I made some postcards for the upcoming show in July. They feature some of the imagery from the collage work I did for some of the canvases. This collage features letters that Morbid and I wrote to each other from 2008-2010, drawings, photographs and film magazine images/text from the 1970s.
Each postcard is different and has an eye formed out of a gold yarn with mini sequins. This could be symbolic of the golden thread that embraces the other and welcomes the vision that acceptance of the other will bring.
These will be for sale at the show for £3 each.
We are also working on a zine which will be available throughout the exhibition.
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Did you know that the UK’s Creative Industries are now worth £84.1 billion per year to the UK economy?
Yeah, me neither.
Anyhow, the thing about doodling is that the only purpose is to play with lines, shapes and colours.
For me, there is nothing academic about it, it will not be mass produced or sold, it will not be used for self-promotion, though it could be used to promote doodling. And in this world where global capitalism is the patriarchal king, I find this a revolutionary practice. Plus, it eases my anxiety.
Even if some of these doodles could be used to decorate a product, I won’t do so.
Here are some of my favourites from this year.
Wifredo Lam, Oil on canvas, 84 3/5 × 77 3/5 in, 215 × 197 cm, 1947, Nationalgalerie, Staatliche Museen, Berlin
This year I am connecting with my roots as an artist. Why do I make art? It’s not for a career, for money or for recognition. It’s for myself. For my own self-healing and personal expression which helps me cope with life.
I’ve been dabbling with some online courses and creating some journals to record the experiments.
Below are some pages from my ‘Healing with the Arts’ journal.
The above exercises are from a course on Coursera and called ‘Healing with the Arts’ from the University of Florida.
You can find a link to the course here- About this course: Through art projects—including visual arts, dance, writing, and music—along with spiritual practices and guided imagery, Healing With the Arts gives you the tools to heal what you need to heal in your life: physical, mental, emotional, and spiritual.
Coursera offers video lectures, readings and peer assessed assignments. It uses a combination of therapeutic expressive art modalities in a 6 week format. I keep extending my deadlines on this one so I can take my time with it- you have six months to complete this can switch sessions as needed.
Another online course is from Udemy and is called ‘Arts Therapy- Arts Therapy for Self Healing’.
This course has a plethora of activities and techniques to try out. It is presented in this animated format. I was a bit disappointed with this at first, but quickly grew to enjoy it and find it strangely hypnotic.
Here’s my journal entry for creating Maslow’s hierarchy of needs. Truth be told I signed onto this course a year ago and have done about 25%- and that’s OK, there are no deadlines with this one, you go at your own rate.
In conclusion, I will continue working on my Butoh dance journal in 2018. For me this is an exploration of the shadow and healing through pen and ink figurative studies using secondary source imagery; photos I find online of Butoh dancers.
You can read a telling blog article about healing and Butoh, click here: Butoh and My Right to Heal.
Below- pages from Butoh visual journal
I wish you all a creative 2018 with lots of health, healing and abundance.
Roll on 2018. I’ve been working on a large piece for the exhibition next year. Taking inspiration from: the Lover’s tarot card, landscape photographs from Albert Park in Middlesbrough, and the incident of the brutal swan murder at the park this year; I am painting Morbid and myself standing over the body of the deceased swan, with a resurrected angelic swan behind us. Here are some photos of the work in progress.
In my last blog entry, I wrote about artist and entrepreneur Ann Rea, who aggressively insists that if you are not making money off your art, you are a hobbyist. I watched her video and discovered she makes landscape paintings of wine vineyards for the affluent in California; making a book of the process and having a wine-filled party for the display of the final painting. Good for her, but this does not resonate with me. Here’s the video: Ann Rea doing her schmoozy thing.
If you are interested in learning how to promote yourself as an artist, I would recommend Brainard Carey instead. While Ann Rea is pretentious and overly commercial, Carey discusses the variety of artists that actually exist. He acknowledges that most artists usually require a second job and that’s OK- be proud of that day job which supports you as an artist. He suggests that there are two models. The first is to have a day job and make art because you want to and need to. You may not even exhibit regularly or make any money off the art. The second is about meeting people, making the right connections and networking. I think I am mainly in the first model, but building bridges connecting me to the second model.
His book (see below) is filled with interviews, especially from artists. He starts off with an interview with Robert Storr who dishes the real deal about art critics. Storr recommends critic Christian Viveros-Faune and I must agree- he is fabulous! cviverosfaune on instagram
Here is a link to Brainard Carey’s website: Professional Tools for Artists
I am starting two sketchbooks dedicated to butoh, an avant-garde dance form that started in Japan during the late 50s and 60s. The sketchbooks feature photos from historical and contemporary butoh dancers and will be figurative studies in pen and ink, graphite and watercolour pencil. This is just for me and my shadow!
If you would like to read more about butoh, here is a good article from The Japan Times: ‘Butoh’: the dance of death and disease
Other discoveries- I found some inspiration in the form of a podcast by Michael Meade called Living Myth!
