The Messy Studio with Rebecca Crowell

Latest Episodes:

Episode 170: Finding Downtime Mar 20, 2021

Show notes

As much as we may appreciate living an entrepreneurial lifestyle, juggling its many demands can be exhausting and challenging. Artists who are also involved in the business of art can easily feel scattered and stressed by all the tasks needed to stay productive and on track. But one of the most challenging demands may be stepping away from all of that on a regular basis. Today we will toss around some ideas for the type-A personalities among us who find it hard to relax.

As self-employed people, we can easily feel that we need to work all the time. Having high goals and aspirations, the drive for income, and knowing our responsibilities to other people all can lead us to ignore the need for down time. And of course, we also love what we do so that turning to our work rather than to something more relaxing is natural.

But the feelings of pressure can overwhelm us. A helpful approach is to distinguish between demands that come at you from the outside, and which demands we place on ourselves. Recognizing the difference can help you sort out how to deal with finding a better balance to work and down time. Pressures that come from outside us in the form of requests and commitments from others need to be carefully considered along with a realistic evaluation of your time. Pressure that we place on ourselves from within can challenge us to think about perfectionism, fear of failure, land ack of confidence.

Given the many aspects of managing an art career, how can you find ways to open up your time to include more leisure? Consider what can you delegate, what can you let go of instead of demanding perfection? Can you be more realistic about managing your time? What about taking days off just as you would at paid employment? Or scheduling a day a week just for your art, so that you get your studio time in and can perhaps then relax about fitting it in every day?

Taking down time may not come naturally to you at all. Some of us have to sternly demand of ourselves that we to take time off. We’re so good at all the other demands but the one that asks us to just “be” seems almost impossible. We may resist it and call it a waste of time. But it’s actually very important to live a balanced life, enjoy some down time, and trust that we will retain our ambition and sense of purpose even as we step away sometimes from the demands of our lives.

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

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 169: Overworking It Mar 13, 2021

Show notes

Artists are often cautioned not to overwork their pieces, especially when the medium is drawing or painting. This advice is meant to prevent work that is too fussy or refined, or otherwise lacking energy. But many artists place importance on fine-tuning their work, and on paying close attention to detail. The art-world advice against overworking may not apply to everyone’s approach. Today we’ll take a closer look at how this advice can sometimes get in the way of creating your best work.

Often instructors and other artists will tell someone, “don’t touch it, it’s done.” In other words, “don’t overwork it.” This is usually said with all good intentions, but it takes away the artist’s decision about whether to keep going. If we don’t test the boundaries of what is done, we don’t discover new territory or learn to control the medium.

There are art media that need to be used in a deliberate, direct way, start to finish, with no reworking. Or you may simply want your work to be very gestural or fresh, in which case you do need to be concerned about an overworked surface. But overworking often hovers as a caution even with media that can easily be reworked and changed as part of the process.

Whether avoidance of overworking applies to you or not depends not only on your medium and style but your personality as well. It may suit you work patiently on a detailed or subtle painting for a long time as you refine and edit. This doesn’t mean you’re too perfectionistic or picky, it’s simply your own approach.

Overworking is one more art term that is used frequently without much explanation—it’s based on assumptions that may or may not be true for your own preferences and way of working. I hope that today we’ve gotten you to question whether this term means anything at all to you, and if it does, how you would define it in your own way.

Episode 168: Your Body Of Work Mar 06, 2021

Show notes

As artists, we need ways to organize our work in our minds, on our websites or in our presentations. Where do logical connections exist and how can grouping certain pieces together aid in understanding them? Thinking of your output as “bodies of work” is a useful approach. But this is also one of those vague art terms that means different things to different people. What constitutes a body of work? How many pieces does it include? Is it the same as a series? Today we’ll be examining this term in the hopes of providing some insight into how it applies to your own work.

