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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.
The question, ‘What is success to me?’ has made me think a lot about why I have chosen to be an artist and what I want to achieve. Every artist has a different view of success, and what it means to them. Success may include; enjoying the process, the blood, sweat and tears invested in the work, attainment of exhibition space, residencies, peer recognition or column inches and often it can be seen as material and personal gain. However you are putting a lot of pressure on yourself if your measure of success is to have all of this.
The Guardian wrote an interesting article titled ‘Can you make a living as an artist?’ and is worth a read. https://www.theguardian.com/culture/2012/jul/29/artists-day-job-feature?CMP=Share_iOSApp_Other
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.”
The first thing I am drawn to do when I arrive at the studio is to check my phone. I have personal errands, reading the news, checking my bank account, paying bills, following up on loose ends, researching things of interest on the internet plus personal messaging and social media messages. If I walk through the door and allow myself to have unplanned time, I’m finished for the day before I have even started. All the personal errands need their own block of time on my calendar, later in the day so I first have 3 hours of quality studio time. If you notice your mind is making things complicated and stopping you from getting started, turn the dial towards simplicity in your mind.
I prepare a simple problem in advance that I can explore or play with when I arrive at the studio so there are no obstacles. I set up a clean sheet of paper and a form of inspiration like a photograph. This is often enough to prevent obstacles. The inspiration needs ideally to be a simple interesting problem to resolve through a quick sketch.
I have found it is important not to be judgemental about the outcome. If it is a mess, I can always do it again. There is no such thing as failures in my studio as I learn from every mistake. I am pleased if I have picked up a pencil I have started, that way it has been successful. Now I’m in the open creative mode it is easy to move on to something more challenging.
At the end of each day I organise my work with the juicy ideas laid out with your pencil and paints ready for your return, aswell as a quick piece of work to get me started. By leaving my work prepared for the next day, I just 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.