The Messy Studio with Rebecca Crowell

Latest Episodes:

Episode 180: When to Settle May 30, 2021

Show notes

One of the challenges of your art practice is being able to evaluate your finished work in terms of what is excellent and what is just good or all right. Many of us want to be able to identify our best work and also to accept nothing less than this for ourselves. But do we have to push everything we do to this highest standard? Can we allow some things to be less than our best and move on? And are we really able to be objective in evaluating our own work anyway?

This is not about giving up on something that is a learning experience and the struggles you are encountering are likely to lead you into new territory. Here we are talking about your overall output and recognizing that not everything you produce is at the same level. It’s also about acknowledging that some work has already arrived at the place where it has little more to reveal.

You may feel dissatisfied with a piece because it feels repetitive, or you are somehow not connecting with it in a personal way. That feeling is something to accept when it happens occasionally, although it can be a red flag if it happens very often, signaling that it’s time for a change.

But if by all objective standards you can call the work finished and very good, it’s fine to send it out into the world. It’s easy to become so perfectionistic that we deprive others of seeing work that they may respond to very positively. You can think of your own standards as a ladder—the top rung is the work that you objectively believe to be excellent and also love for your own reasons, and the next rung down is still very good if it checks all the boxes for objective self-critique and you may --or may not-- love it on a subjective level. Work on either rung should be considered worthy of being seen by other people.

Thanks to everyone who has been sharing the show and donating, and special thanks to Phyllis Bryce for her donation! If you would like to donate to the Messy Studio Podcast donate here.

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work.

But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists.

Here is what a member named Sandy has to say about her own experience:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 179: Creative Frustration May 22, 2021

Show notes

It’s an all-too familiar situation in the studio, coping with a work of art that seems to fight against you at every step, making each day with it a struggle. It’s so easy to become obsessed with a piece like this, trying to persuade it to cooperate, just as you might with a stubborn person. It can feel like an exhausting contest of wills, made all the more frustrating by your awareness that you are actually fighting with yourself. Today we’re going to talk about those pieces that make you want to tear out your hair or throw them out the window -window. Because we all know that feeling, right?

Although lots of times our work flows well, and our frustrations are fairly fleeting, other times we experience the opposite. Your work can anger and upset us and feel as though it has its own negative persona. The fact that it is actually your own creation can make it a metaphor for all the ways you think you fall short as an artist. This can lead to a downward spiral in which you beat yourself up for not being able to make the thing work. And from that state of mind, it is also harder to calm down and see your way forward.

How can you break loose from the negative grip of frustrating work? If you can avoid getting wound up emotionally I the first place, trust that the work is challenging for a reason and that you have something to learn, that is certainly the healthiest attitude. It may help to know that experiencing a high level of frustration is very common among creative people and is actually necessary to growth.

But if your frustration feels unbearable, there are a few simple strategies. One is to retreat, walk away, and give yourself some time and space to be able to come back with a fresh eye. If you can gain some distance, you may be able to go over your work with an objective attitude and see what isn’t working and why. The problem with this approach alone is that it can lead to endless small changes and tweaks, without much real progress. So, it may also be time to make a bold, major change in the work. The best move may be to wipe out the previous path you were on with the work and allow for a fresh start.

No matter how you choose to deal it riding out the cycle of frustration and resolution is part of the creative cycle. If your work never presents strong challenges, you are probably stuck in a rut of easy answers and rote solutions. The next time you’re ready to stick a palette knife through your canvas, remember that all creative people experience these feelings and that they do eventually open the way to new ideas and growth.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity.

As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 178: Sparking Creative Passion May 15, 2021

Show notes

Passion is a vital ingredient to staying motivated and focused on our creative work. It helps us find our own direction and voice and keeps us going even under hard personal circumstances or times when the outside world is failing to provide validation. Passion is a source of creative energy that sustains and revitalizes us. But is creative passion something we just have as an innate part of our personality? Or can it be nurtured and developed if we lack it? Today we talk about creative passion, and how to nurture and honor its role in our lives as artists.

