I wish I could paint every day

Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush, Nobodies fault detail, I wish I could paint every day

I wish I could paint every day…

Every day I paint I have an adventure into the unknown.
 
Every day I am excited by the possibilities in the work.
 
Every day I paint I enjoy the production of novelty the most.
 
Every day I paint, I decide what I want to work on the night before.  My unconscious mind thinks and contemplates it overnight. The next day I effortlessly to know where to start.
 
Every day I paint I don’t make it overly complicated.
 
Every day I paint my studio has to be free from distractions so l can get into a creative flow and stay in it. I get completely caught up and saturated in what I am doing.  The painting leads the way, my hand and brush are in control rather than my brain.  I have a deep involvement with the activity and time becomes distorted.
 
Every day I paint, it is not clear what needs to be done. The solution is elusive and an accident. Only when I am in a flow of creativity, unconscious decision making takes place. I surprise myself and produce work I am happy with.
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush Nobodies fault detail, I wish I could paint every day
Every day I paint, I try to be satisfied when the work is complete. If I put unnecessary pressure and stress on myself and let my perfectionist outlook win, the results are never good enough to meet my standards.
 
Every day I paint I hope something good will come, but if it doesn’t I don’t worry. Whether it is good or bad, that really doesn’t matter.  When I finish, I always turn the work towards the wall and quickly move on to the next task.
 

Related post to Every day I paint;

Drawing the creative act
Every day I paint I consider the work from previous sessions and give myself feedback. This enables me to move forward. I have to decide which ideas can be developed and which direction to take and then l know what to work on during the next session.
 
Every day I paint I am unsure if I am getting anywhere.  Often I take one step forward, two steps sideways and one backwards.  Every little while I stop and look back. Over months and years rather than days I learn something new and l know l am growing as a painter and as a person.  
 
Every day I paint I am not interested in money and fame.  It’s the pursuit that counts, not the attainment.  I always enjoy and have fun within the process.
 
Every day I paint I work towards achieving something meaningful. My lifelong ambition is to make a significant contribution to culture.  In doing so, I hope to help the human condition. 
 
Every day I paint I love what I do. I love the process of making art more than the work I produce.
 
I wish I could paint every day.
 
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush, Nobodies fault, oil on board 70.2 x 50.4 x 3.6cm, I wish I could paint every day

Related links and posts to every day I paint

The search for originality in the artist's studio

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Places to go for inspiration

Stuart Bush Studio, the rush
©Stuart Bush The rush 2016 oil on board 50 x 70 cm
When I enter my studio I often have times when I need to be inspired.  No matter what l do l meet resistance. I walk around the room, or I sit feeling frustrated with a closed mind.  My mind doesn’t feel like being creative.  Fighting this situation never works. All that happens is that l waste the day. I have to get out.  I need to find a place to go to for inspiration.
 
Over time, l have learnt to embrace these moods and seek solace and inspiration elsewhere.  Near my studio, I have a lovely country walk.  Whatever the weather, I put my shoes on and head off.
 
While I am walking, I can consider all my unfinished business and jobs.  Then I begin looking at the things around me.  I try to move my mind to focus on my breathing and relax.  I notice the sounds of the birds, the footsteps in the gravel and the beauty of my surroundings.
 

A related post to the places to go for inspiration

The benefits of adversity

 
My primary objective is to cultivate a happy mind. I might sit down on a bench and watch people walk past. Or I might pop out a sketchbook and draw whatever comes into my mind.  If I don’t fancy a walk or if I return and my mood hasn’t shifted, I look through some of my art books.  I start sketching from what seems interesting.
 
If I’m feeling at a loss about where to start when that pencil hits the page just start by moving it. I start with anything from a circle to scribble.  Like a child, I try to create without judgement or expectations.
 
I see my job as an artist is to record what I see.  For this to work well, and to be able to translate what I see in a new unique way, good quality inspiration is essential. I try to visit the museums and galleries in London at least once a month.  I also look for opportunities for collaboration and to engage in useful and uplifting and stimulating discussions.  Sooner or later I return to the studio with inspiration for my next step.
 
Stuart Bush Studio, the rush, a form of confessional poetry, no bodies fault
Installation shot from Rugby Gallery exhibition, Stuart Bush Studio
 

Related links to the places to go for inspiration

 
 
 
 
I am very interested to hear how you become inspired.  Please comments below.

