Understanding the ‘Oak Tree’ in conceptual art via Russian politics

Stuart Bush Studio Blog, Oak Tree, Conceptual art
©1973 Michael Craig Martin, An Oak Tree (1973) – All rights are reserved and are with the artist. 
 
Understanding the ‘Oak Tree’ in conceptual art via Russian politics
 
I have always had an intellectual curiosity about the principles and ideas behind conceptual art. In Michael Craig-Martin’s artwork, ‘Oak Tree’ (1973), I am interested in how he claims to transform a glass water into an ‘Oak Tree’?  How does the artist subvert people’s observations of the world?
 
I had fresh insight into understanding this artwork and mental concept after recently watching a film by Adam Curtis called, ‘How propaganda turned Russian politics into a circus.’ The documentary discusses and explains how Russian politics is using conceptual ideas from the art world to confuse people so that they are never sure what exactly is occurring.
 
Vladislav Surkov is an advisor to Vladimir Putin. Surkov was an aspiring artist who trained as a theatre director.  He has imported ideas from conceptual art into Russian politics and thereafter into Russian daily life.  

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What I see in the work of Jeff Koons
 
This came to the attention of the UK after the Friday 2 March 2018 Salisbury attack.  Two men from the Russia military intelligence service, the GRU, entered the UK from Russia.  Police believe that the two men travelled during the weekend to Salisbury.  It is alleged that while they were there they contaminated the front door of the home of Sergei and Yulia Skripal. Sergei Skripal is a former Russian agent who has defected to the west. Sergei and Yulia Skripal were found collapsed on a bench in Salisbury.  They had been poisoned with a chemical weapon called Novichok.   Later DS Nick Bailey also fell ill after going to their home.
 
In Curtis’s film, he explains that the Kremlin is very calculating. They intended to create a sense of confusion and falseness where no one is able to find the truth. This is similar to the way the artwork, ‘An Oak Tree’ attempts to create uncertainty.
 

Further reading on understanding conceptual art

Marcel Duchamp 'Fountain' (1917)
The initiator moves the truth, like in the Salisbury attack and in the artwork, to wherever they want.  In the ‘Oak Tree’, Craig-Martin tells the viewer the glass of water on a glass shelf is an Oak Tree. In the Salisbury attack, Russia completely denies they had any involvement in the poisoning. However, officials in the UK are confident that the two Russian suspects were involved.
 
‘Gaslighting’ is the next stage of the process. This is a form of intimidation and psychological abuse where the offender denies everything, leading the victim to doubt their own perception of events.  The offender then responses like a school bully, telling everyone they are imagining things and laughing at them.  Then he draws attention to something else in order to undermine them. In this case, the Russian foreign Minister tweeted a funny video of the UK Prime Minister dancing.  In the ‘Oak Tree’ Craig-Martin draws attention to the mental conception through the questions and answers.
 

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A painting has to stand up by itself 
Last week the Russians released a film where the two suspects talk about their phoney interest in Salisbury’s history.  Their statement appears to come straight from Wikipedia. The Russians flatly deny any involvement. The outcome of this is that the UK officials to start to second guess their instincts. 
 
The whole Salisbury attack experience has given the UK and the world an insight into Russian daily life and the television they are allowed to view.  It shows to  Russian nationals who are thinking about defecting, that not only can the state find them anywhere in the world, but also that the state can leave traces back to Moscow.  If the state gets suspected or caught out they will then just laugh the problem away.
 

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How I see art contributing to society
Just like in Monty Python and the Holy Grail where the French taunt the English outside their castle.  The Russian state is saying that we know that you know we did it and we have come up with this absurd response to further humiliate you.  
 
Michael Craig-Martin said about an ‘Oak Tree’, “I was trying to work out what was the essence of a work of art. I thought it had to do with suspension of disbelief. You get it in theatre – why not in art?”
 
The Salisbury attack is very similar to the ‘Oak Tree’ (1973) artwork but with much more humiliation and an affront to the viewer.
 

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Michael Craig-Martin’s book, ‘On being an artist’ – book review

The art of being idle

The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
@Stuart Bush The inception of an unexpressed thought part 2, coloured pencil on paper 22 x 29cm
Congratulations! You have just started reading a blog post that encourages you to be idle in order to improve your creative work.  So relax, put your feet up and read on to find out how being idle can be turned into the art of being idle.
 
