Blog Archives
Q: You take 3-4 months to complete one artwork. How do you plan a series such as Bolivianos over a year’s timeline and over the years? (Question from Vedica Art Studios and Gallery)
A: Bolivianos is my third series, and like the previous two, it naturally evolves from one painting to the next. There wasn’t a long-term plan involved, and I doubt such detailed planning would even be practical. Many artists likely work this way—finishing one project and then beginning another. As with Bolivianos, I typically have ideas for the next two or three paintings, but little concept beyond that.
The main impetus for Bolivianos was to continue work I began in the early 1990s. During a visit to La Paz, I captured a series of stunning photographs, inspiring me to translate them into a major pastel series. Each painting leads to ideas about the next, guiding the entire series’ evolution and shaping my understanding of its meaning. Both the series and my insights deepen as I engage further with the subject matter. The Bolivian Carnival masks I photographed provided the starting point for a long and continuing intellectual journey.
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Pearls from artists* # 683
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Clichéd subject matter can be a symptom of shallow understanding. Experiencing our subject matter firsthand helps us absorb complexities and discover surprising insights, leading to enriched outcomes. Envision a painting of a tree copied from a found internet photograph. Then, imagine the possibilities of a work executed by a person who loves to climb, sit under, caress, plant, and nurture trees, one who has observed their qualities through downpours, windstorms, and the Fall twilight filtered through leaf layers. They don’t just see, but feel these living, breathing giants straining to grow toward the sun, cooperatively respecting their neighbor’s space high in their crowns, and communicating with their community underground. Inspiration is not just gleaned through the eyes but through our entire bodies, intellect, and feelings.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 649
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Some of us spend our entire creative lives digging at the buried parts of ourselves to solve unknown mysteries that we are not even aware of. Unearthing those aspects is not an easy process, because our true psychic reality does not lie in our daily waking thoughts. It exists in the unconscious, in the form of an unfathomable, nonverbal sensory language, one that is so complex and runs so deep that we can only grasp at it, to attain small, amorphous bits. These bits can take any form, even uncharacteristic, surprising ones. We access, process, and finally transform them into what Saint Augustine called ‘visible signs of invisible realities.’
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice”
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Pearls from artists* # 641
In the Studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Artistic voice is the most critical aspect of creative practice, yet it is rarely taught…
Some schools teach ‘ideation’ (conceptualizing a work or series), but that is very different from cultivating an essential core that is uniquely your own. Ideation is a Band-Aid to get you through your next few projects, while voice is a consistent, profound, and idiosyncratic wellspring that you own. It is born of your singular fascinations, obsessions, and life experiences, both weighty and mundane. If you make the effort to build and consistently replenish it, this well will deepen, yielding creative riches over the course of your entire life. Cultivating visual voice needs to be a cornerstone of art education, not an afterthought.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 640
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
When an artist changes and develops over the years, as is natural to any creative person, such change is met by howls of protest from the marketers. Sometimes an artist (or teacher, scientist, or spiritual guru) starts with something extraordinary, becomes a star, and then their gift is either frozen or perverted.
The growing and risky edge of creative work is devalued, treated as a frill or extracurricular activity decorating the routine of ordinary life. There are few mechanisms available for the artist to construct a self-sustaining way of living and working. “One gathers,” says Virginia Woolf,
“from the enormous modern literature of confession and self-analysis that to write a book of genius is almost always a feat of prodigious difficulty. Everything is against the likelihood that it will come from the writer’s mind whole and entire. Generally, material circumstances are against it. Dogs will bark; people will interrupt; money must be made; health will break down. Further, accentuating all these difficulties and making them harder to bear is the world’s notorious indifference. It does not ask people to write poems and novels and histories; it does not need them. It does not care whether Flaubert finds the right word or whether Carlyle scrupulously verifies this or that fact. Naturally, it will not pay for what it does not want. And so the writer, Keats, Flaubert, Carlyle, suffers, especially in the creative years of youth, every form of distraction and discouragement. A curse, a cry of agony, rises from those books of analysis and confession. “Mighty poems in their misery dead” – that is the burden of their song. If anything comes through in spite of all this, it is a miracle, and probably no book is born entire and uncrippled as it was conceived.”
Stephen Nachmanovitch in Free Play: Improvisation in Art and Life
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Q: Why art? (Question from “Arts Illustrated”)
A: I love this question! I remember being impressed by Ursula von Rydingsvard’s exhibition at the National Museum of Women in the Arts a few years ago. What stayed with me most was her wall text, “Why Do I Make Art by Ursula von Rydingsvard.” There she listed two dozen benefits that art-making has brought to her life.
I want to share some of my own personal reasons for art-making here, in no particular order. My list keeps changing, but these are true at least for today.
1. Because I love the entire years-long creative process – from foreign travel whereby I discover new source material, to deciding what I will make, to the months spent in the studio realizing my ideas, to packing up my newest pastel painting and bringing it to my Virginia framer’s shop, to seeing the framed piece hanging on a collector’s wall, to staying in touch with collectors over the years and learning how their relationship to the work changes.
2. Because I love walking into my studio in the morning and seeing all of that color! No matter what mood I am in, my spirit is immediately uplifted.