How do you know if you have passion? It is something you feel deeply, because it is rooted in emotional intensity. It is a source of creative energy that provides consistent motivation, and a way into a flow state in your work. Passion also provides you with self-respect and confidence for ourselves as artists, and when we respect the role of art in our lives, we tend to demand that from others around us. Working from this kind of passion provides a loop of positive feedback for your work, which sustains you during times of struggle.

However, many artists may worry about a lack of passion for their work. But like many things, passion is something that can be nurtured and developed rather than something you either have or you don’t. It starts with commitment, practice, and building confidence. It also involves recognizing any inner issues that are holding back your full engagement with your art practice. Your medium and approach needs to be a good fit, and you need to be as free as you can from other people's expectations and pressures to perform. Negative self-talk can also block passion that is actually there for you under the surface. Another consideration is to seek out support and encouragement for your passion and avoid people who may want to tamp down your enthusiasm.

Passion can seem like something that you simply have, or you don’t, but even people that have it probably did not start out that way. Passion for your work can grow just like any other aspect of your character when given the right conditions and attention. If you do feel passion, never dismiss it, honor its role in your life and expect the same from the people around you.

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Episode 177: Searching for Stories May 08, 2021

Show notes

Since the beginning of time, artists have told stories with their work. Sometimes the messages are straightforward and other times open to interpretation. Stories can be told with recognizable imagery, with symbols, and even with purely abstract elements. At the heart of telling stories is our desire to communicate and the human love of narrative. Do you think of your work as telling stories? In today’s discussions, we hope to open your mind to the narrative aspects of your work and perhaps enable you to mine your stories for new ideas.

Throughout art history, storytelling has been a primary function of art, using stories from religion, history, and the legends of various cultures. We also find many personal stories, relating to individual artist's experiences. Considering visual expression as stories that record your life, your feelings and thoughts may be a new way of thinking especially in abstraction. But what is a story in its essence? It's something that takes us away from ordinary thoughts and perceptions, shifts our viewpoint, and transports us in some way. This magic happens visually as well as verbally, and for the artist as well as the viewer.

Although visual stories may not follow the conventions of plot development and narrative arc that we find in written or verbal stories, there are similarities, including the dynamic of conflict and resolution. As artists, we manipulate the visual elements on a journey that involves both contrast and harmony A useful term in thinking about this aspect of abstraction is "abstract narrative." Thinking about your own abstract work as a narrative may help you to have patience and trust as it unfolds, much as a novelist allows characters to develop and find a voice.

We can say things visually that go beyond words, but being conscious of your sources of ideas, the stories you want to tell, can strengthen your work. Stories bring meaning to any kind of art but in abstraction this perspective can help you find a voice and personal direction, because we all have stories to tell.

Thanks to everyone who has been sharing the show and donating, and especially to Jennifer Smith for her monthly donation! If you would like to donate to the Messy Studio Podcast donate here.

Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

Episode 176: Visual Ideas May 01, 2021

Show notes

Artists often worry that their work is derivative of another artist’s work and may be very concerned about being overly influenced by someone else’s style or technique. This problem certainly does exist in the art world and is something to guard against because most of us do want our work to be original and unique. But in every field of endeavor, people build on and respond to the work of others, and this is no different for artists. Today we talk about building on, rather than appropriating, other people’s ideas.

Being authentic in our work doesn’t negate influences of all sorts, because we are never creating in a void. Yet if you’re told your work closely resembles like that of a friend, a teacher, or well-known artist you admire, it can be inhibiting or embarrassing. A strong resemblance can happen unconsciously especially early on when you are finding your own voice, and most of the time it’s a phase that passes as you find your own way. But it is a struggle many artists go through and they may feel inadequate or insecure as they work through that time.

With all the influences artists experience, how can we produce work that is truly innovative and individual? Art history highlights times when new ideas appeared, such as perspective in the Renaissance, the rejection of realism in Modernism, or the embrace of cultural icons in pop art, and we may easily feel that there is nothing left to discover. But while a few individuals stood at the forefront of these movements, many others took also took part, sharing ideas and approaches, and advancing the overarching ideas that were being explored. For most of us, individuality in our work comes not from inventing totally new approaches, but from integrating and synthesizing ideas from various sources.