Benjamin Franklin, one of the founding fathers of the United States of America said, “It is the working man who is a happy man. It is the idle man who is the miserable man.” This quote reflects a common misunderstanding about the benefits of being busy versus the benefits of being idle. It is important to clear this problem up for us creative people.  
 
I am not denying working hard is needed to be able to achieve success in all fields of work.  It clearly does take quite a lot of hard work to be successful in almost every domain. However, over time I have come to realise that a key part in becoming a successful artist is by not making yourself so busy that deep work becomes impossible.  

Related reading to the art of being idle

Why being idle is good for you - The Telegraph
 
To resolve creative problems and break through with new ideas finding quality time in the studio is only part of a bigger picture.  Of course, if you’re not in the studio making new work regularly then you need to make some adjustments to your working week.  My main point here is that it is also it is important to have idle time in your week for reflection and contemplation.  If you haven’t already got this highly valuable time in your week it is advisable to make some adjustments too.
Stuart Bush Studio Blog, The art of being idle, an unexpressed thought, painters blog
©Stuart Bush The inception of an unexpressed thought part 4, coloured pencil on paper 22 x 29cm
The art of being idle explained
Creative ideas never come to me in a full and complete form. Often it feels like ideas are not moving forward and I often have to ponder on a problem to resolve a piece of work. A slow incubation of ideas forms in my subconscious.  Sometimes I try to resolve a problem through preparation drawings.  I might try sketching, using collage and playing with an open mind to help to move my ideas forward.  
 
At one time I use to sit and procrastinate but over time I have realised that when this happens I need to move on to something else and keep on working.  I don’t have time just to sit there waiting for an idea to resolve itself.
 
I have noticed my best ideas come when I am not directly thinking about the problem I am trying to resolve.  In effect my best ideas come when I am not busy but when l am idle.  I have discovered that creating a fine balance in my weekly schedule allows me time to be idle. 
 

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Jealously of other artist's work
My subconscious works overtime during a good nights sleep. Then in the following days and weeks when I am carrying out a mundane activity: possibly in the shower, walking, driving or doing some household tasks when I’m not focusing on anything, in particular, my mind wanders, my focus starts to drift and I start day-dreaming.  It is in these moments that the answer pops into my head as if by magic an idea trickles through my subconscious as if from no-where.  
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 1, coloured pencil on paper 22 x 29cm
I do realise however that this creative idleness would not work if l didn’t know my craft well. If l didn’t have the skills l have acquired through practice. If l didn’t have the openness of mind to work through solutions and ideas. Then l would stumble and fail to reach a solution about developing my idea into a finished piece of work.
 

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What I struggle with as an artist - Starting the day
During the time I am idle, my unconscious mind is always working. There is no disconnecting my artistic thoughts and problem-solving.  However, if I was busy all the time I believe the solutions wouldn’t surface in my mind.  I have also discovered that once the problem is resolved in my brain I can’t retrace the steps that go into creating that solution. 
 
In conclusion, the art of being idle feels like a mystery, like a journey into the unknown where the mind takes over and small thoughts and concepts bloom with a life of their own.  I hope this small explanation into the art of being idle helps you to resolve your own ideas by relaxing and letting your subconscious mind take over.
 
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 3, coloured pencil on paper 22 x 29cm

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The benefits of adversity

How I see art contributing to society

Christo, The London Mastaba, Hyde Park 2018, Stuart Bush Studio Blog, painting blog
Christo, The London Mastaba, Hyde Park 2018
When I saw Christo’s new art project in Hyde Park London and read his quote, “A work of art is a scream of freedom,” I know I needed to tell you about how I see art contributing to society.
 
Every artist contributes to society in their own special way. Artists look to find ways to engage the wider pubic through their work to consider and reconsider the way they see the world. Whether it is contributing to overall health and wellbeing of our society by rethinking about what we are doing and considering in new approaches or by providing inspiration, interaction and joy to uplift the spirit.