One way to think of a body of work is simply as a group of work that is cohesive or consistent in some way. There is some uniting factor, but the range of what that might be is wide. The term tends to be a broader or more open-ended term than the term, series. Bodies of work tend to evolve organically rather than being planned out with set parameters, as many series are. The term might be applied to all of an artist’s work in a particular medium, or done on an artist residency, or that explores a particular subject matter. A body of work can even mean the work done in an artist’s entire lifetime of creating.
.
For your own purposes, perhaps the easiest approach is to use the term “body of work” as a way of organizing and grouping what you create. It is a flexible term that can meet your own needs when designing a website, choosing work for an exhibit, or talking about your development as an artist in a talk or other presentation. Looking back at various bodies of work you have created can also give you a helpful sense of achievement and continuity in your art practice.

Thanks to everyone who has been sharing the show and donating! Special thanks to Wendy Catlin for her donation via PayPal. 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 167: The Power Of Intentions Feb 27, 2021

Show notes

A work of art created with intention is compelling--we intuitively recognize when something is done with purpose and inner direction. Yet as artists we are also seekers and explorers in our work. Our creative path is often wandering rather than straight, and it may seem false or against our nature to state a clear intention or meaning behind our work. How can we work with intention yet remain open and flexible? What are the advantages of clarifying intentions?

Knowing what is most meaningful to you in your work and applying that knowledge in a flexible way is key. Your intentions, if broad enough, allow for unfolding interpretations over time. You can also think about more narrowly focused and temporary intentions within the bigger picture. These might serve the needs of a particular work of art or series, or be about focusing on learning a new medium

But your most basic, underlying intentions, once recognized, can remain unchanged for decades. They are the “big picture” focus that underlies who you are and what you want to say. What moves you? What qualities do you always want in your work? What ideas have always pulled you? Over time, your expression of these ideas finds different forms, but these basic aspects of who you are remain true.

Acknowledging and writing down your core intentions is a powerful tool. Intentions help you to stay on track and to critique and understand your own work. While the idea of discovering these may seem daunting, it need not be done all at once. Setting intentions can be a work in progress until you feel you have found the essence of what is meaningful to you. At that point, they become a guiding and unifying force in bringing strength and consistency to your work.

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
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 166: Reinventing Yourself Feb 20, 2021

Show notes

Many of go through times in our lives when we make radical changes—either by choice or because of something imposed on us by circumstance. But even if the big change is something, we want to make mixed feelings are inevitable and stressful as we let go of the old and step into the new. Big changes challenge the very idea of who we are and how we operate in the world. How can an art practice help us through a time when we either need --or want--to reinvent ourselves?

Sometimes our art changes as a result of our process, ideas, or other aspects of growth. But changes that comes at us from the rest of life affect our studio practice, sometimes in ways we don’t welcome. And any change, even a positive one, like retirement or moving to a place you’ve always wanted to live, creates stress that can alter our work. How can we approach life changes in a creative way?

Sometimes what is happening in our lives means that we need to take a break from the studio for more than just a few days. As long as you do something to hold onto the art-making part of yourself you can weather those times. That might be journaling, meditation, talking to a sympathetic listener. Or maybe you can keep your work going in spite of the limitations—using more portable or less messy materials so you can work anywhere in short amounts of time.

If you can continue to work at some level during your changing situation, you may find this to be therapeutic in helping you process what you’re going through. Drawing, simple collage, and other direct and quick ways of working can help you through a big transition with your art self intact. The practice of making art is itself a stress reliever, a time away from other concerns.

“Nothing is constant but change” is a saying that proves itself over and over. When big changes happen in our lives, can we sustain our art practice? We probably don’t need the additional stress of NOT making art when it is something so important to our sense of who we are.

Episode 165: Creating A Daily Series Feb 13, 2021

Show notes

Working in series is usually an involved process in terms of both time and focus. Artists are often known for series that explore ideas in a sustained, deep way. But the intriguing aspects working in series can also happen in a quicker, more spontaneous way, with a new piece each day. Today we’ll look at working in series with a sketchbook, or using other small or quick formats, and explore how this can be an important part of an artist’s practice.

Series of any kind generate and develop new ideas, grow technical ability, and help to organize your thinking and direction. Working on a series in a fairly quick, direct daily practice opens the door to new ideas and abilities even wider. Your process with such a series may be either spontaneous and open-ended, or more conceptual and defined. In either case, completing the individual pieces in a short time can yield surprising and satisfying results.