Working with visual ideas rather than mimicking the look or style of another artist is key to this process. This means going beyond the superficial appearance of other people's work into a more conceptual realm. It means being a fellow traveler with others as you explore ideas in art together. Every artist works with visual ideas having to do with the visual elements, design principles, and subject matter and in that sense similarities are inevitable. But there are infinite variations in synthesizing visual ideas in unique ways, that are the basis of personal voice and direction.

Episode 175: Authenticity Apr 24, 2021

Show notes

The artist’s life is challenging in ways that go beyond producing strong work, as difficult as that may be. An art practice also makes huge demands of us on a personal and emotional level. Although we love what we do, all of us sometimes feel overwhelmed by these demands, which include the need for constant self-examination, brutal honesty, and being willing to push through difficulties. Yet we know that these challenges come with the territory and are the path to true personal expression. Today we will focus on the challenge and rewards of being authentic and honest with ourselves in our studio practice.

Authenticity as a person means being genuine, willing to show your whole self, not just parts of it. It also means that although you are willing to listen to other people, you are not overly eager to adapt to what others advise or demand unless it feels right to you. But as artists we are subject to various pressures from our teachers, galleries, collectors, friends and loved ones. Our own inner voices can also add to unrealistic or negative input.

How can you separate these distracting influences from who you are authentically? How can you work in genuine way and not be overly influenced by other people? Do you ever take the easy path in your work because it is what will please others? Finding and honoring our authentic voice is one of the biggest challenges for an artist, and one that requires honesty and commitment.

But art also gives us a way to claim our own territory and push back at all aspects of our lives that aren’t genuine. It is a great teacher about our true selves. Authenticity may be hard won and take time to achieve but finding and holding to it in some measure is crucial to honest and confident self-expression.

Episode 174: The Messiest Studio... EVER! Apr 16, 2021

Show notes

Did you know there was a well-known artist whose studio was so impressive for its mess that the entire place was reproduced piece by piece in a museum after his death? We are talking about British painter Francis Bacon, famous for his expressionistic figurative work, and whose reproduced studio is permanently housed in a museum in Dublin, Ireland. Today we’re going to look at the story of his studio chaos –and offer words of encouragement for those whose studios may not be famous, but perhaps almost as messy as Francis Bacon’s.

It's easy to think that unless your studio is well-organized, with everything at your fingertips, that you are somehow deficient as an artist. We are often advised to respect our materials and tools and to have systems for storage and keeping things neat and tidy. That may be good advice, but if that isn't the way you work, don't stress. Francis Bacon was regarded in his day as England's foremost figurative painter, yet he worked at the height of his career in a small, chaotic studio up a steep flight of steps despite his fame and wealth. At his death it contained over 7,000 items crammed into boxes, stacked against the walls, and covering the floor. These included--besides over 2000 items for painting such as paint tubes and brushes--some 1500 photographs, 100 slashed canvases, countless notes, books on a wide range of topics, piles of rags, empty paint cans and other debris. It was astonishlingly messy, yet it was what he preferred,

How do we know the details of what was in his studio? Bacon's studio was so impressive in its chaos that a few years after he died, it was thoroughly documented and excavated by a team of archaeologists and art conservators and reconstructed in its exact original condition at Dublin's Hugh Lane Gallery. Director Barbara Dawson took a huge risk in undertaking this project, which many saw as a worthless effort. But she was fascinated by Bacon's working conditions and was correct about the huge. interest this exhibit would generate for the museum.

Is there any lesson in this for us as artists in our own studios? Bacon's mess leads to questions about our own studios and their relationship to our creative processes. If everything is neat and organized, are you cutting off a channel to creative, free associations and juxtapositions?
In any case, the story of one of the most respected figurative artists of the 20th century may give you some permission to me as messy as you like…

Episode 173: Keeping Records: The Stress and Mess Apr 10, 2021

Show notes

There probably are a lot of artists who are able to keep accurate, up to date records of their inventory, sales, expenses, materials, and contacts. They have systems that are efficient and neat, and any information they need about their art careers can be easily retrieved from a file. Then there are those who fail miserably at organization, and whose records--if they exist--are in total confusion. A question about the location of a certain painting, or the need to put together images of work for a presentation is cause for panic. Are you somewhere in between these extremes, or do you identify with one or the other? Today we take an honest look at the challenges of recordkeeping for artists.