Link to a review of Christo, The London Mastaba

Independent: Christo's latest sculpture weighs 600 tons (and it floats)
 
Being an artist for me is a licence to look deeply; to follow my curiosity, to unpick and to make new connections with what I see. We live on this small rock in a massive universe without an accurate understanding of what it is all about.  I perceive making art as a form of therapy to open up the world and open up people’s minds to a higher spectrum. To deal with and come to terms with everyday life.  
 
Stuart Bush Studio Blog, untitled sketch, in the city, How I see art contributing to society?
Stuart Bush, untitled sketch
“The first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.” Chuck Palahniuk, American novelist and journalist
 
To my eyes painting is the best way to communicate and connect with others within a collective effort. I am not trying to convey the world as I see it.  As an artist, I absorb it and try to communicate the world as it really is.
 
I have an intellectual curiosity and commitment to bring the truth to light. Through my art making, I want to be known for using my artistic creativity to widen and broaden the visual field.  Therefore, reveal a whole new range of potential meaning.
 
There are many benefits of living in an exciting contemporary culture. I see myself as part of a community whose work can make a significant contribution to society and the world today.  I want to contribute to human growth by joining into the conversation.   

 

 
“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.” John F Kennedy

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Jealousy of other artist’s work

Stuart Bush Studio Blog, Jealousy of other artist's work
Stuart Bush, Sanctuary exhibition
As we grow up, there is lots of pressure on us to fit into society. We sometimes look with envious eyes at what others have achieved. At school, it is intellectual abilities that seem to count and in the media popular attractive pin-ups stand out.  As we compare ourselves to others we can conclude that we are just not good enough. These thoughts can affect our ego and our spirit. If we withdraw we lose our footing, and then, when we try again, come up short. If we are not careful this can grow up into jealousy of other artist’s work and achievements.
 
When I was an art student I looked at a wide range of art. Enviability I was blown away by the work of successful artists.  I compared my skills, talent, ability, knowledge and my output against what other artists produced. I ended up continually watching what others were doing. The outcome was inevitable. These thoughts began to limit my ability to think creatively, and they became overwhelming. I started to feel I didn’t deserve to be an artist and it threatened my self-worth.

A way forward without being jealous of other artist’s work

To be a successful artist I needed to figure out a way to unlearn what was causing me harm. A way was to stop comparing myself to others. It was counterproductive feeling. I realised that there was no way I was able to make the same work as another artist, and I didn’t want to.
 
I realised that l should not be competing with other artists, I needed to run my own race. It’s my process and my path. My work isn’t going to look like other artists.  I am now fully aware that if I get distracted by looking at other artist’s outputs, I will lose my energy and focus. If l allow myself to become distracted then I will have to learn to refocus and listen to my inner voice again.

Links related to Jealousy of other artist’s work

Why You Should Stop Caring What Other People Think

I now give myself artistic permission to be myself and make what I want. It is important to be acknowledged for my individuality and I have different strengths to my peers. I look at what makes me unique, and push it forward in my work.

Now when I need inspiration, I look in lots of places. I may look at other artist’s work to learn their processes but I don’t compare my output with their output. Instead, I feed off the creative ideas, take what l want and develop my own perspective and viewpoint.  I avoid jealousy of other artist’s work because my own ideas are developing and growing.

Stuart Bush Studio Blog, Jealousy of other artists's work
Stuart Bush, Sanctuary exhibition

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Increasing learning in the studio

When it is advisable to be wrong, increasing learning in the studio, Stuart Bush Studio Blog
©Stuart Bush, When it is advisable to be wrong 2016 oil on board 45.7 x 60.1 cm
A group of scientists recently looked into the most effective ways of learning. They suggested that long sessions and all-nighters don’t give us the best opportunity to learn.  After reading about this 12 months ago, I changed my weekly studio calendar.  I found from a simple change, there are advantages for developing your artistic practice and increasing learning in the studio.  I now visit my studio multiple times in a week and do 2-3 hours, I not only achieve more, I also learn more.  
 

Related link to; ‘increasing your learning in the studio’

Youtube Video: Spaced repetition in learning theory
 
This is because our minds store information in many different places in our brains.  This process strengthens the connections in our brain. With regularly spaced repetition we can make the most out of the way our minds work and achieve better retention of skills and knowledge.
 
 
It is mainly down to the frequency and the spacing of the intervals.  So rather than visiting the studio once a week, try many shorter visits while repeating creative tasks.  When you come and go you strengthened your knowledge. In the absence, your mind subconsciously works to resolve issues in your work. Ideas and solutions pop up when your away from the studio.  
 
