Dialogue & Art

   
Discovering yourself through art.......

   Recently while painting some "abstract explorations" I heard an enormous amount of internal dialogue going on that I hadn't heard before.........some of this will sound a bit.....crazy, and I don't take it to seriously myself.

    This isn't some poltergeist sort of thing occurring and my mind wasn't taken over by aliens nor was I using mind altering substances.....though, that might be of help in my explorations into the abstract realms of painting. When in the creative sphere whether writing, doing visual art or designing homes I always have a sort of positive inner guide, the quite voice that helps me to make decisions, what colors and content is best, etc., but the very small voice in the back of this voice is what I heard while doing the abstracts. It is not the voice of the muse, nor the reflections of academia or anything that I can recall being fed into my brain, though of course somewhere along the path of life I may have encountered it and completely forgotten the makings of it.

    Most of the time  I do figurative or semi-figurative work, take a lot of time to do them, exercise a
great amount of detail and am unable to leave white space. The abstract explorations are quite unlike the previously mentioned, taking little time, very loose, little detail and a lot of white space. I'm forcing myself to go outside my comfort zone, to broaden my artistic horizons mostly because I've been experiencing an "artist block" for some time now and desperately wanted a breakthrough of some sort.

   For some reason, while doing these abstract explorations the little voice in back of the little voice is telling me, "what I'm doing is wrong, inconsequential, I should take more time to complete them, there is no detail and this makes the work worthless, why am I leaving so much white space and why am I not doing more conceptual work that would mean something, and on it goes". Good grief!!!! I'm curious to know if other artist have experienced these sorts of inner commentary.

   What's funny about all of this to me is the contrast of having an enormous amount of fun and freedom while hearing a very derogatory and critical inner voice....the voice behind the inner voice. My general day to day inner dialogue is quite positive and I enjoy life a great deal, yet here is this mini voice ranting and raving negative about something I'm having fun doing. Maybe some art psychoanalyst could explain all this to me and tell me what I already know such as, I'm simply crazy and maybe I should do some art therapy. Anyway, I would love to hear from other artist artist on this topic.

BEING INTERVIEWED

The art of the interview is as much as of an art as is painting a picture. There are the right strokes, use of adjacent colors, composition, spontaneity, and listening to what the painting wants, or in this case listening to the person interviewing you. Many magazines, radio, and television interviewers ask the same old warn out questions such as, when did you know you were an artist, or how do you come up with these compositions, etc. You know, the usual banter sufficing as an interview. Then there is the rare opportunity to just sit down with the interviewer and have a relaxed conversation that flows like water, of which I had the joyous occasion of doing today.

One of the things we talked about today was the over intellectualizing of most art reviews and or interviews. While knowing a vast amount of comparative art history, compositional expositions, and conceptual rhetoric has it's advantages, art is self explanatory, or at least in my opinion art should inspire the viewer on to some sort of mental, spiritual, and or philosophical examination, introspection, revelation, or joyous experience without the use of words. The ole cliche of, "a picture speaks a thousand words" does hold some truth, and of course if a work has a very difficult allegorical content, it may need to be broken down into the verbal realm.

Today dealt more in the realm of' "I like that", or "wow those colors are great", and so on, not being the least bit conscious about sounding "artistically correct" or stupid. Another topic that came up today was in consideration of how digital technology is affecting visual fine art, and the difference between the tactile sensation of working with your hands to pressing buttons and using only your mind. So, on we went for an hour or so looking at my art, talking, and forgetting that an interview was actually taking shape. Wonderfully refreshing! Many may consider this an odd approach to interviewing, but I think we both got to know a lot more about each other since no canned questions were presented, and I think I gave him something of value to write about. I am no interview expert, and have but a small parcel of interviews to date, but I felt like writing this article to exclaim my joy, one of getting an interview, and two, thoroughly enjoying it.

It will be interesting to see what comes of this interview today, that is when it reaches the digital world of type.