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The benefits of adversity

 
Stuart Bush, You don't understand me, series of 4 works gouache on paper, the benefits of adversity post
©Stuart Bush, You don’t understand me, part 1-4, gouache on paper
Many children spend a lot of their time with their peers.  In my childhood, I changed schools five times. This meant l had to learn to start over again and again.  At the time I couldn’t see the benefits of adversity. I could only see the challenges of the upheavals.  Making friends and building strong relationships was a continual challenge.  It felt like before I knew it, I was moving again.  
 
As I didn’t have easy and regular access to friends, I naturally was drawn to the easy path of finding things to do on my own. I didn’t spend my time playing sports.  I was shy and it took me a long time to get to know people and trust them. 
 
Like most kids, I enjoyed watching television. For me, it was mainly the A-Team, the Fall Guy and Airwolf. My childhood dream was to become a stuntman.  The main activities I found myself doing were building models, drawing, playing lego and riding my bike.
 
By spending time drawing and making things I become quite good at these activities. l remember that l stood out in my class and was noted for my drawing abilities.  This made me feel good about myself and it gave me more encouragement to continue drawing.
 
As I got older I started dreaming about becoming an architect. The impossible concept of becoming an artist never entered my thoughts for a moment. However, I stumbled into an art degree without a plan. Then I stumbled out looking for a job. When I graduated the thought of making a living as an artist still appeared impossible.   
 
As I look back to where I started I have the benefits of adversity to thank for being an artist. And of course, the Internet has helped me to have a career as an artist.  I still would have continued to draw, paint and make things but few people would see them without the Internet.  Art is what I love doing, and I wouldn’t change my experiences and path for anything now. 
 
I would love to hear from you if your adversity had a positive impact on your life.

Recommended reading on the benefits of adversity;

 

Related blog posts;

 

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What I struggle with as an artist – Starting the day

©Stuart Bush, Saturate Postcards 1-3
On entering my studio, I often find myself in a low emotional state, where I am not in the mood to make work.  This often happens when I have rushed around to get the kids to school, tidied up and done some basic housework.  On those mornings I feel worn out before the day of work has started.  I am very conscious that I am tired and overwhelmed with life and it all pressures. However, I am also often determined to try to move out of this negative state of mind and get back to being productive. 
 
I have realised that by preparing what I am going to do the night before, as explained in a previous blog post, helps me to know what to do first.  But sometimes my energy is so low not even this is enough to get me going.
 
In order to wake me up and change my energy levels, l find a hot or a cold shower helps to reinvigorate me. I follow this by sitting in an upright position and focusing on controlling my breathing. I think about what I am grateful for, what I appreciate and what makes me feel alive.  I appreciate my relationships, I have a lovely family and happy place to live. I am grateful and lucky to have the opportunity to be creative and paint regularly in my studio.  The last part of this re-focusing is to go for a short walk to remind myself of my conviction as an artist.  A change of location can make a big difference.  I feel the sun, wind or the rain on my face.         All this takes no more than 30 minutes. 
 
The real trick is to do more of what works and less of what doesn’t. My unconscious mind needs time to sort itself out.  I need space to pose open questions concerning my next piece of work.  I mull over issues and gently filter out my distracting, conscious thoughts. This process stops the excessive focus on myself and feels like a reset and a physical transformation.  It creates a natural high until I can’t wait to get back to work and I haven’t got a moment to lose. 

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Timeout from my art studio

©Stuart Bush, He has never been in love, he doesn’t even know what love is, gouache on cartridge paper, 43 x 24 cm
After working too much I took some much needed time out.
 
As well as being an artist and working full time, in my ‘spare’ time l am also a RFU rugby coach for an under 10s junior rugby team.  Rugby has always been an important part of my life.  This year for our weekend away, our tour, we played a local team in Herefordshire, near Wales and we also went Paint Balling!
 
The rugby tour is an opportunity to provide memories that will last a lifetime.  It gives the young team and Coaches a chance to get away from home; to get to know each other and build better relationships and teamwork.  There are always many laughs and excellent camaraderie, especially when the boys and men are dressed up as Grannies, and Ladies as Granddads! 

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7 lessons I have learnt on my way to develop a painting practice.

©2016 Stuart Bush, Hopes and Fears, (2007) oil on canvas 150 x 85 cm
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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Stuart Bush’s Charity Art Sale – helping to give something back to the community

 
 
I am acutely aware of the vital role of the Air Ambulance has in getting doctors to the scene of life-threatening emergencies and airlifting people to a hospital.  I am also aware that the Air Ambulance exists only with the help and support of the local community.   I have decided to combine this art exhibition with supporting the local community    For this unique one-off exhibition l have also reduced my prices to allow more people to buy art.   This art exhibition is more than just about me and my art, it is about giving something back, about supporting the community that l live in and the people l live with.
 