In this episode we present background on two such series, Rebecca’s Pandemic Sketchbook and James Edward Scherbarth’s Currach and Stone Series. Though they approach their work with very different intentions, these are both very personal and meaningful series to the artists. The work also is created within boundaries that help define it as a series—limitations on focus, format, materials used, and a timeline set by the artist.

By delving into the details of these two series we hope to inspire listeners to try their own practice of recording thoughts, ideas, and moods on a daily or regular basis as a series, and to consider what this might bring to their work overall.

James Edward Scherbarth website: www.jamesedwardscherbarth.com
Eric Maisel's book: The Power of Daily Practice

Episode 164: Abstraction and Your Inner Child Feb 07, 2021

Show notes

We all drew, painted, and made things out of playdough and construction paper as little children, in spontaneous and unselfconscious ways. Some of us retain those memories, and we may also have children or grandchildren whose artwork we love. The art of children affords an intriguing view of a very different way of seeing and thinking than we have as adults, and many abstract artists have found it a source of inspiration. Today we look at some special qualities of child art and how it may feed our abstract ideas.

Many contemporary artists find kid’s art intriguing, especially art from the very early years before the child has been told how things “should” be depicted. Whether this is done consciously or unconsciously, well-meaning parents and adults present young children with a very different idea of what art is about. Their emphasis is on recognizable objects portrayed with a single meaning, as in “this is a person, or this is a tree” without considering the different perceptions of a young child.

Children naturally follow their own intuitive logic in depicting their world, using symbolic and narrative approaches that may not make sense to an adult. They are fluid not only in their freedom and inventiveness with materials, but also in their interpretations of their own work. The story they tell about a painting may be different tomorrow, showing how intimately they engage with imagination as they create.

We all made this kind of art long ago. If we’ve lost the memory, can we still reconnect with some of its liberating aspects? Consider the power of symbols, the freedom from conventional approaches to space within the picture plane, and the focus on process rather than results that young children display in their work. Perhaps above all, their trust in an intuitive “rightness” about their work, whatever adult rules it may break. We may have left this state of flow many decades ago, but we can reconsider its advantages now from an adult perspective and how they may fit with our current abstract expression.

Thanks to everyone who has been sharing the show and to Phyllis Lasche for donating via PayPal. Make sure you listen to the episode we did with Phyllis, episode 160, if you haven't already! If you would like to donate to the Messy Studio Podcast donate here.

Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! 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!

Episode 163: Abstracting With Symbols Jan 31, 2021

Show notes

Abstract artists find many ways to bring meaning to their work. For some, this may be purely an investigation of color, line, or other elements. For others—it is the expression of emotion or evoking aspects of the visual world. Today we’re going to look at another powerful way that artists can bring meaning to abstraction—through the use of symbols, whether personal in origin or more universally recognized.

We recognize and use many symbols in daily life—every company religion, government, and organization adopts symbolic iconography, and written language and numbers are symbols also. In art, symbols—both realistic images and abstract ones—have been used since earliest times and in every culture. They may be based in universal ideas or be very personal to our own experience. As artists, how can we bring symbols into our abstract work?

This may be a particularly useful path for artists looking for a way into abstraction and away from literal representation. Symbols that refere to actual objects or figures can be placed into an abstract context and provide a bridge between realism and a more interpretative approach.

The most powerful symbols are simple, strong images that distill meaning and have strong powers of communication. Those that have meaning to you can be pulled from any meaningful source, and discovering which you feel most connection with may be a portal to expression thatyou have previously overlooked. You may even find symbols in your work already but not recognize them as such--colors, shapes, or compositions that recur over time--that may reveal meaning if you focus on them. Symbols have strong connections to our subconscious mind and can make themselves known even when we are not looking for them.

Symbolism is a very large topic and we can only touch on a few ideas here, but we hope that this episode will inspire you to give new consideration to using symbols in your work.