Keep on being creative, embracing all that life has to offer, and give.

www.rossotoart.com     www.artswami.com

The Art Of Value & Grace

Recently Alan Bamberger posted a poignant question on Facebook that left me pondering possible answers for several days. If you aren't familiar with Alan, he is a renowned art critic, author, and art consultant who also presents some great information and questions on Facebook.

The question at hand is, " why do people want to buy your art and what do they get from it"?

A simple question, but one that I had not given a great deal of thought to previously, and most of my musing was and is about the creation of art and how to sell my art.

One of the first things most marketers do before a product is ever put out for consumers is to ask the central question, "who is the target market"? They look for levels of education, income, geographic location, sexual orientation, gender, age, race, and many more factors. Compiling this data and using newer sophisticated neural marketing techniques they come up with a specific group of people that will purchase a certain product. There is a great deal of money, energy, and time invested in knowing who will buy a specific product. The marketers and media experts know why someone will buy and how they will feel when they buy it. All of this a byproduct from the free enterprise system that generally uses the inducement of fear as a motivating factor to get you purchase a product.

Is this ever done with art? I haven't encountered any of the above mentioned marketing techniques to sell art.

Artist are generally more concerned with creating art than with the sale of art. Creating art is realy a full time job in and of itself. Of course artist have to eat, buy paint, canvas, pay mortgages, and attend to the general financial responsibilities that most people do. There are the "hired guns" in the art world, the graphic artist, illustrators, muralist, and so fourth that create art on demand and get paid a certain fee for creating art, and are generally guided by someone else vision. Those of who are not "hired guns" and create art purely from our hearts, souls, and gelatinous gray matter, are compelled to create, and desire to have someone out there on this blue globe acquire our work in exchange for greenbacks.

Most of the time fine artist are creating from an inner calling, a need to share their humanity, spirit, and experiences, of which have to find and avenue in some physical medium like painting, sculpture, film, poetry, photography, novels, and many other mediums. As an artist it often feels like a strange compulsion of some silent, yet loud invisible source telling us what we must do and when to do it. Some say it is a curse to be artist because often creating art comes before good sense, though as we age this compulsive state of being generally becomes more rounded and better balanced.

What most of us want as artist is to have someone else sell and market our work so that we can focus on creating art.

Do we know why people buy our art?

Possible answers.

1) Acquiring art for investment, sort of like playing the stock market, buy low, sell high.

2) Desiring to impress other people and have them believe you are a cultured sort of person.

3) Artist often buy other artist works because they like to support their fellow comrades.

4) A love of human expression through the medium of art.

5) Must have something on the wall above the couch.

The answers are as many as there are stars in the galaxies, and I have yet to come up with any definitive answers, though all this musing has gotten me to contemplate what my target market might look like.

First, they must have disposable income.

Second, they probably have a general interest in modern art.

Third, more than often they know me and like me.

Fourth, they might believe that someday my art will be worth more than they paid for it.

Quite honestly, for all the musing I've done on the questions of selling I have very few answers, and hope that a good art marketing person will manifest in my life. Most of the art I have sold has been from art shows, friends, and a few on line sales, and the whys of their purchases remains a bit of a mystery to me.

I would love to hear from anyone reading this article as to what they think about the reason is that people buy art and what they get from purchasing it.

Saying For The Day: Create from you heart, be true to yourself, and embrace joy.

The Sweet Spot

There is a place on the tightrope of bliss that allows for infinite, perfect expression of creativity. It's always a balancing act when painting to apply the needed intellect, and to simply be a conduit of creativity. Also, there is a "sweet spot" when the viscosity of the paint on the canvas is just right and your brush flows like a gentle breeze on a full moon night.

Let's be a bit more specific here and quit talking all the "new age" sort of lingo.

The heart of the matter is having the knowledge of color, composition, paint application, or any medium you may work in, good conceptual skills, and being able to combine that with ability to let go of all your preconceptions as to how the painting should evolve and what the final result will be.

Often, after having done a lot of preliminary sketches, making small mock ups, and deciding the pallet to be used, I tend to have what feels like quite an investment in the piece at hand, and that it should turn out as I have chosen. This investment of ego can create a "stiff painting", one that is technically great, but will not speak to the viewer.

