Dreaming about success

Dreaming for success, Stuart Bush Studio Blog, No exit
©Stuart Bush, No exit, pen on paper 43 x 61 cm

Often when I turn on the shower and step in, I turn on a shower of thoughts. I’m not sure why it happens in the shower, but I think it is a favourable place to be flooded with thoughts and ideas. My mind also, unfortunately, wanders when I am painting. Over time, I have realised I have become a professional daydreamer. This is the wrong time and the wrong place to be imagining the future. I feel the need to gain some self-mastery of my busy creative mind.

I used to think dreaming about the future was my reward for taking on an almost impossible creative challenge. At times, I have imagined having the ideal artist studio, making sublime artwork, relaxing and enjoying the lifestyle of being someone successful. I have learnt from thinking like this that happiness will always be a reward in the future.

Dreaming about success – links

What to paint – The recipe for failure

The problem with allowing myself to think about a variety of things other than the task that is in front of me is that I am not as productive as I need to be. I lose focus on what I am doing and why I am doing it. This leads me to the questions, what is it I am trying to achieve? It is a feeling of floating down the middle of a fast flowing river hoping to swim to a bank at some point.

I have become aware that if I am lucky enough to achieve what I want in the future, and I get there while being a daydreamer (which I now think is highly unlikely). I will always be programmed to look to the future for a sense of fulfilment.

This realisation has happened after reading quotes like, “when your fulfilment and sense of self are no longer dependent on the future outcome, joy flows into whatever you do.” Quote from ‘The Power of Now’ by Eckhart Tolle.

I need to control my daydreaming or I will never appreciate what I achieve. It is important to realise I very fortunate in many ways. I should be grateful and enjoy this time in my life. It is the process and journey that is important, not some dream about the future.

Dreaming about success – links

Adrian Ghenie: The fuel of failure

Adrian Ghenie: The fuel of failure

Stuart Bush Studio Blog, Adrian Ghenie, Nickelodeon, Adrian Ghenie: The fuel of failure
Adrian Ghenie, Nickelodeon, 2009 all rights remain with the artist @Adrian Ghenie
It’s no wonder many people see failure as the most painful moment in their lives, school wrongly teaches us we need to do everything we can to avoid failure.  However, Adrian Ghenie makes it a central power source. Having to face humiliation and shame by returning to home to Cluj, Romania, after trying to start a new life in Vienna drove his artistic ambitions.  Returning to live back at his parents home at age 27 in 2005 he had no future to look forward to. However, Ghenie used his difficult set-back as fuel rather than limitation.
The fuel of failure is a common element in the story of success for many accomplished people. Richard Branson’s head teacher said he would end up in prison or as a millionaire.  After Steve Jobs was sacked from Apple in 1985 it motivated him to dent the universe.  Michael Jordan’s cut from his high school basketball team was all the fuel he needed.  Sylvester Stallone, after writing Rocky, tried to get the film made. After trying to play the staring role, he had hit rock bottom. These successful people used hardship as fuel to never give up. They all kept trying no matter how hard life seemed.  Stallone saved all the letters of rejections and read them out the night he won at the Oscars.

Adrian Ghenie: The fuel of failure

Etel Adnan shows colour alone is all that the painter needs
Returning home, Ghenie felt lost and unsure. With a group of friends, he talked about what to do next. They came up with the idea of opening a gallery as a meeting place and Galerie Plan B was born. Their intention was to establish a program for Eastern European artists and connect them with the outside world.  This became the starting point of Ghenie’s successful career as an artist leading Ghenie to say,
“If you feel that you are totally disconnected, that the world is far, that you have no chance…organise something.  Put people together in a group with a name or something.  Then try to build a program and messages.  Sooner or later, somebody will receive them and will be curious to visit you.  Then you have a connection.  If you do something interesting, then you have a root.  You are in.”

