The Messy Studio with Rebecca Crowell

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Episode 110: Balancing Acts Feb 08, 2020

Show notes

We often talk about finding balance with aspects of the creative process that seem to be opposites. For example, finding the balance between working intuitively, and working with control and intention. The way each of us finds this balance between different approaches helps to develop the unique character of our individual work and process.

First of all, we should define what we mean by balance. Obviously, no approach is completely equal. An artist’s personal approach almost always demonstrates a preference for one tendency over another. You may have a strong personal preference, but developed work includes an element of the opposite as counter-balance. Even very intuitive, loosely painted work benefits from structure within the composition.

Often times friends, colleagues, and instructors will push their own preference. In a sincere effort to be helpful, they may insist that working with purpose and intention is the only way to create quality work, or example, or that work without spontaneity lacks emotional depth. Both approaches are equally valid, however.

All of this is part of the balancing act. How much should you pay attention to what other people tell you? This matters to those of us who teach, also. Try to be inclusive of various styles and ways of working. What is right for you may not be right for your student, but you must still be willing to push them to incorporate an opposing element.

Many of these opposing forces exist in our work and our lives. Are you spontaneous, or a planner? Do you prefer learning from an instructor or by figuring it out on your own? Even the most basic elements of design are defined by their opposite. By observing these opposing forces objectively, we can gain clarity. Very often these forces are not truly in opposition. They can work together, and each plays an important role.

The complexities and details of these balancing acts are up to each of us to address in our own work. It can be easy to disregard tendencies that don’t come naturally. We must attempt to incorporate elements and approaches that counterbalance these natural tendencies and provide contrast. At the same time, it is essential that you stay true to what feels right as an artist. This is perhaps the most important balancing act of all!

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Episode 109: Interview with Paula Roland: An Uncharted Journey Feb 01, 2020

Show notes

Rebecca Crowell interviews Paula Roland about her life as an artist and entrepreneur.

(From https://paularoland.com/roland-bio/)

Paula Roland is a life-long artist and teacher with an MFA in painting and sculpture from the University of New Orleans. After many years teaching painting and drawing at the college level, Paula found a niche specializing in encaustic monotype printing and related encaustic topics. Since 1996, these processes and materials have informed her own works, and in turn inspired her teaching.

Born on the Mississippi Gulf Coast, Paula spent much of her adult life living and working in nearby New Orleans. Her works address the extremes in nature and the natural world’s nexus with ecology, science, art, and spirit. Since the early 1980s her works have examined natural phenomena and human interaction. Drawn to areas with a strong sense of place that are culturally rich, diverse, and visually inspiring, Roland moved to Santa Fe, New Mexico in 1989.

“Living near Los Alamos National Labs and Chaos Theory think tanks has led to a heightened interest in science, including systems, fractals, and strange attractors. In recent works, I examine ecology through intuitive mapping, finding my way in rapidly changing environments in the natural world through my art. I choose materials for their ability to be somewhat unpredictable or have the ability to change and therefore partner with me in making the work. This process circumvents preconceived ideas and opens me to new possibilities. I engage with the image and medium in a direct and intimate way. With encaustic printing, thought and action are one, much like improvisational music or dance.”

Roland’s awards include commissions from the National Endowment for the Arts and for the US Department of State’s American Embassies in South Africa and Uganda. She was awarded residencies at VCCA in Virginia and in France, and two at the Santa Fe Art Institute, working with Lynda Benglis and with Elizabeth Murray. Articles on Paula Roland have appeared in New American Painting, Surface Design Journal, Artist’s Magazine, New Mexico Magazine, the Santa Fean Magazine and Vasari21 online art magazine. Her works are included in books and media on art, encaustic and installation.

Check out Paula's websites:
https://paularoland.com/
https://www.rolandworkshops.com/

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Special Guest: Paula Roland.