The moments in the artist’s studio are under our control.  Anything that happens to your work outside the studio after it is made is out of your control.   While opportunities to show your work are extra special they not supposed to be the reason for making the artwork. The reason why I am an artist and why I work on my artistic practice is focused on learning and advancing in the studio. By making something purposeful, I am feeding and enhancing my life’s work.  I hope this piece of advice helps improvement at a faster pace. Afterall, the journey is the goal.
 
Stuart Bush Studio Blog, increasing learning in the studio, when it is advisable to be wrong
Stuart Bush, When it is advisable to be wrong, work in progress
 

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I wish I could paint every day

The inspirational work of Egon Schiele

The inspirational work of Egon Schiele, Stuart Bush Studio
Egon Schiele, Green Stockings, all copywrites remain with the artist

One of the artists that I found the most inspiring as a student was the inspirational work of Egon Schiele. At aged 16, Egon enrolled in the Vienna Academy of Fine Arts. He died at the young age of 28. In those few years, he made some of the most enduring and intriguing work. I am very interested in understanding what it is in Egon Schiele’s work that encouraged me to follow my interest in art.

Egon Schiele was known for drawing mainly portraits and self-portraits. He worked in a striking graphic style that challenged the notion of beauty. Egon had a concise way of working, similar to a poem to conveys rich experiences and emotions.

It would be easy to have a fleeting look at Egon drawings and mistake them to be only about sexual arousal or pornography, but that misses the intent and the reason why I am drawn to his work. Egon not only shows sex as beautiful, but he also demonstrates how he questions and adores life through his work.

Egon was a prolific artist making over 3000 works over his short life. There is satisfaction from the artistry, extracting something from the seductive delights of life. Each one has an intensity and beauty capturing our physical existence and our desperation in being a person.

Related links to the inspirational work of Egon Schiele

https://www.theartstory.org/artist-schiele-egon.htm

Egon showed a unique and anguished look at our situation. I enjoyed the cropping of the frame with low direct angles in his drawings. The tortuous crooked fingers and appendages ask questions about our function, design and purpose. Each artwork generating meaning in its own way I have really enjoyed returning to look again at the work of Egon Schiele. I understand why his work gave me a purpose to be an artist. Egon Schiele’s fact-finding mission to record evidence about what life really with anger, sexual frustration and bewilderment helps you to remember how you saw the world as a young adolescent. Creating a porthole to a greater understanding of the human condition and the beauty of life.

In Egon’s drawings, he cultivated his own unique view to add to deepen our understanding of life. I continue to find his work easy to identify with and through writing this, I have a better understanding of why I followed the path into becoming an artist.

Please share with me the artists that have given you direction, purpose and sense who you might become. I recommend you check out Egon Schiele’s if you haven’t already.

Related links to the inspirational work of Egon Schiele

https://www.egon-schiele.net

What I see in the work of Jeff Koons

 

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;

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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

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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.
 

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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
 

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

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What l see in the work of Jeff Koons

Jeff Koons, Play-Doh, Stuart Bush Studio Blog
Jeff Koons, Play-Doh (1994—2012) Newport Gallery All right reserved by the artist
 
It is easy to be impressed by the work of Jeff Koons. He has an impressive art career and has gained international success. Koons has developed a secure grip on the art market and he can make whatever he wants.  He often turns the popular; Michael Jackson with his pet monkey or scoops of Play-doh; into an expensive ceramic or stainless steel sculpture. 
 
Plus, Koons is not afraid to make work that could potentially alienate him. It is easy to sneer at his works based on topics like guilt and shame. After all, we are all bound by our own unconscious and conscious signals.  He openly encourages opinions on his art saying there is no right or wrong interpretation.  His art challenges the idea that art needs emotional depth and taste. Koons work, whether your ambivalent about it or not, it clearly reflects our age and society especially his gazing balls and balloon dog.
Jeff Koons Balloon Monkey, Stuart Bush Studio Blog
Jeff Koons, Balloon Monkey (Blue) 2006-2013 Newport Gallery All rights reserved by the artist
 
 
Jeff Koons describes Balloon Dog: “It’s very mythic. There’s a sense of the interior to the piece, which is a bit like a Trojan piece. It’s very now – it’s like a balloon from a birthday party, and because it’s inflated, you imagine the birthday party was recent, not 20 years ago. A normal membrane of a balloon from 20 years ago would be completely deflated. At the same time, there’s a mythic and ritualistic quality; you can imagine people going around Balloon Dog in a sort of dance. A tribalistic quality.”
 