Adrian Ghenie: The fuel of failure

What I see in Tal R’s paintings
Ghenie’s paintings in the first group show in 2006, went up for sale for between €2500 to €4000. In 2009, l attended his first show in London titled, ‘The Darkness for an Hour’, at Haunch of Venison. At that show, Francois Pinault, the owner of Christie’s and Haunch of Venison, brought ‘Nickelodeon’ (2008) for €60,000.  In October 2016, the auction house sold ‘Nickelodeon’ (2008) for £7.1m as demand for Ghenie’s paintings outstripped supply. [Art Newspaper) 
Stuart Bush Studio Blog, Adrian Ghenie, Nickelodeon, Adrian Ghenie: The fuel of failure
Adrian Ghenie, The nightmare, 2007 all rights remain with the artist @Adrian Ghenie
Ghenie’s latest large paintings are now priced between €750,000 to €1.1. He represented Romania at the 56th Venice Biennial in 2015. Ghenie is now represented by Pace and Thaddaeus Ropac galleries.
To enhance my knowledge, I took a close look at Ghenie’s work.  I wanted to contemplate what is it about his paintings that has to lead to so much attention and recognition. I realised that chance is a big factor when working in the art market and it is a major element of Ghenie’s paintings.

Adrian Ghenie: The fuel of failure

The ultimate experience – Crashing Wave by Mary Heilmann
Collages of documentary films, historical images and still images from David Lynch and Hitchcock inspired Ghenie’s ‘Nickelodeon’ (2008) and ‘The collector’ as he successfully rendered the texture of black and white celluloid film into the paint.   Ghenie translated the cinematic impression of velvety blacks, light and texture into browns and reds. Which heightens the meaning and emotions and affects the dark undercurrents of the subject matter.
Stuart Bush Studio Blog, Adrian Ghenie, Nickelodeon, Adrian Ghenie: The fuel of failure
Adrian Ghenie, Pie Night Interior 12 2014 all rights remain with the artist @Adrian Ghenie
Once Ghenie’s preparatory images are finished, his next step is to paint with house-hold decorator’s brushes on to the large white canvas. The crude wide headed brush is used in rapid movements to create washes leading to runs and dribbles on the white gesso.  On top of the broad strokes, Ghenie shows his skill and dexterity with a brush to get some of the detail down. Ghenie waits for the representational painting, that at times is drab, to partly dry before using a cloth to dry it. He then uses a trowel, palette knife or a squeegee like a brush introducing a variety of colours to contrast to the earlier brush marks. New marks are scrapped and smeared across the surface burying the detail.

Adrian Ghenie: The fuel of failure

The inspirational work of Franz Kline
There is plenty of space in Ghenie’s larger canvases to play.  Ghenie juxtaposes a variety of techniques from drips and scratches, with pours and smears.  The slathered paint sends his paintings towards abstraction.  Occasionally, just to make it interesting, he throws in an element of photographic college to ground the staged accidents and composition. Ghenie stated that
“when you try to paint a tree, you realize, ‘I cannot paint all the leaves, I cannot paint all the textures.’ So you have to invent a movement of the brush that would suggest, in your mind, a tree. That is, essentially, abstract.”
There are many fiascos along the way, however, Ghenie knows how to manipulate paint like a master. In his latest work, he takes this mixture of technique and turns painting further towards a form of collaging painting.  As this all comes together there is a strong element of what Ghenie callers “a Russian roulette moment” where chance, accident, instinct and the fear of failure leads the way.