 
The paintings in this exhibition are from 2006-2017.  The theme and ideas that have inspired this work are related to my emotional response as an individual to the city.  This body of work started as a realistic interpretation of street photography. It captures feelings of alienation and angst in the human-made environment. However, the snapshots of life caught something that l wasn’t expecting.  The fleeting moments of line, shapes, and space intrigued me, and I slowly became interested in this interrogation of space in the public realm.
 
 
This body of work finishes with the beginning of something new.  The artwork moves past looking at the dislocation and fragmentation in our contemporary world to the mysterious and intriguing unknown entity of space. In this new direction for my work, I want to explore the existence of the space that enables everything else to exist.  I want to draw the attention away from objects that people make, to the space around us, to create a portal to somewhere else.
 
 
I hope that by raising funds for the charity through selling my paintings, I can bring even more meaning to life through my art.  Every £5 raised could pay for pressure dressings to control a patients bleeding.  Every £10 raised could pay for enough fuel to fly 11 miles towards the nearest major trauma centre.
Stuart Bush’s Charity Art Sale @ Rugby Art Gallery and Museum

I hope you can help me support the local air ambulance charity.

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What I am struggling with as an artist

About a year ago I met up with a group of artists.  The conversations were varied and interesting.  Then we turned to one question that we all had a problem with.  What do we each feel embarrassed to be struggling with regarding our art?
I was hesitant at first to give an honest answer to the question as it made me feel vulnerable. However, I was pleased I did give an honest answer as I learnt a lot from the response. I have my first solo show for a number of years starting on 18th April 2018. All of the feelings and embarrassment about my art had resurfaced and I thought I would share them with you.
 
My response to the question was that, I don’t feel comfortable selling my work.  For some reason, I thought I was the only one who felt like that. To my surprise, I was relieved when all the other artists agreed that they felt the same way too and l quickly realised fear and doubt are endemic in artists’ lives.
 
Let me explain further.  I don’t enjoy selling my art and the thought of rejection often stops me from trying to. I don’t want to force my work on other people. But I feel that if someone rejects my paintings they are also rejecting in me.
 
The discussion turned into a self-help discussion where everyone had some helpful advice to share on this issue. The first response that got me thinking was, ‘Would I prefer my art to be in my garage or on a potential collectors wall?’  This sentence stopped me in my tracks and made me re-think.
 
Advise soon followed;  I need to change the idea of selling from fear to a pleasure. When I have an exhibition, I need to focus on the positives of building friendships and relationships with other artists and art lovers. I need move away from the thought I am going to sell painting today to, l am going to make a new friend today.  I need to see that I am trying solving a problem for a potential collector by sharing my art.  
 
After all, what is the worse that can happen? I may feel nervous but what is wrong with that?  I could end up educating someone about art.  I could have the opportunity to add beauty and colour to over peoples homes and show them what l see.
 
If don’t show my art, what is the price I will pay?
As a creative person, I would miss out on achieving self-contentment through my work. I would miss out on developing a visual language that holds the viewer’s attention.
 
I know I want to have an adventure. I want to challenge things. I want to gain new knowledge.  I want to achieve recognition for my unique talents. However, l realised that by avoiding what needs to be done, I will always be disappointed and dissatisfied with life.
 
I need to consider the cost to myself of not showing my art. If I avoid showing my work, what might my life look like in one year, three years or ten years time? I guess that there is an easy answer; there will no change.  On the other hand, it is hard to predict what will happen if l do show and sell my art.
 
I thought I was avoiding pain by keeping my paintings to myself but in fact by hiding them away I causing myself more pain.  Everything we do, we do for a reason. I didn’t paint these painting to be hidden away. I need to believe in my capabilities to change, to adapt and to expand.
 
By asking myself two questions, I hope to finally achieve a personal breakthrough by associating pleasure with sharing and talking about what I love to do.
 
What will it cost me if I don’t let this negative belief in the value of my art go?
 
What would the benefits be by attempting to sell, to progress and to move forward achieve? Hopefully success….
 
I am about to find out…
 
I am therefore pleased to invite you to my Charity Art Sale in Rugby Art Gallery, Floor 1, from 18th to the 26th April.
 
Stuart Bush’s Charity Art Sale 18-26 April 2018
©Stuart Bush – These 4 postcards titled, ‘A will to live’ are available unframed for a special price of £7 by clicking on the image.
©Stuart Bush, ‘Saturate’ – These 4 postcards titled, ‘A will to live’ are available unframed for a special price of £7 by clicking on the image.