Episode 108: Ideas For Your Bookshelf Jan 25, 2020

Show notes

We talked last time about the role that art-related books play in the lives of artists, and the importance of continuing to educate ourselves in various ways. This week we turn our attention to the specific titles and authors recommended by Rebecca, as well as other artists who weighed in on our Facebook poll asking for input about significant art-related books. Many artists are very passionate about their books and recommendations, which were wide-ranging. Here is the complete list of the titles discussed in the episode:

Art History/Art Movement related

Kiki’s Paris: Artists and Lovers by Billy Klüver

Overlay by Lucy Lippard

3 books about abstraction:

Pictures of Nothing (Kirk Varnedie)

The Spiritual in Art: Abstract Painting 1890-1985

Kandinsky’s Concerning The Spiritual in Art

Contemporary art: My Art World (John Seed)

Discovering the LA Art World by John Marcella Grant

About or By Specific Artist’s work

Ninth Street Women (Mary Gabriel)

Artist bios by Ross King and Irving Stone (Agony and the Ecstasy) fictionalized

Sean Scully Inner: collected writings and interviews

Agnes Martin: Pioneer, Painter, Icon by Henry Martin

Several books about Lawrence Carroll who died in 2019, influential abstract sculptor

Memoirs:

Hold Still by Sally Mann

My Life by Isadora Duncan

Just Kids by Patti Smith

Old in Art School: A Memoir of Starting Over by Nell Painter

Daybook by Anne Truit

Turn by Anne Truit

Prospect by Anne Truit

Inspirational Books about Creative Process/Creativity in General

The Goldfinch by Donna Tart

The Alexandra Quartet by Lawrence Durrell

Bird By Bird by Anne Lamott

A Gentle Plea for Chaos by Mirabel Osler

Creative Habit by Twyla Tharpe

Free Play by Steven Nachmanovitch

Niamh O’Conner’s YouTube recommendations:

    -Art and Fear: Observations on the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland

    -Letters to a Young Artist: Straight Up Advice for making a Life in the Arts by Anna Smith Deavere. (Also one with the same title by Julia Cameron.)

    -What Would You Be If by Patricia Fitzgerald.

Others also, watch on YouTube.

World Enough and Time: On Creativity and Slowing Down by Christian McEwen

Trust the Process by Shawn McNiff

Steal Like an Artist by Austin Kleon

Brave Intuitive Painting by Flora Bowley

Expressive Drawing by Steven Aimone

Drawing on the Right Side of the Brain by Betty Edward

Other Inspirational Books on Art, Life

Dancing With the Gods by Kent Nerbaum

The Invisible Embrace of Beauty by John O’Donohue

The Unknown Craftsman: A Japanese Insight into Beauty by Soetsu Yanagi

Technical Info and Background—

Secret Lives of Color by Kassia St. Clair

A Natural History of the Palette by Victoria Finey

Living Craft: A Painter’s Process by Tad Spurgeon

How to Write About Contemporary Art by Gilda Williams

Cold Wax Medium: Techniques, Concepts & Conversations by Rebecca Crowell and Jerry McLaughlin

This is just a random sample of artists who saw and responded to my Facebook post but hopefully we have given you some ideas for excellent new reading material. Art books especially heavily illustrated ones tend to be expensive, so it’s a good idea to check sources for used books including the used listings on Amazon and other online sources like Abe Books. And of course, it’s great to share your books but put your name inside and check up on the loan before too long—there are many tales of woe of books loaned to other artists that became buried in someone’s messy studio.

Episode 107: The Importance Of Art Books Jan 18, 2020

Show notes

In December of 2019, Rebecca posed a question on Facebook for the artists who follow her page. She asked, “I’d love to hear about art books you recommend -- those you keep close at hand, have helped you in some way, broaden your perspective, and/or just make a good read or a visual feast. I would define “art books” as anything related to art forms, artists, art movements, creativity, or anything that has inspired your work.”

There were dozens of replies, covering a broad range of topics, which was somewhat unexpected. Rebecca had assumed that there would be a handful of repeated titles mentioned--well known, familiar, and often referenced books that could be considered a canon from which artists could draw knowledge and inspiration. But clearly, those who responded were inspired and intrigued by a wide variety of topics and genres, and are probably representative of artists in general. Rebecca decided the best way to talk about artists' love of books was to organize the titles that were mentioned into broad categories. The specific titles are also important, and we will discuss those in our next podcast. For now, however, our focus will be the roles these books play in creative life.