Adrian Ghenie: The fuel of failure

What I have learnt from Alex Katz
Ghenie’s nostalgia for the craft of painting is clear to see.  The techniques from modern masters find their way into his paintings. Distortions from Picasso, accidents from Bacon and squeegee from Richter.  His subject matter comes from across the centuries.
Stuart Bush Studio Blog, Adrian Ghenie, Dada is Dead, Adrian Ghenie: The fuel of failure
Adrian Ghenie, Dada is Dead 2009 all rights remain with the artist ™ Adrian Ghenie
Ghenie reminds the viewer of the collective imagination of historical figures and moments in his earlier paintings.   Once figures of the establishment were taunting and terrorising us now we are taunting and terrorising them. He evokes an overall feeling of contemptuous scorn and caricature, as Hilter, the bogeyman watches us as we sleep in the painting,  ‘Nightmare’ (2007).
Ghenie’s versatile approach to painting using textures of smooth buttery paint creates intriguing compositions of visual harmony that feels almost confrontational.  There is an overall fluidity across his canvases that is visually captivating.  He asks interrogating deep questions about 20th history through the broken up surface. Ghenie acknowledges that failure helped him to dismantle the traditional approach to oil painting. Clearly stating painting is far from dead.

What to paint – The recipe for failure

Stuart Bush Studio Blog, What to paint, The recipe for failure
Stuart Bush, Hopes and Fears, Oil on canvas, 85 x 150cm. All rights reserved by the artist ©Stuart Bush
I remember just starting out as an artist, and I didn’t know what to paint. The choice seems so vast and momentous. I was often lost in thought as I was worried about making the wrong decision. I wasted a lot of time and energy when l should have just got started. Recently I heard this advice from Herbert Swope (b 1958) the editor and journalist, “I can’t give you a sure-fire formula for success, but I can give you a formula for failure: ‘trying to please everyone all the time.” Although these words of wisdom do not come from an artist, it is excellent advice.  It took me a while to figure it out that l shouldn’t be trying to please everyone, in fact, that was the last thing I should be trying to do.

What to paint – The recipe for failure

Why do I paint
It is quite common when you’re new to painting to work on getting between three to ten points of interest in a painting. My main point of interest in my early paintings was the angst I was feeling. I wanted my audience to feel what I felt.
I made it easy for people to easily understand this feeling and point of view.  However, l have learnt that l need to leave each painting open to interpretation.  A strong painting works on many more levels.  This allows everyone to look deeper and to see different things in the work. The sleigh of hand is to take stuff out rather than put things in.
I paint the painting I want to see.  As I know, there is a lot of people who have the same tastes as me.  I ask myself what really excites me?  What can I uniquely achieve on a canvas? If there are some tough steps I need to do to achieve my next painting, then I need to do those hard steps.

What to paint – The recipe for failure

Why painting still matters - Interviews with 5 contemporary painters - Guardian Newspaper
I have done this by learning to say no.  Often painting is a choice of what not to do.  I now know I don’t need to be worried about whether people like it or not. I have learnt that whatever I choose to do will be worth the hard work.  As long as I live a life of total engagement with my work, I will be content.  When that commitment comes through my work, the choice of what I paint doesn’t matter.  Apparently, there are 100,000 people with similar interests to me somewhere in the world.  l paint a painting that I would be thrilled to see.  My audience is a stadium of me!
the recipe for failure, stuart bush studio blog, what to paint
©Stuart Bush, Strange Heart Sings, oil on board 30 x 40 cm

What to paint – The recipe for failure

A painting has to stand up by itself

Rebound from a failed painting

Stuart Bush Studio Blog, Rebound from a failed painting, Law of the jungle
©Stuart Bush, Law of the jungle, oil on aluminium panel 38 x 76 cm
I was taught at school that everything had to be right.  I was encouraged to conform so that when I grew up I would make a good employee. Education was stifling.  I was urged to aim for perfection; however, I was a long way away from achieving that.  Sketching and doodling were discouraged, learning from failure was hindered.  As a consequence, I had no idea how to rebound from a failed painting.
When I started to learn to paint I use to stop, look and make a judgment about my progress. I worried I was wasting my time and making a blunder.  I hated being wrong. It is a struggle to complete a piece of work and I didn’t realise that I needed to keep working until the artwork was ‘finished’. If I stepped back too early l was not happy with what l had achieved.  It took me a while to realise that l needed to conclude the artwork, then reflect, review and try to acknowledge what didn’t work.