Rebecca and Ross fully admit that their own record-keeping needs improvement and offer a few tips along with recognizing their downfalls. The first step is noting what is not working. Where the cracks appear is where data can, and probably will, fall through. This can include failing to note the details of sales or when a work of art is moved between galleries, not taking or filing photos for each piece of art, and allowing confusion in terms of titles or the fact that certain works have been purposefully destroyed or worked over.

Messy records create more and more issues as time goes on. Once an area of record-keeping has been neglected, it becomes harder to know where to start with bringing everything up to date, and the project of going back into old records to organize them correctly can seem enormous.

To approach your own record-keeping, recognize what does work for you and be open to new systems that may be easier to maintain that what you've been using. You can certainly have a satisfying and productive art career with a few holes in it, but if you can avoid this stress, it’s a good idea. We hope this episode will inspire those of you who have the need to organize—and those of you who are on top of it all to feel very good about that!

www.messystudiopodcast.com/blick

It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and
and click on the Memberships button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 172: Building A Connection Apr 03, 2021

Show notes

Creating art is a way to share our thoughts, the ways we see the world, and experience life. This communication is vital-- even when we’re immersed in our process, thinking only of the next step ahead--our unseen, largely unknown audience is with us. Very few artists work in total isolation, with no desire to connect or communicate with viewers. Yet artists are also encouraged to follow their own vision, to not let other people’s reactions pull them off track. Today we’ll toss around some thoughts about the desire to connect with our viewers, and what this means in the studio.

The artists personal connection to the work, and in making the work is important in communicating to the viewer a sense of humanity, that their experiences and ideas connect with someone else’s, and that there is mutual validation in both artist and viewer when the connection is made.

From the artist’s perspective, the primary impetus for making art may be self-expression rather than communication with others, but as soon as the work is out in public, the viewer’s responses complete the cycle of communication. Most of us feel deep satisfaction in knowing someone appreciates and understands our work.

For the viewer, connection is vital. If no way of understanding the work is evident, even in an intuitive way, impatience and frustration often set in quickly. Ambiguity and multiple interpretations are fine but there still needs to be some basic structure or purpose sensed in the work. Without that, ambiguity is just muddle.

When an artist has clarity and purpose, the viewer senses this and can enter the work as in a conversation or in appreciation of a story. It’s the job of the artist to create this conversation and invite the viewer to participate.

Episode 171: Challenges and Risks Mar 27, 2021

Show notes

As artists, we are often presented with situations that ask us to say “yes” to something that feels challenging or risky. This could be as small as the need to rework a painting to as large as agreeing to a major solo exhibit. Accepting any challenge requires a commitment and it may feel stressful and bring on self-doubt. Yet successful artists always take some risks that lead to growth and new possibilities—in their careers and in the studio. Today Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin, talk about why it is important to take on challenges and risks in your art practice--along with a few stories about their own related experiences.

Rebecca and Jerry recorded this episode on video as well as audio, so if you'd like to see the video version, please visit the Messy Studio Facebook page or the Cold wax Academy Facebook page. That’s www.facebook.com/messystudiopodcast or www.facebook.com/coldwaxacademyIn .Here's the Youtube link: https://www.youtube.com/watch?v=3q5Cq7ZI3xI

As much as we may hesitate to step away from what is known and comfortable, risks and challenges offer advancement and growth that are vital to growing your work and art business. Of course, we need to be discerning, to consider what is realistic, or whether there is anything about the idea that doesn’t seem legit or too much of a distraction. But too often we hesitate to take opportunities that really will be beneficial because we consider them too risky.

A good question is, what exactly are you risking? Often the dangers are larger in your imagination than something that might actually happen. The gains are very often much larger than any risk involved.

Making a commitment to follow through on a challenge that offers promise is actually quite freeing. You gain a sense of purpose and focus that moves you forward in every aspect of your practice.

Special Guest: Jerry McLaughlin.

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