 

Please click here for exhibition postcards

5 ways sleep can improve your productivity in the artist’s studio

 
©Stuart Bush A pocket full of dreams 2010 oil on canvas, 120.4 cm x 160.4 cm
I have often encountered problems in the studio. It has taken me a long time to realise how to put it in perspective and move forward quickly.  I might have an issue with a painting, and the next step would be unclear, and I would sit there contemplating ideas to solve it.  
 
I have learnt to realise that at a certain point, of staring at the painting, I am not going to find a resolution in that moment. I now reach a point when I know I need to move on to another piece of work.  I usually have two to three different art projects or paintings running side by side. Now I turn the painting to the wall and move on to the next one.  
 
I have heard the phrase, ‘it is best to sleep on it’, many times, but now I do. Within a few days or weeks, a solution normally comes to me. I have been aware the dilemma resolves itself in my head, but I was unclear how until I read, ‘Sleep Smarter’, by Shawn Stevenson.
 
In Stevenson’s book, he explains the benefits of relaxation and rejuvenation when we are asleep. After he looked into many scientific investigations and is confident that a good nights sleep with lots of REM sleep cycles helps you to;
  1. improve your efficiency,
  2. organise your memories,
  3. process the day,
  4. solve problems,
  5. and make better decisions.
 
Apparently when we sleep there no longer the usual biases and preconceptions that we have when we are awake from our conscious mind. We can make more informed choices to resolve a solution.  We can think through new ideas, thoughts and directions where we can take our work.  That explains why, when I have blank moments, like when I’m in the shower, a solution jumps out from my subconscious mind.
 
In studies, after twenty-four hours of being sleep deprived, it is likely you will make twenty percent more mistakes, and it will take fourteen percentage longer to do the exact same thing.  When we are being creative and wanting to make favourable decisions being sleep deprived prevents us from making good choices and being effective. When we force ourselves to make decisions when we are tired we often do things, that will need re-doing at a later date.
 
It is also not related with how much sleep we get.  More sleep does not necessarily equal better sleep.  Quality is much more important than quantity.  Stevenson suggests a list of quick tips that help improve the quality of your sleep;
  • A caffeine curfew at noon. (Caffeine lasts 8 hours in your body),
  • Exercising in the morning is the best time to exercise,
  • Avoiding blue light from your screens and device by having a screen time curfew, where your not looking a screen 20-60 minutes before bed.  Other helpful, useful technology tips include using the Flux app or Apple devices with night shift built in to reduce blue lights before bedtime.
  • To prevent feeling exhausted establish an evening bedtime sleep ritual, where the bedroom isn’t an entertainment hub.  Taking a bath or reading light fiction helps me to create a sleep sanctuary, giving your mind time to unwind.
If you’re in interested in learning more please read ‘Sleep Smarter’, by Shawn Stevenson, it was worth a read.

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Obstacles I have overcome – being a perfectionist

©Stuart Bush, He has never been in love, he doesn’t even know what love is, gouache on cartridge paper, 43 x 24 cm – £200 + shipping enquire

One of the lessons and obstacles I have learnt to deal with is being a perfectionist. Over the years I have visited many galleries and museums and enjoyed looking at other artists work. I use to look at other artists work and compare my work to theirs. But l now realise that looking at other artists work and comparing mine to theirs is counterproductive.

Instead of being helpful the visits made me focus on my insecurities as an artist. I would ask myself; Am l talented? Is my work good enough? And, what if no-one likes my work? I was creating an impossible mindset to overcome. These thoughts were very destructive. However, I slowly came to realise I need to accept what I do and who I am by making my studio free of judgement.

Self-judgement is a learned behaviour that comes from living in our type of society. By comparing my work to someone else’s, I not only noticed that my work was not perfect, by someone else’s standards, I observed that l had changed my standards. These thoughts made me confused as to who I was making the work for; an audience or myself.

By thinking my work was not good enough against someone else’s standards, it was impossible to be playful and enjoy what I was doing. Without the freedom to play and take risks, my work had become stifled and dull.

To be an artist, I realised I need a lot of self-belief. I needed to bring excellence to every I do. By measuring myself against myself, rather than against others l came to realise that art is not like sport, it is not competitive; it is subjective. I needed to reassess what I see as good enough.

I now know that when I go to a gallery, it is useful to compare my thoughts and processes to other artist’s but not their output. I realised that if I wanted to make successful artwork, I had to find a way through experimentation, trying things out and playing to improve what I have already created. Once I realised this, I was able to show up at the studio with a different intent. An intent to be present in the task and make better work than I did yesterday. From that point on I couldn’t help feeling good about my output and about myself.

 
Please read the related post – ‘Making better work than I did yesterday.’

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