Rebound from a failed painting – related post

Painter killed by his own bad art
Then for years when l made a failed painting, it was like hitting a brick wall.  It would take me weeks to recover, to stop procrastinating and worrying. I would ask myself where did I go wrong? What lessons can l learn for next time? I’m not sure when l finally realised that a failed painting is a near win.  That each time l practised the experience allowed me to grow.
By learning from my near wins l slowly learnt that I could avoid the same mistakes.  The flourishing painter, Alex Katz said it took a thousand paintings to achieve his ‘Big Style’.  Michael Jordan, the highly successful basketball player, missed nine thousand shots in his career.  Thomas Edison, the prosperous inventor, said after inventing the light bulb, ‘I have not failed, I have just found ten thousand ways that didn’t work.’

Rebound from a failed painting – external link

9 Times History's Greatest Artists Made Bad Artworks - Artsy

If at first you don't succeed, celebrate - Tate website
The painting process needs to be inquisitive, open and free.  Before I start a painting l no longer think that what I intended will happen. I know if it fails that something else will happen instead. A painting with difficulties and flaws leaves the door open to the next work and the next work after that. It gets me closer to where I wanted to go without realising where ‘where’ is.
If the opposite was true and I had an idea first.  When I made it, it would be lacking in integrity, authenticity and a soul.  It would be stillborn.  It would be dead.  Like I feel about the painting ‘Law of the Jungle’ above.
I have slowly realised a failed painting has no negative impact on my long term career unless I let it. Thomas Edison stated that “Our greatest weakness lies in giving up. The most certain way to succeed is always to try one more time.” Therefore l focus on the skills that persist past the painting, and look for the best option to create more choices.  There is no conceptual end, just a deeper rabbit hole.

Rebound from a failed painting – related post

What have I learnt from Alex Katz

The ultimate experience – Crashing Wave by Mary Heilmann

The ultimate experience - Crashing Wave, Mary Heilmann, Stuart Bush Studio Blog
©Mary Heilmann, Crashing Wave 2011 oil on canvas 127 x 101.60 cm, All rights are reversed by the artist
At the Whitechapel Gallery in 2016, many thoughts rushed through my mind the first time I saw the painting ‘Crashing Wave (2011)’ by Mary Heilmann.  As I looked at the painting it evoked a special moment.  I remember being out on my body board on Manly beach, Australia, at complete peace with my surroundings.  The air was crisp, and the sun was bright as I pitched forward. I kicked with my flippers while paddling hard with my hands as I took off down into a crystal clear barrel wave. I rode the perfect wave, a foaming mass of white water.  The ultimate experience!
 
It was a weird feeling being out in the sea, which strangely had surprising similarities to painting in a studio.  There is the same solitude in painting when you’re standing with a brush in front of a canvas.  You’re in apparently harmless water, but there is the feeling that if you’re not alert, like one wrong move at the peak of the wave, you could end up scrambling to stay on the surface. The consequence being that you could get thrown around and washed out. Mental and physically rejected back on the beach or in front of a failed canvas.

Related posts; The ultimate experience – Crashing Wave by Mary Heilmann

What I learnt from Alex Katz
Mary Heilmann’s unforgettable painting combines subject with spills and accidents, runs and washes, that are akin to nature.  Although Hellmann only witnessed surfing as a spectator sport, she has captured its impression in the surface energy of her painting. Using a geometric structure, Mary invites you to have an aesthetic experience.  A remarkable vibrant experience that is enthralling, leaving the feeling that reality has been refreshed.
 
Mary highlights the need to be at one with what you are doing.  One mistake and it’s over.  In both situations, you can spend a lot of time thinking and waiting for the right moment; the right wave or inspiration to get started. Hoping for the world to move through you. Undisturbed by turmoil and disorder.  Aiming for a placid stream of serenity where things come together in the stillness.  When you are in tune with that stillness, incline your mind towards a majestic moment.   Confronting the sharpness of life as you harness nature and ride the wave of an idea back to shore.