Many artists have enormous collections of art-related books. These collections are an investment in the growth of an artist’s creativity and career. They demonstrate curiosity and a desire for deeper understanding. Some artists joke that collecting books is a bit of an addiction. Even a small collection of relevant books can have a profound impact on your thoughts and intentions, and can help us understand our own work, as well as other’s work better.

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Episode 106: Interview With Betsy Williams - The Microseasons Project Jan 11, 2020

Show notes

In today's episode, Rebecca interviews New Mexico artist Betsy Williams about her work and recently published book.

https://www.instagram.com/enbistudio/
https://www.enbistudio.com/
https://www.bluebearvending.com/

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Special Guest: Betsy Williams.

Episode 105: Why Walk? Jan 04, 2020

Show notes

While this may seem to be an odd topic for the Messy Studio, it is something that is important to Rebecca's creative life and that of many other artists. Walking has numerous and well-known benefits for physical and mental health, but what can it contribute to our lives as artists? In this episode, we explore walking as one of the ways that daily life and art are integrated.

There are many parallels between walking and the creative process. Walking is a slow, potentially meditative activity that helps us to be present and to pay attention to the visual world. And as with the creative process, we feel free to explore, ramble, and focus on the journey itself rather than a particular destination. In addition, we gradually gain stamina and confidence in our ability to keep going. Overcoming resistance to going out for a walk helps strengthen other good hablits, like going to the studio even when you don't feel like it.

it's true that many of us have limitations on walking--physical, seasonal, or geographic. But it is not about how far, fast, or often you go. If walking is a possibility, it is one of the best ways to bring mind, body, and spirit into alignment. For artists and creatives, there is another dimension to walking in its ability to bolster your creativity and skills useful in your art practice.

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Episode 104: Questions And The Creative Process Dec 28, 2019

Show notes

The questions we ask ourselves as artists are at the root of the creative process. As artists we are driven by the unknown. Contemplating various possibilities brings energy and change to our work. It keeps our work dynamic, and exciting, and it keeps us engaged in the creative process.

These questions may be big or small. Where is a particular piece heading? What “works”, and what does not? When is a piece finished? There are also deeper questions about our overall practice and direction. These questions play an important role in our work, and in developing a personal voice.

If we are not asking questions, it can only mean that we are completely satisfied with our work, which is seldom the case. We can always be asking the question “what happens next?” or “how did I arrive at this point?” When we stop asking questions, we are halting the creative process and stagnating. At this point it is easy to become bored, and for the quality of work to suffer.

Some of the best questions to ask start with “what if”. These questions are basic to finding your way into a process that works for you. We may not even be conscious of these questions, or put them into words, though it is not a bad idea to do so. A good idea is to keep a log or journal of your creative activities. You may wish to take notes as you work, but if this is disruptive to your process try taking a few minutes at the end of your day to write down any fresh insights.

Our work is built on the gradual accumulation of knowledge that arises from asking questions. Try putting a little more intention into these questions. Think about the questions you have asked in the past, the ones that you are currently asking, and the direction of your work. As you think about these questions more consciously, your work will gain depth, meaning, and complexity.

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Episode 103: Intuitive Color Dec 21, 2019

Show notes

Intuitive Color

Color is a very powerful influence in our everyday lives, and certainly in our art. It is the most studied of the visual elements by experts outside of the field of art--in biology, psychology, and in cultural studies, to name a few. As artists, we may work with color in an intuitive way, or more intellectually-- each of us finding a way that suits us. There is no single correct system for using color. Our individual approach is linked to our own characters and personalities, and is often a strong aspect of our personal visual voice.

How important is it to study and apply color theory and systems? Although a basic introduction to color is standard in art school courses, Rebecca attended several different schools and somehow missed this part of the cirriculum. As a result, her approach to color is mostly intuitive, developed over time through practice and observation. Trial and error builds experience, and only through experience can we really grasp the intricacies of color.