Blurb

Thanks to everyone who has been sharing the show and to Laura Smith for donating via PayPal. If you would like to donate to the Messy Studio Podcast donate here.

Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! 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!

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
www.messystudiopodcast.com/blick

Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership 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 162: When Is It Finished? Jan 23, 2021

Show notes

Every time we make a piece of art, we reach the point of deciding if it’s finished --yet as common as this moment is in studio life, it is often one of doubt and second-guessing. What are some meaningful criteria for when something is done? Are there questions to ask ourselves in declaring something finished? Do we have to finish everything, or is it OK to abandon certain pieces? Today we will look at this ordinary but complex process of deciding a work of art is done.

Many times, artists look to others for an opinion about whether a work is done, abandoning their own decision process for someone else’s view. It’s also very common for someone—a well-meaning instructor, friend, artist, or a family member—to offer unsolicited advice about something being done. “Don’t touch it, it’s perfect” may seem like a helpful comment, but it can hinder the artist’s own path and vision. In a classroom situation, an instructor’s role may be to push a student who wants to stop too soon, but within the context of the student’s own goals. For all of us, asking for or offering constructive feedback is helpful, but we need to take responsibility for setting our own criteria for finished work.

That involves intuition of what feels right, plus an objective understanding of weak spots and the need for more edits and changes. Coming up with good questions and criteria to decide if something is done is important. And it’s also important to be honest about feeling impatient or being willing to settle for less than you are capable of creating in the desire to be finished.

Often, we need to set a work aside to gain some distance and insight into where a piece is heading. And sometimes, we can decide that we’ve learned what we can and move on. Even with media that can be reworked many times, like an acrylic or oil painting, abandonment can sometimes suit our best interests. It may not be until we start something new that we realize how much we’ve learned in the previous struggle.

In the end, taking full responsibility for deciding something is done and gaining some clarity about your own criteria is the path to excellence in your work.

Thanks to everyone who has been sharing the show and to Anne Jackson for donating via PayPal. Check out her website at https://www.annejacksonfineart.com/. We mentioned her in Episode 158, Abstracting With Emotion. 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!

Episode 161: Success Jan 16, 2021

Show notes

Although most of us wish for success with our work and art careers, defining what that means is tricky, changeable, and very personal. Does success mean selling your work, recognition in the art world, or simply your own satisfaction with what you create? How do our ideas of success shift over time? Can we be satisfied with our current level of success or do we always want more? Today, as we look ahead to a new year, we’ll toss around some ideas about success and what it means for working artists.

The dictionary definition of success is both the accomplishment of an aim or purpose and the attainment of popularity or profit. The first is specific, the second vague and subjective. We may use this word often without really considering how difficult it is to define for our individual situation. In an art career there are no defined rungs on the ladder of success. Instead, there are many different kinds of success, and many people never really feel successful even when they do have a lot of accomplishments. We tend to constantly move our own measures of success to just out of reach, which can make us feel that we still have a long road ahead. There’s nothing wrong with having goals but it’s good to give ourselves credit for what advancements we have made.

The accomplishments that don’t include outside recognition, sales, shows and other landmark moments in an art career—the inner, subjective feelings of success-- may be harder to recognize. Yet for many artists, striving for outside validation may not be truly satisfying. For them, success is felt most strongly in their own studios, or with a small circle of art friends or local exhibit opportunities. It’s important to understand your own standards and goals and accept that they may be different from ideals that originate outside yourself.

Ultimately, we define success in our own ways, and if we don’t give it some thought we can easily buy into some vague standard that is not in alignment with who we are. If we don’t understand own criteria, we may feel unsuccessful, unfulfilled, and down on ourselves, as well as envious of other artists. Like so many aspects of an art practice this takes introspection and self-awareness but doing this can bring more peace of mind as we cope with the competitive aspects of the art world.

Thanks to everyone who has been sharing the show and to Tara Leaver for donating via PayPal. Check out her website at www.taraleaverart.com. She does beautiful work inspired by the sea! If you would like your own shoutout on the 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!
www.messystudiopodcast.com/blick

Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership 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.

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