Here is a blurb from their website:
Living Myth reveals the world, despite all its troubles, to be a place of deep imagination and ongoing creation.
‘Myth offers a living library of narratives and symbols that are ancient and immediate at the same time. Thus myth is not a thing of the past but a vital and creative resource for understanding the current struggles of life. When the world around us makes less and less sense, myth can make great sense and help reveal the deeper significance of both inner and outer events.’
Listen here, feel better: Living Myth Podcast
Wishing all of you Happy Holidays!
Yes, I will say Happy Holidays because I don’t assume that everyone celebrates Christmas and I don’t feel threatened by the use of ‘Happy Holidays!’ as there are many holidays in many cultures this time of the year.
There is no war on Christmas, Merry Christmas to everyone who celebrates it.
Also- COOL YULE everybody!
You know how adds pop up on your Facebook news feed? Well, this one popped up on mine from Artists Who Thrive. https://www.facebook.com/ArtistsWhoThrive/
I noticed several of my artists friends liked the page and I was fascinated by the comments section. Some were negative about the whole idea of selling your art as a business and Ann Rea, the founder said, that was fine, but it meant their art was a hobby.
Artists Who THRIVE was started by Rea to share with other artists what she learned selling $103,246 of her art during her first year as a full-time artist. Learn more about this here:
Apparently I have two choices.
She only mentions two choices, but I suppose that was just to simplify things.
Here is what Rea says on her Facebook page:
‘Now artists have a choice.
(((A. Submit to The Art Establishment)))
1. Create a body of work and hope you can just show it.
2. Lose confidence by seeking permission.
3. Your success will be limited to your representation.
4. Get paid 50% later, less discounts.
5. Make art for art’s sake and for critics to reject.
6. Deliver vague value and confuse your market.
7. Earn an MFA from a top art school, if you can.
8. Barriers of entry to the art market, many.
9. You don’t own the platform. What fans?
10.Build their artistic enterprise.
(((B. Join The New Creative Class)))
1. Create value above and beyond your art and sell it.
2. Earn confidence by taking focused action.
3. Your success is shaped by your expertise and efforts.
4. Get paid 100% up front, no discounts.
5. Make art inspired by a personal mission.
6. Deliver clear value above and beyond your art.
7. Earn an MFA, if you want.
8. Barriers of entry to the art market, none.
9. Own your platform. Connect to your fans.
10.Build your artistic enterprise.
So I can either submit to the art establishment or join the new creative class! For $2,000, (if I made it through the application interview), I could join her seminar and learn how to join the creative class (I am already a cultural creative). Also, I do not get my diploma until I earn that $2,000 back directly in sales of my art.
Sounds promising, but probably not gonna happen.
I think I will scour her blogs and get the free stuff for now, as I am sure she has some good ideas. She’s not a fan of Etsy.
From what I’ve read so far, I need to get clear, develop a mission statement, write a business plan, find my niche, develop nourishing relationships- I’m selling emotion, I’m selling an experience through my art, not just the art itself. I’m offering a service. Art is a luxury. Find the affluent buyers. If you are going to have a website, you should be selling stuff from that website- she asks why do artists put stuff on their sites that isn’t for sale?
Artistically, Rea was mentored by Wayne Thiebauld and I can see it in her work. Thiebauld is not a businessman. He is in the art establishment and doing quite well.
Rea paints landscapes of California, you can view her work here: https://annrea.com/
Maybe being a hobbyist ain’t so bad.
I’m still a great artist.
I have a full time day job. Most important thing for me to do now is make stuff in the studio.
Fight the power.
Update- A couple of hours after I wrote this blog I came across this article (not that I am young or just starting out, but I’m still female): 18 Female Artists Give Advice to Women Starting Out in the Art World
This is what resonated with me from Adrian Piper:
‘First, you should be clear about what you are aiming for: (1) public approval, (2) commercial success, or (3) art-historical significance. These three are not necessarily mutually exclusive, and there is nothing wrong with any of them. But my remarks address only (3).
The best means to art-historical significance is financial independence. Don’t even think about trying to earn a living from your artwork, or else you’ll start producing the artwork that will earn you a living. A trust fund will divert your energies in a different way. The best means to financial independence is a day job in a different field. Waiting tables, driving a cab, office work, and teaching are traditional alternatives for artists, but the digital revolution opens up many others. All of them will free you to make the work you are most deeply driven to make, regardless of whether or not anyone else likes it or buys it. That’s the work that’s most interesting and important to you. You won’t have time to waste on producing work that doesn’t obsess you.’
Ann Rea is aiming for commercial success- and that’s fine. She does it well. I am aiming for art history and whether or not I make it, that’s what I desire in my heart.
So tonight, I saw the Artist that Thrive add again on my Facebook feed and I took the effort to hide it? Why, Facebook asked?
Because I see it too much, I said.