I always felt I excelled as an artist when I painted, ‘Hopes and Fears’. The idea and success of ‘Hopes and Fears’ seemed to come out of nowhere. I started painting, and the result just happened. It just seemed to work without a lot of effort. I had painted one of my greatest accomplishment to date, and now I want to understand its success so I can reproduce the results.
I had been overthinking about what was working within my art. I kept trying and became confused. Then I slowly began to realise that when I am not trying to reach a solution, when I’m in the shower or going for a walk, ideas pop in my head. I slowly learnt to realise that I need to get out of my own way to allow my creativity come through.
1. Remove the pressure I put on myself
It took time to realise that l need to remove the pressure l put on myself. If a solution to a problem is not apparent, I need to try to stay calm and have a clear mind. If my thoughts are racing, a walk, mediation or a stretch, helps. Another way to remove the pressure is to carry out a simple, unrelated physical task, this helps me to halt the tendency of over thinking and trying to find a solution. Once there is no pressure my mind becomes comfortable, and my natural creative side leads the way.
Sometimes it can take six months to realise how to move a piece of work forward. If this happens, I often turn the painting to the wall and work on something else. I now have many paintings going on at once, so it is no longer an issue.
2. Studio time is play time
I look at studio time as a way to challenge myself and play. I find it is exciting to stretch myself and learn new things. I am often curious and try things I haven’t tried before. I find that this outlook enriches my world and my work.
2. Artists don’t need to know everything
It took me a long time to realise I don’t need to know everything. I only need to be competent in the area I am working in. It is more important to understand how to be creative and how to get into the creative flow.
3. Creating problems
When a designer works, often they are given a brief, and they need to solve a problem and come up with a solution. Instead of addressing a problem I am trying to create one.
4. Holding things back
I want the viewer to come to the work with their life experiences and baggage, and see what they see. I want them to be intrigued by my work. I look to create ambiguity so the viewer has reasons to ask questions. I am not laying all my cards on the table; I am holding things back.
5. Nothing goes to plan
So many times I have wanted a painting to go well and too often nothing to goes to plan. I have learnt to come to terms with this and change my expectations. My new outlook tells me to expect everything to wrong. Then when a mistake happens I think maybe it has happened for a good reason, and I wonder if l can learn something new from the error. This change of outlook means I can now quickly put it in perspective. If this does not work I ask myself these questions. Can I save the situation/work? What are learning points? Can I repeat it and do it better next time? How long will this take? Do I need to quickly move on and forget about it and do something else?
6. There is a key to success in every failure.
7. After a successful painting, I ask myself can I develop a series?
Sometimes a piece of work cannot be repeated. But I often consider if I could add slight changes and repeat parts would l then be able to make a series!
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