External related link

Mary Heilmann's biography - artnet.com

As Mary Heilmann says, “Each of my pictures can be seen as an autobiographical marker. A cue by which I evoke a moment from my past or my projected future. Each a charm to conjure a mental reality and to give it physical form.”

 
Mary Heilmann was born in 1940 in California. As a student, she trained as a ceramicist and a sculptor. After trying to complete in an all-male environment in both these fields she struggled to get any attention.   Then Heilmann decided to paint. She had her first show in New York in 1970 at the Whitney Museum of American Art after moving to New York in 1968.

Related posts;  The ultimate experience – Crashing Wave by Mary Heilmann

Understanding the 'Oak Tree' in conceptual art via Russian Politics

I love my work more than what it produces

I love my work more than what it produces
©Stuart Bush Hard to Concentrate, oil on board 30 x 40 x 3.5 cm
I am happiest when I realise that there is something to investigate, something that doesn’t quite fit.  I love the slow development of an idea.  The slow convergence of thoughts that often come after a period of incubation. l realise then that there is a problem worth tackling, a problem that is going to become my muse.  It is exciting to think that possibly, this concept hasn’t occurred to anyone else.  If it has occurred to someone before me, they will likely approached it in a completely different way.  I love my work more than what it produces.
 
I love going deeper, I just follow my hunch and allow it to unfold. When l am relaxed fresh insight and new connections will often present themselves. I enjoy being spontaneous and trying the different things that occur to me in the moment. Taking half formed concepts from other disciplines; taking them back to something simple and basic. Stripping away the layers of nature and making them new.

Related blog post; I love my work more than what it produces

I wish I could paint everyday
 
In doing so I have come to realise the significance of another type of time, so called idle time. I can’t explain it or the steps involved. But it’s time drawing, time photographing, time playing, time experimenting in my sketchbook and time idlily painting.  It isn’t time squandered.  It’s development time, where I take one step forward, two sides ways and often one backwards. Time that becomes something. 
Don't be afraid to make a mistake - Guardian newspaper
 
If I trusted that everything was already correct I wouldn’t discover anything new. So instead, l trust myself to challenge that previous knowledge and develop my ideas and connections. As a result l often find new exciting forms of representation.  No wonder I love my work more than what it produces.
 
Once the work is made however, I worry about having my ideas on show.  I am naturally shy and I don’t like being the centre of attention.  My creative work is never finished, I can’t wait to get back to my studio to play and exercise my signature strengths.  I thrive on the process of discovery and I want to paint something better than I did yesterday.  I have come to realise, I love (the development of) my work more than what it produces.  
 

Related blog post; I love my work more than what it produces

The art of being idle

It takes discipline to have creative freedom

Stuart Bush Studio Blog, It takes discipline to have creative freedom
©Stuart Bush, Empire state of mind, mixed media on canvas, 85 x 150cm
I crave for a life without physical, mental or financial constraints.  It has been my intention not to have limits on what I do, what I say or how I spend my time.  I want to make what I want, when I want.  One of the attractions of being an artist is the concept of free expression.  However, our culture, often wires us up to do what is safe and sensible.  In my experience, it takes discipline to have creative freedom.  
 
Commercial art is a good, sensible way of making a living from art.  It has a project outline, a list of do’s and don’ts and set deadlines. To get paid you need to do what is required. It ultimately has a boss saying, ‘you have to do this’, ‘this isn’t what the stakeholders are looking for,’ or ‘you need to make some changes’. But this isn’t the type of creative or artistic freedom I’m looking for.  

Related post; It takes discipline to have creative freedom

Ideas behind Empire State of Mind painting
 
There is nothing wrong with someone else choosing this occupation.  I’m not being judgemental in any way.  I am personally not good at being told what to do.  Especially when it comes to my creativity.  Life would be boring if everyone choose the same route.
 