What I see in Jeff Koons website link

http://www.jeffkoons.com
 
However, instead of just enjoying his work I am often distracted by the hype that surrounds it. He takes a couple of things from contemporary life that are somewhat one dimensional then puts them together to try to create a new meaning. They become carries or cyphers as Koons seeks to get you to think. Nevertheless, I feel his work lacks empathy and intellectual curiosity.  Once you understand the idea behind a piece of his art, there is no hidden depth.  For me, his wealth has become the spectacle and not for the right reason. 
Jeff Koons, Acrobat, Stuart Bush Studio blog
Jeff Koons, Balloon Monkey (Blue) 2006-2013 Newport Gallery All rights reserved by the artist
 
Koons has taken the idea of turning art into a business to a whole new level. He has developed a style of work that does not include the ‘original’ artistic hand. Instead, he employs specialist highly skilled artists and craftspeople to bring his concept to life while he focuses on micromanaging the output.
 
In doing so, Koons creates a new religion for art that celebrates the shallowness of capitalism and celebrity as his ego seeks to promote himself as the modern-day equivalent of the great artists of the past.  
 
Whether you like his work or not his art does come across as uplifting and joyful.  But I am sceptical about the broader intentions of such art. This leads me to find what he does and his unflinching confidence and self-belief admirable, while at the same time, disagreeable.
 

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15 things I learnt from Neil Gaiman’s Make Good Art speech

©Stuart Bush, The Kingdom, oil on canvas 150 x 85 cm
 
In 2012 Neil Gaiman gave a commencement speech for the University of Arts in Pennsylvania.  Neil Gaiman is a writer of novels, comic books, graphic novels, audio theatre and films. He was born in Hampshire, UK, and now lives in the United States near Minneapolis. Neil’s most notable works include The Sandman, Stardust, American Gods, Neverwhere, Coraline and The Graveyard book. He has also been honoured with many international awards.  His speech is packed full of helpful advice for creative people.  
 
I thought I would write this blog post and highlight many of the learning points l found in it.
 
  1. “Instead of having a career plan, make a list of everything you want to do and just do the next thing on the list.”
  2. “Goals are like mountains in the distance.” Set them and be clear what they are. 
  3. “Do things that feel like an adventure. Learn to write by writing. [For a painter, learn to paint by painting]. Stop when it feels like work.”
  4. “A life in the arts, is sometimes like putting messages in bottles on a desert island, and hoping that someone will find one of your bottles, open it and read it, and put something back in a bottle that will wash its way back to you: appreciation, or a commission, or money, or love. But you have to accept that you may put out a hundred things for every bottle that winds up coming back to you.” 
  5. “Nothing I did where the only reason for doing it was the money, was ever worth it.”  If you do things you’re proud of and if you don’t get paid, at least you will be proud of your work. 
  6. “The problems of success. They’re real, and with luck, you’ll experience them all. The point where you stop saying yes to everything is because now the bottles you threw in the ocean are all coming back, and you have to learn to say no.”  
  7. “Write fewer emails, write [and paint] more.”
  8. “Get out there and make mistakes.”
  9. After you have finished copying things remember,  “The moment that you feel that, just possibly, you’re walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That’s the moment you may be starting to get it right.”    
  10. “Do the stuff only you can do.”
  11. “You should enjoy it, let go and enjoy the ride. Don’t worry about the next deadline or the next idea.”
  12. “Make up your own rules.”
  13. “Pretend that you’re someone who is already successful… and pretend to be wise.”
  14. “Make good art!”
  15. “And now go, and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break the rules. Leave the world more interesting for your being here. Make good art.”
 

Here is the full speech:

https://www.uarts.edu/neil-gaiman-keynote-address-2012

If you would like to learn more about Neil please click this link below. 

http://neilgaiman.com/About_Neil/Biography

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I wish I could paint every day

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