and to uncover the motive within. It is not the 'preciousness' mentality that freezes a young artist, but their stumbling and fumbling with 'vocabulary' and articulation. Somebody should assure artists of the merits of observing and doing studies, and make sure that they not confuse this with their eventual art. Painting 'still life' teaches, but students like myself should be assured that once they familiarize themselves with 'elocution', they may become the gods they are! I do hope to allow my original innocence to arise, preciousness and all. It's where the love is. It's where the timelessness is. It's where the art is.

Shifting styles

I'm an African-American painter and I consider myself an abstract

original painting  click image to enlarge

expressionist. Most painters have a uniqueness about their work that distinguishes them from other painters. My concern about my work is that one could not tell that the same painter painted each of my paintings. I have been painting for five years. I will get better as a painter but I don't think my style or styles will change. Is this something I should be concerned about? I have never taken any classes. Would that have anything to do with my painting such variety?

(RG note) Thanks Billy. If anything, workshops might have you working in even more styles. Variety is healthy and invigorating. But all artists, given time and private toil, automatically begin to home in on their own personal "truth." It's that direction that ends up giving the higher levels of satisfaction. But also be prepared for this truth to shift as you move along. It's part of the game.

Abstract art

I'd be interested in knowing how you and others define abstract art.

Morning Dance original painting  click image to enlarge

I am taking a course called "Understanding Modern Art" and I think it is difficult to "understand" abstract painting except as an involvement in the process of making the art. I resisted painting non-objective art for a long time, but now I do enjoy working with color and composition. But the term "abstract" is still mysterious to me.

(RG note) Thanks Arlene. Your own work in the painting you provided is a good example of abstraction. While it is non-objective in subject matter, it nevertheless has control, nuance and magic. It is this latter—the inclusion of some form of visual magic that makes abstracts sing. Visual magic includes dazzle, cut in, inter-gradation, gesture, and other devices. Having said that, when you look around there is non-objective art that is simply intellectual exercise or the demonstration of a process—devoid of calculation or much that could be called visual magic. This blandness, for some, also constitutes abstraction. For some of the many definitions of abstraction, see our 'Abstraction' art quotations

Painter's Keys art directory

When my website was listed in the Painter's Keys art directory, I

Embrace watercolor painting

noticed a marked increase in e-mails immediately. Some were simple "I liked your art work!" to ""how much?" to "where are your workshops held! or "will you send me your color wheel" to "can we represent you" and also juried show opportunities. Thank you for your generosity in imparting knowledge and ideas.

(RG note) Thanks Linda. Andrew is working diligently to make ours the best, most accessible and most effective artist directory on the net.