The nature of evolution is to seek that which is unknown, thus producing something dissimilar to the previous model in order to create something great. This seems to apply to art as well.

If you are determined to have a work of art turn out exactly as you have planned it, whether in the minds eye or on paper, more than often you will end up with a well orchestrated piece of art with a lack of that something special we'll call "heart connection"

What is "heart connection"?

It is the ability to create a work of art for the viewer that will resonate with peoples hearts. They feel what you wanted to communicate, they can associate with your work of art because it has more than just good technical and conceptual skills. It has that something extra special that words cannot define.

The reason that words are incapable of defining "it" is because the person who created the art went beyond the dimensions of intellectual skills and got in the rhythm with the force of life. The invisible energy that gives us all life, movement, animates us.

Ability to connect with that sweet spot when you paint gives an added dimension to your art work. When you are in the zone of true creativity balanced between the mind and the invisible energy of life, you know you have hit the "sweet spot".

Saying For The Day: Let go, be open to the unexpected..........

BALANCE

Today I am presented with making decisions about what carries the greatest priority in my life. I have written in previous articles about the balancing act most artist encounter between creating art, promoting, taking care of everyday responsibilities, and of course having time for family and friends. Often, finding a pleasing balance requires considerable focus, fortitude, and flexibility.

Yesterday was a flurry of meetings with clients for architectural jobs, and I didn't even have time to write this blog post, much less pursue any art activity. When wearing many hats as I do, the balancing act becomes more complicated.

I have recently started a new Polo Equestrian Series and have now completed about four working sketches for the series of ten paintings. My goal is to have all the sketches completed and painted in about sixty days. This is where the the balancing act requires some reassessment on my part to measure what is a priority.

1) Income is essential, and we all like to eat and play.

2) I love art and architecture, as both are creative and challenging.

3) The income for architecture is welcome and needed.

4) Art sales are often not providing the same level of income as architecture.

5) Both require an enormous amount of time and commitment.

6) So, how do I do everything I want to do?

First of all I have to stop being so serious about all of this. Things will get done as they get done, when they get done.

Second of all, I realize what a blessing it is to even be able to have to think about all this stuff.

Knowing this slows my million miles a second brain diatribe down long enough to realize there is no real gain or loss from any of this, and that the most important thing is to have fun, love what I have been given, and embrace the beauty of this moment.

Once I slow down the circuitous thoughts, I can easily focus and find solutions.

Saying For The Day; Relax, Count your Blessings and say Thank You.

Collaboration With Artist

Moving Mayhem - Studio 4

Working in your studio day after day, isolated from other artist is one way to produce art work, and another method is to get out of the studio, meet other artist, work on projects together, exchange concepts, and have some commentary on each others art work.

Recently I opted to move my art studio at my house to an art space with about thirty other working artist. I hadn't worked in an environment like this since my days at the university, and always thought the best creative condition for me was to work alone. After moving all the stuff and setting up the art space in a small 300 sq. ft. walled space, I started to meet other artist, have conversations, invite guest over to view my art work, and found that I loved the energetic buzz of working around so many creative minded people.

Seeing so many artistic people, styles, and concepts on a daily basis affords the opportunity to expand beyond reading and viewing art work in books, which can be quite illuminating, but does not posses the power of real human interaction which is truly inspiring.

I consider this move on the best I have made and would suggest to any artistically inclined person to find interaction with other artist on a daily basis.

Also, I have recently started a collaborative project with a good friend of mine who is a renowned photographer. He takes the photos and processes them, then I add my painting to the photo work. Sometimes even after I paint he adds more photographs to the art work. Before starting a piece we discuss the concept, exchange ideas about the general direction we feel the piece can take, and then give each other complete freedom to pursue our passion.

This has been a great exercise in letting go of ego, and also I learned that I actually had some fear around working on someones art work, in that I might not be accepted - like, what if they don't like what I did to the art work, or what if I mess it up? After letting go of these fears, and removing the seriousness from this collaboration, we have created some great art work and learned a lot about ourselves in the process.

Saying For The Day: Share your creative spirit with others..........