For me, a different route was required. When I was looking at job opportunities it was important to me that I found something that gave me time off during the week.  If I had time off in the week, I could follow what I love without having to struggle for money or time. The job I chose isn’t creative or artistic, but it is something I thought I would enjoy. Nevertheless, l chose it mainly as a way to pay the bills and give my family and me a good quality of life.
 
I am not saying working full time isn’t a comprise, it is.  However, there are clear benefits to this approach.  During the week with the rest of the family occupied with school or work I can be creative in my studio, there no-one is cracking the whip.  No-one is telling me what to do. This is great, however, it creates another problem.  Deep down I know I don’t have to work too hard because I don’t need to break out of poverty.
 

Related post; It takes discipline to have creative freedom

What I struggle with as an artist
Over the years artists like Picasso, Matisse and Van Gogh unintentionally created a belief that to have freedom as an artist you need to be impoverished.  Picasso died in 1973 and this myth needs demystifying.  Things have changed drastically since then.  The world has become a different place since the internet.  Artists do a variety of different things to sustain a creative life alongside a family life.
 
I need to find ways to be more self-motivated. I don’t want to lose my direction and determination but at the moment my life style suits me.  If someone asked me if l would chose a job that is related to my art, but loose my creative freedom the answer is easy.  I want to be free to slay dragons.
 

Recommended link; 

Making a Mark - Blog
Yes, I have to work round everything else in my life.  Art has to come after family life, my job and hundreds of chores.  That’s fine. it just takes a bit of adjusting in order to create a balance.  I would love to do art instead of my full-time job. However, without money and life/work freedom, I won’t be able to work towards making the world a better place through my art.  Working to a brief of some kind would get in the way of my ideas.   
 
Everyone wants freedom.  As an artist I should do the things that I have to do in order to do the things I want to do.  I realise I am fortunate to have realised that it can take the opposite of freedom to have artistic freedom.  It takes self-control and direction if you want the benefits of being your own creative boss.  It takes willpower and self-mastery to be able to make what you want when you want.  To be able to prioritise my relationship with my creative work takes an unbelievable amount of discipline to have creative freedom. 
 

Related post; It takes discipline to have creative freedom

The benefits of Adversity

An art collector’s role in society

Stuart Bush Studio Blog, an art collectors role in society, he has never been in love, he doesn't know what love is
©Stuart Bush, He has never been in love, he doesn’t even know what love is, gouache on cartridge paper, 43 x 24 cm
In Malcolm Gladwell’s book, ‘David and Goliath, Underdogs, Misfits and the Art of Battling Giants,’ Gladwell considers how disadvantages can be advantageous.  I found his book insightful and it made me think about the art collectors role in society.
 
The book starts with the story about the conventional interpretation of the familiar biblical tale of David and Goliath.  In the story David is the symbol of the underdog. However, Gladwell explains in his interpretation, that there is another view of the ‘underdog’.

Related post; An art collector role in society

Finding a love for collecting art
 
David’s sling is a devastating weapon.  It was one of the most feared weapons in the ancient world. The stone that comes from David’s sling and has the equivalent power to that of a bullet from a 45 calibre pistol.  It also sounds like Goliath is a guy who can’t see.  There are many suggestions in the story that Goliath is suffering from acromegaly which is a benign tumour on the pituitary gland.  The side effect of the cyst is that it can cause restricted sight.  
 
Gladwell explains the story is really about a big lumbering guy weighed down with armour. Plus, Goliath can’t see much more than a few feet in front of himself.  He is going up against a courageous kid running at him with a devastating weapon which has the power of 45 calibre handgun.  That is not the story of a so-called underdog.
 

Related post; An art collector role in society

Wishing for dyslexia - also inspired by 'David and Goliath' by Malcolm Gladwell
This can be related to being an artist.  As an artist you have to have the courage to stand and say, “I have a new way of doing things, and I don’t care if you think I’m crazy.”  As an art collector; they have to look for that craziness, if they want to find a David.   
 