Many self-taught artists feel insecure about color because they are aware of the scientific and technical aspects of color, and feel it is something that must be studied at length as one normally does in art school. It is true that the formulas and systems for color mixing can be fascinating. There is a rich history of color, paint, and pigment throughout history. Also, some art media require specific knowledge for layering colors, such as watercolor or printmaking. But intuitive use of color can also be very effective especially when combined with some very basic information and vocabulary that is easily studied, along with awarenss of what your intentions are regarding color.

In spite of the dramatic impact color has on our work, we can easily become habitual in our use of color, and fail to be led by intutiion into more effective ways of using it. One tip is to notice which colors move and affect you, which may be different than the ones you find appealing and use most often. Many people speak of "my colors" but these may not be the ones that provide contrast or depth for on the work. Do some experimenting and exploring with colors that challenge you or excite you. Consider what your color choices communciate to others and whether or not that is what you want to convey. Are there some changes, even small ones, that could bring another level of meaning to your work?

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Episode 102: Studio Struggles Dec 14, 2019

Show notes

As artists, we accept many day to day challenges as part of the creative process. Even though we all feel frustrated at times, we know that problem solving is how we grow and achieve our goals. Solving creative problems can bring great satisfaction, but some studio struggles are also very difficult and soul-wrenching. Artists at every level experience these times of defeat or despair that go beyond daily frustration.

These serious struggles are often triggered by a lack of ideas, but they can also come from too much input, leading to confusion and lack of focus. In this episode Rebecca shares a recent personal experience of creative block of this kind, and the ways she has been working to resolve it. In her situation, impactful travel experiences along with the demands of an exhibit with an entirely different focus led to a frustrating tangle of ideas. It has taken her weeks to find a way forward-- involving introspection, confronting some unhelpful beliefs and fears, and considering the advice of a friend.

Although most of us recognize these struggles are essential to the creative process, we may have to relearn to accept them over and over. It is a challenge to truly understand that they are times of incubation and are part of the cycle that also includes creative flow. We hope that this episode of the Messy Studio podcast will provide some ideas for coping and moving forward during these difficult but important stages of our process as artists.

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Episode 101: Influence Vs Copying Dec 07, 2019

Show notes

No artist is wholly original. We all owe those who came before us for techniques, ideas, theories, and approaches, and we should honor these influences. Each of us references these influences in our own way. Some of us place ourselves firmly in the tradition of a certain approach to art, or even as followers of a particular artist, but adding our own expression and interpretation. Others are less eager to fit into a category, choosing not to identify with any particular approach and acknowledging a wide range of influences. But overall, being influenced by others is an expected part of how we grow and educate ourselves, and there is a long tradition of this process throughout art history.

The best influences are those in which you understand the other artist's work and the context in which it was created. This allows you to move beyond the look or style of the work to finding connections with your own ideas. It is also healthy to have numerous influences, so tghat you are not overly swayed by one person. In these ways, you can pull from the work of others the things that will help your own work grow in a personal direction.

Unfortunately, there are also artists who use influence in an unhealthy way, either deliberately plagiarizing another artist’s work, or using so many of their ideas that it comes uncomfortably close to outright copying. This is a distressing situation for the artist being copied. If the plagiarism is serious enough that action is called for, finding a way forward can be very challenging.

Try to remember that, although having your work copied hurts, it will probably end up hurting the person copying your work more than you. There are very few things more damaging to an artist than gaining a reputation as someone who produces knock offs. Customers, gallaries, and other artists all view this behavior as unprofessional. For these reasons we should all seek to create unique art, and not become overly influenced by other artists. If you art looks too much like someone else’s it will end up hurting you in the long run.

The bottom line is that you cannot control what other people do but you can control your response. Try to remain objective when handling these issues, whichever side you find yourself on. Embrace the centuries long tradition in the arts of being influenced by others and building on the work of the past. Always strive to differentiate your work from others, and if someone else’s work is too similar, do your best to handle the situation gently.

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