What Do We Need, When Do We Need It?

  As artists we run the spectrum from frugal to generous and as artists we can change the definition of these words for ourselves. Each of us must define for ourselves what feeds our artistic soul and what starves us.
 
  For the "traditional" artist, it's generous to shop for supplies. But for an assemblage artist for example it's generous to regularly hunt for unique objects, not necessarily at a store and not necessarily new. Classes, workshops, art related events, books and magazines. All of these things feed the artists soul. The most important element of anything that feeds an artists soul is time and space.

  So what about place? Does an artist really need to have a particular environment in order to not just produce but to thrive? Many would say no. That artists should stop making excuses and just do it anywhere. My opinion is yes. Yes artists need an environment to live and not just work which feeds their artistic soul. If an artist thrives in any rural community to large city in any country then that artist is very lucky and an exception.

  An artist of any kind is usually sensitive to their environment and needs things from it that most people do not. An artist may thrive best in a quiet, non bustling community while another would crave opportunities and events at their fingertips. Then there is the issue of safety. Some artists have no thoughts to issues of safety. But there are many who do. Safety includes a community that supports you and the work you do. It also includes crime and whether or not there is adequate medical support available.

  Sometimes it takes time to realize that a choice that you thought was good for you as an artist was not a complete vision. But that is the great thing about being an artist. We are trained to be spontaneous and creative with our solutions because we can look at everything from different angles. We know when something isn't working. Sometimes it's staring us in the face. Sometimes it's sneaking up on us. We have that feeling that something isn't right and that we can't just sit on our hands hoping that it will be acceptable. Because it isn't and won't ever be. We have to listen to ourselves. Generously listen to what we have to say about exactly what it is that we need and when do we need it?

  We can know what we need but say that we can put it off. Putting whatever it is off becomes a habit and at some point there will be a day where it all crumbles down on you. Why would anyone put off getting themselves something that they have admitted that they need? For one, an artist puts off what they know they need until later because though they have admitted they need it, they aren't quite surrendering to the idea. Whatever it is could be quite overwhelming to them. Such as, the choice to pick up your entire life and move to another part of the country or even to a new one. Or it can be as simple as doubting oneself to be able to do something well.

  Part of generosity is to allow imperfection, allow mistakes and to chant the mantra "Whatever will be, will be." This is very hard. We feel safer when we believe that we can control and manipulate our lives and things in it to be the way we think it should be. Yet sometimes we are wrong. There may be one of our creations that we loath. And then a friend will fall in love with that piece and have to have it while you stare in awe, not understanding.

  We need to feel safe enough and at the same time we need to also let go of that need for safety in order to do anything new and fresh. Part of what builds our confidence is to generously believe in ourselves to take that leap and to generously accept wherever we land. It's stuffy expectations and controlled visions that make us frugal and choke the life out of our creative flow. We are most fed when we pick a direction but also allow a flow for us to follow. We sniff new directions rather than analyzing them to death.

  Whatever work you do as an artist choose everyday, some way to be generous and to know the particulars of what that means to you.

Things you Can Do to Protect Your On-line Images of your ART

I happened upon this site when I googled " when people grab your photo from facebook and put it on their web-site". I used to have a regular facebook page like the ones used for personal use that nearly everyone on the planet has. I googled myself to see what would come up and behold a picture of me came up that was not linked with one of my sites or blogs and was a picture I did not give anyone permission to use. It's just a picture of me in an 80s Gem/Misfits like costume I had taken before going out to an 80's retro event on Halloween one year and a pic I had as my profile pic on Facebook for awhile. So I googled "when people grab your photo from facebook and put it on their web-site" and found this article on skinnyartist. A great site by the way if you haven't happened upon it already. I had thought of looking into watermarking but I wondered if even that protect an image and I was right. Check out the article for an example of how a persons watermarked original image was taken and used on a t-shirt unlicensed. Do your research and home-work people! I know I am!


http://skinnyartist.com/stop-stealing-my-images/

The Business of Art Research

Here I am on Monday and supposed to be at class this afternoon. I prefer not to miss time but this morning I have a mice situation and on top of that I feel unwell. While I feel unwell and waiting for the worksmen, I like to make some use of my time. I happened upon this great article. I love articles like these because it takes the mystery out of things that have otherwise been hard for me to visualize.

http://www.artnews.com/2013/09/30/a-guide-to-doing-studio-visits/

A lot of artists have trouble with the business end of being an artist and understandably so for a lot of reasons. But every bit you learn makes the waters easier to navigate because you know what to expect. It is a new culture to be involved in which takes adjustments when becoming involved in any new community.

Great Job Ann Landi! Great article!

What I Actually Do and What I Actually Did, Sept.13 2013

 

It's true people tend to have very generalized ideas about what artists do. 

This blog, Art and Creationz is all about what I actually do now, the skills I am developing at NBCCD, pictures of inspirational pieces and pictures of my pieces that I have made in the past that deserve some lime light.

Here is a needle felted piece in the process of completion. The vibrancy of the colors unfortunately have been lost in the photo. 

Here are ceramic pieces from my Chocolate and Creme De Menthe Series which I made at Turnstile Pottery Coop in Halifax N.S, August of 2011

Here are two pieces from my first year in the FVA program at NBCCD from the fall of 2006. The first is a ceramic relief tile and the next one is a slab and coil basket made by carefully pressing the pieces of clay and scoring the edges to mold to the next connecting piece on the inside of a newspaper lined metal waste paper basket.

Who says that you can only do one thing or that you have to choose right?