A strategy for getting started in the studio

Stuart Bush, Prep work 2015-6

If you talk to people who procrastinate when in the studio they will often say…
‘First l have to travel to the studio. Then l change my clothes, so l don’t get paint on them. Next l usually choose some music to listen to and make a cup of tea. Somehow, l need to unwind and turn my mind off from all the stuff that’s been happening in the week and focus on being creative. It’s hard getting started.’

However, if you talk to an artist who doesn’t have this problem, they might say, ‘you just pop into the studio and start drawing.’ If you then ask them about the steps involved, they will say, ‘there is just one step, you just get started.

We all have this ability to make some things simple and other things complex. Daily success in the studio can be simple. ‘Just decide what to make before you get there, arrive and get busy. But it doesn’t mean it is easy.

Ernest Hemingway offered this advice to a young writer, “The best way is always to stop when you are going good and when you know what will happen next. If you do that every day when you are writing a novel, you will never be stuck. That is the most valuable thing l can tell you so try to remember it.”

If you notice your mind is making things complicated and stopping you from getting started, turn the dial towards simplicity in your mind.

At the end of each day organise your work with the juicy ideas laid out with your pencil and paints ready for your return. By leaving your work prepared for the next day, you just have to arrive at the studio and start working. There is no need to stop and reflect on what to do.

It also means that by preparing what you are going to do, you have the night to ponder it sub-consciously while you are asleep. Thereby allowing new insight to come forward without you having to think about it.

For further ideas about how other artists have developed strategies, I recommend reading the book: ‘Daily Rituals: How artists work by Mason Currey.

©Stuart Bush, A section of ourselves as a commodified object, oil on aluminium panel, 80 x 120cm

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