3. Because my studio is my favorite place to be… in the entire world. I’d say that it is my most precious creation. It’s taken more than twenty-two years to get it this way. I hope I never have to move!
4. Because I get to listen to my favorite music all day.
5. Because when I am working in the studio, if I want, I can tune out the world and all of its urgent problems. The same goes for whatever personal problems I am experiencing.
6. Because I am devoted to my medium. How I use pastel continually evolves. It’s exciting to keep learning about its properties and to see what new techniques will develop.
7. Because I have been given certain gifts and abilities and that entails a sacred obligation to USE them. I could not live with myself were I to do otherwise.
8. Because art-making gives meaning and purpose to my life. I never wake up in the morning wondering, how should I spend the day? I have important work to do and a place to do it. I know this is how I am supposed to be spending my time on earth.
9. Because I have an enviable commute. To get to my studio it’s a thirty-minute walk, often on the High Line early in the morning before throngs of tourists have arrived.
10. Because life as an artist is never easy. It’s a continual challenge to keep forging ahead, but the effort is also never boring.
11. Because each day in the studio is different from all the rest.
12. Because I love the physicality of it. I stand all day. I’m always moving and staying fit.
13. Because I have always been a thinker more than a talker. I enjoy and crave solitude. I am often reminded of the expression, “She who travels the farthest, travels alone.” In my work I travel anywhere.
14. Because spending so much solitary time helps me understand what I think and feel and to reflect on the twists and turns of my unexpected and fascinating life.
15. Because I learn about the world. I read and do research that gets incorporated into the work.
16. Because I get to make all the rules. I set the challenges and the goals, then decide what is succeeding and what isn’t. It is working life at its most free.
17. Because I enjoy figuring things out for myself instead of being told what to do or how to think.
18. Because despite enormous obstacles, I am still able to do it. Art-making has been the focus of my life for thirty-nine years – I was a late bloomer – and I intend to continue as long as possible.
19. Because I have been through tremendous tragedy and deserve to spend the rest of my life doing exactly what I love. The art world has not caught up as much as I would like yet, but so be it. This is my passion and my life’s work and nothing will change that.
20. Because thanks to the internet and via social media, my work can be seen in places I have never been to and probably will never go.
21. Because I would like to be remembered. The idea of leaving art behind for future generations to appreciate and enjoy is appealing.
Comments are welcome!
Pearls from artists* # 626
With “Narcissist,” soft pastel on sandpaper, 28.5” x 35” framed
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Being an artist and a woman has never been easy. In the sixteenth and seventeenth centuries, leading male artists – tackling five-meter-high marble sculptures and covering entire chapels with frescoes – were often termed ‘virtuosi,’ while women, simply by virtue of their gender, received neither the acclaim nor the opportunities. As time progressed, attitudes did not: it took until the end of the nineteenth century for women to be allowed to study the nude from life. Linda Nochlin has described this deprivation as though a medical student was denied the opportunity to dissect or even examine the naked human body.’ Even today, the contribution of women artists tends to be missing from history books and museum collections. It wasn’t until 1976, when feminist art historian Nochlin and Ann Sutherland Harris’s touring exhibition, Women Artists 1550 – 1950, opened at the Los Angeles County Museum of Art, that women were even acknowledged as having contributed to 400 years of art. This show kick-started the scholarship, still scant, that we have on these twentieth-century artists.
Katy Hessel in The Story of Art Without Men
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Pearls from artists* # 610
View from the High Line, New York NY
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Just as the restless, committed, curious, and perhaps obsessed explorer follows the river from bend to bend, shooting rapids and pulling himself out of the water, so the self-dedicated artist launches himself on an exploratory art journey. He judges which fork in the river he will take, when he will rest and when he will push on, who he will take with him or whether he will travel alone. While he doesn’t possess unlimited freedom as he journeys, bound as he is by the demands of his personality, by his time and place, and by circumstances beyond his control, he does possess unrestricted permission from himself to explore every available avenue.
The contemporary artist must especially direct and trust himself because he lives in a constantly changing art environment. … as Pablo Picasso put it, “Beginning with Van Gogh we are all in a measure, autodidacts.” Painters no longer live within a tradition and so each of us must create an entire language.
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Q: How do you account for your intense compositions? (Question from Robin Plati via Facebook)
A: If I do say so, composition is something I’m known for. During the months I work on them, I devote many hours to looking at the painting on my easel and figuring out how to move the viewer’s eyes around in interesting ways. Everything you see is carefully worked out after hundreds of studio hours. Finished pastel paintings always have an inevitability about them. Change one detail and the entire composition is thrown off.
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Pearls from artists* # 508
* an ongoing series of quotations – mostly from artists to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Wherever I’ve lived my room and soon
the entire house is filled with books;
poems, stories, histories, prayers of
all kinds stand up gracefully or are
heaped on shelves, on the floor, on
the bed. Strangers old and new offering
their words bountifully and thoughtfully,
lifting my heart.
But wait! I’ve made a mistake! How
could these makers of so many books
that have given so much to my life –
how could they possibly be strangers?
Mary Oliver in Upstream: Selected Essays
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