In a way I admire artists who pump out their work prolifically. On the other hand, I don’t admire this “skill”. The problem is lack of development. You’d think there would be a high rate of creative development but this seems rarely the case. The artist has to be so focussed on output that development is the last concern.

The artist must “art” everyday but they must also work on their art, just like working on your business as well as working in it  – subject, style, technique, design, composition etc.

A dear friend had the most amazing success in her painting career until one morning she woke and realised she was bored. She had a huge following all making demands which left my friend with no time for fooling around/experimenting/exploring. She had become a machine.

When this happens we are so far behind the 8 ball we have a huge drop-off of income until we find the new thing and push it beyond the experimentation stage – this can take years.

Daily “arting” should also include an element of experimentation – “what if?” what if I tried a new subject?, what if I changed up my process?, what if I improved my skill?, what if I tried a new palette?, what if I tried a different medium/materials?, what if … what if … what if …

Reflection and evaluation must also be included in our daily process. Without an element of curiosity in our practice, our work might stagnate and the way forward might not show itself immediately.

​non fermi!!

I thought I would tell you one of my dirty little art secrets …

I use scrap paper to sketch on.

All these beautiful sketch books I’ve acquired over the years and I still prefer a scrap of paper!!

When I first started coming to Italy I decided I needed a more methodical approach, 4 months of painting immersion and thinking time! Somehow I've ended up with a couple of softcover sketch and notebooks, maybe that's what I could get at the time - never again!! Most often I like to sketch/write with my book on my knee, if I'm standing, a hardcover book is essential. let's hope the lesson is learned!!

You just reminded me, Dad used to staple books for me and apparently, one day as he was finishing a new one for me, guests arrived and I announced to them "my Daddy's a bookmaker!" Mum just about had a kanipshin!!

I've changed my MO to compensate for my knee (which is a lot better btw!) and the heat. But I have to say that because of this blasted ginocchio problem my fitness is right out the window. I've done a few paintings on location but now I'm painting in my studio. My usual practice al momento is to have my colazione out and sketch while I’m partaking – not necessarily what’s in front of me but whatever’s on my mind or an idea I’m fooling about with. 

I brought my usual A5 moleskin sketchbook to Italy and as usual I also brought a wad of Zeta paper folded up and jammed in my work bag. I’m amazed that this year, I’ve done more sketching (in and out) than ever before. I’m so pleased because it’s been a hard trip with bugs, knees and heat and all!!

The funny thing about the scrap of paper is that, when I had my business, I would walk into my client’s office with my PDA (I was on top of the technology game back then) but I would fish around in my bag for a scrap of paper to write my notes on. It got to a point where I would walk in and my client would automatically rummage in their waste bin and hand me a scrunched-up envelope! I tried so hard to up my game with the flashy PDA but back then they were very limited and nothing more than a piece of paper in disguise! Note to self, don’t upgrade until everyone else has tested them first and the upgrade model has been released!

It’s a bit of a shame to use scrap or loose paper. It’s harder to record and archive the action, that said, I can lay my hands on any sketch or working quite quickly, I know it will be in the nasty pile. However, a sketchbook is an easier, more methodical approach to record keeping ie dates and evidence that “this is my original work". If you don't want to show people the rough stuff, have 2 sketchbooks, 1 for the workings and nasty stuff and another for more developed work to show people.

I promise to be more organised with less rubbish bin fossicking!! Magari!!
 
ciao bei pittori!!

We've had these discussions before, it's not my intent to disrespect other artists but to caution you, my students and friends and help you avoid some traps, especially those of you who wish to build a genuine art practice.

Recently I visited a cafe with lots of art on the walls, every painting was under $100. I then realised all the work was copied from photographs and other artist's work. I know it's not their photos because the subjects were too wide ranging – landscape, still life, portraits and many different birds from all over the world.

There were also other improbable subjects and paintings I feel I've seen before.  Depth and detail  was missing - a level of understanding the artist had failed to perceive because their reference material was substandard, they lacked study and observation.

If they had done their own preliminary sketches and workings and took their own photos they would have captured a greater understanding of their subject, form and atmosphere and detail.

Of course, will the buyer/viewer notice? who knows? for $100 does it matter? Yes, it takes all sorts and let’s face it, times are not going to get any easier, we all need to put food on the table.

But if your goal is to build an authentic art practice, break out the big guns, command higher prices, sell your work in a commercial gallery, it will show and it will matter.

My caution is from an authenticity point of view, to help you build a genuine art practice. We don’t all have access to everything to paint. That’s excellent, you like to paint different subject from me, you’re already passionate about a subject that is meaningful to you. For example if you love birds and painting them, I suggest you get a good camera and go take your own reference photos. Go and sketch from life – sketch 1000’s and 1000’s of birds and get good at what you want to do. If you love painting landscapes go and get amongst it.

I guess I get a bit antsy about this because I and many artists I know feel they’re doing the hard yards creating original works and series, only for someone to come along and copy. From the first inkling of an idea, some of my work took 3-4 years of brewing, mulling and working before they became a painting and then a series.

The reason I bring this all up is because just last week I was asked "does it matter?". How can another artist prove their work is their work? Are we likely to be held up for breach of copyright? Yes it’s a distinct possibility, especially as times get tougher and the internet is more and more clever.

If you are painting from other people's reference and photos, your paintings are not your work. More than this, your sketches show your integrity, your commitment to your artistic development and demonstrate a body of work which is your own.
​
The devil is in the detail. Take your own photos (proof), create studies, preliminary sketches and workings (more proof). With a continued course of study you will capture a greater understanding of your subject - form, atmosphere and detail and develop a more interesting and cohesive body of work that is your own, beyond question.


non ferma cari amici!!

​From TS Eliot
TS Eliot once said “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that which it was torn”.
​