On the face of it, every artist could be a David.  But by choosing carefully and looking for what is not apparent, the art collectors role in society is to recognise the advantages that an artist protrays in his work that will make him successful.  Once the advantages have been spotted by an art collector, the collector needs to support the artist and to root for them.  Thereby building a mutually beneficial relationship. 
 
“If there’s a Goliath in front of you that means there’s a David inside of you,” Carlos Rodriguez.

Related post; An art collector role in society

How I see art contributing to society

Isle D’Hollander – in and out of abstraction

Stuart Bush Studio Blog, Isle D'Hollander, In and out abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 41 x 29 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
There is something very solitary about Isle D’Hollander’s art. She paints modest and subtle paintings that float in and out of abstraction.  In this review of her exhibition at Victoria Miro in Mayfair, I want to discuss her work as she immerses herself in the now, and interpret the open questions she asks through painting.  
 
D’Hollander’s paintings are like a form of mediation with Belgian landscape; as she tries to capture aspects of the illusion we see.  The uncomplicated studies are painted from memory after long walks and cycle rides.  They have a tranquillity resembling the gently, rolling, green landscape. They are instruction us to be more present with regards to nature, to notice and to look at what is behind our reality and life.

Related post; Isle D’Hollander – in and out of abstraction

Kerry James Marshall, The History of Painting
 
D’Hollander uses paint to try to find herself.  Her painting ‘Untitled,’ 1996 hints at abstraction however is entrenched in reality.  It is painted with soft thin layers of paint referencing the landscape even though it rejects most of the detail.  The sombre tones of the painting are like a lightly applied mist.  Words really don’t do this tender little painting justice.  It grasps at feelings and emotions that evade commentary.  The quick studies appear to be completed without doubt or hesitation but as a painter, I feel the deep insecurities that lurk under the surface.  
 
In Untitled 1992-93, in the back room of the gallery, perception is everything as representation completely recedes.  Like her other paintings, it needs time to look at and investigate in order to get a sense of it. Her paintings are intended to be mysterious.  
Stuart Bush Studio Blog, Isle D'Hollander, In and out abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 41 x 36 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
Through abstraction, the paintings to try to portray more than realism can offer.  Therefore, grasping at timeless primitive forces and going beyond what is visual.  Different weights, different velocities of marks add to the overall effect.  Wet and dry marks, with a brush, a palette knife, a cloth or by using fingers stimulate an emotional response.  Like a musician composing harmony and using dynamic configurations for pitch, tempo, and space.  The tonally graded colours work to give emotion like an eloquent drama.  The colours and forms depicting the impact of modern life on the human soul.
 
In 1907, Wilhelm Worringer wrote, “The tendency to abstraction is a consequence of people’s deep insecurity about the world.” Deep insecurities and uncertainity about the world is motivation for many painters and artists.  As a painter, I use paint to try to access the deep meaning that is indeed hard to describe.  Like D’Hollander, l work and strive towards a poetic quality.  
 

Related post; Isle D’Hollander – in and out of abstraction

A review of Sean Scully's work
 
D’Hollander sadly committed suicide aged 28.  I do hope the lack of recognition in her life had nothing to do with the choice to take her own life.  During her life, D’Hollander had only one solo show. It is  sad to think that painting wasn’t able to keep her in this world for longer.  
 
D’Hollander discounted the importance of what she had achieved.  The body of work she left behind from 1989 to 1997 shows a maturity that doesn’t reflect her young age.  Her artwork is interesting and exciting with each painting asking a different question about why things need to be different.
 
 
Stuart Bush Studio Blog, Isle D'Hollander, In and out of abstraction
Isle D’Hollander, Untitled, 1996 Oil on canvas, 47 x 40 cm, © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
In Neil Gaiman ‘Make Good art Speech’ he talks about what you need to be thick skinned to have a life in the arts, in this world, it’s shame that D’Hollander didn’t hear it.
 
“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 and open it and read it, and put something in a bottle that will wash its way back to you: appreciation, or a commission, or money, or love. And you have to accept that you may put out a hundred things for every bottle that winds up coming back.”
 

Related post; Isle D’Hollander – in and out of abstraction

Tomma Abts Serpentine exhibition review
The small paintings are so full emotion and feelings. With their own unique rhythm.  As a body of work, there is energy running through the paintings.  An enquiry into what painting can express.  With representation partly left behind, the painting goes beyond what realism can offer.
 
The life of an artist is very precarious.  D’Hollander left this world leaving these poignant painting, in some way making life better for all us.  They help us understand that there is more to what we can see.  It is a real shame she isn’t here her to celebrate some of the love and appreciation before departing.
Stuart Bush Studio Blog, Isle D'Hollander, In and out of abstraction
Isle D’Hollander, Untitled 1992-93 Mixed media on cardboard 71 x 100 cm © The Estate of Ilse D’Hollander. Courtesy The Estate of Ilse D’Hollander and Victoria Miro, London/Venice
 
 

Related post; Isle D’Hollander – in and out of abstraction

Review of 'All too human, Bacon, Freud and a century of painting life'

 

Finding a love for collecting art

Stuart Bush Studio Blog, Inclination of form, finding a love for collecting art
©Stuart Bush, Inclination of form, oil on canvas
I believe finding a love for collecting art is about finding an artist with a kindred spirit to yourself.  Artists critique all areas of life, from nature to politics to the social system.  They look not just on the surface, but they investigate and ask questions in order to seek new meanings and associations.  
 
When I come across a work that l feel a connection with, I write down the artist’s name.  I also Iook for websites and galleries that exhibit the said artist’s work, and I join their mailing lists. I can then delight in opening my inbox and finding compelling communication.
 
My advice is to broaden your outlook and build up knowledge about different types of art.  By improving your understanding of art, it can help you feel more confident with finding a work of art to purchase.  It is easy to find images and text about artist’s work on the internet, and the information can prove to be very informative.

Related post to; Finding a love for collecting art

A painting has to stand up by itself
 
Understandably, there may be apprehension when starting an art collection.  Artwork can seem a hard thing to put a value on.  Negative thoughts of potentially wasting money can stop impulse purchases. But with careful research, you can avoid the feeling of making an oversight.  A website like artnet.com or a artist’s website can be a very useful place to start.
 
There are many different price points.  Owning an original painting will be at a different price point than owning a print.  It is all about what price you’re happy with.  Next is the question when finding art that you love, is to ask yourself ‘ls there anything more important I need to spend my money on?’ However, if you see an artwork that speaks to you, who cares what price you paid as long you love the work.  
 

Related post to; Finding a love for collecting art

How I see art contributing to society
 
There are a lot of people who look to others to say what is good or bad, valuable and valueless. Following the crowd is easy. On the other hand, sometimes a work of art just grabs you and you can’t stop thinking about it.  When art is this good, any research on the artist or the artist sales history can feel meaningless.  If you love it and the work is set at a reasonable price, the artwork strikes a chord, then buying the artwork straight from the artist can develop into a relationship.  A relationship where the collector is supporting the artist directly.   
 
This kind of relationship is beneficial for both parties.  For the collector, they are collaborating and directly engaging with the artist. The collector can aid and abet the artist to further explore and to realise projects.  For the artist, they appreciate advocates of their art, it boosts their self-belief and helps to finances more work.  
 
Finding a love for art to me is about awakening your senses. Who cares what is fashionable or what other people think.  I don’t think these concepts should be considered when someone purchases art.  
 
When art asks, ‘what is the meaning of this?’ and ‘what’s it all about?’  it makes life visible.  And I can’t help being intrigued.  
 

Related post to; Finding a love for collecting art

A painting has to stand up by itself
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