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.  

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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.
 

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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. 
 

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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’.

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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.
 

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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.

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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.

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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.  
 

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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.”
 

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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
 
 

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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.

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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.  
 

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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.  
 

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A painting has to stand up by itself
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My typical day as a painter

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
Since I have been a parent, my typical day as a painter starts with waking up between 6 and 6:30 am.   I have a clear head in the morning and I have learnt to appreciate this early start as it allows me to catch up with any writing l have to do. 
 
Everyone else in the house is up by 7:30 and then l enjoy spending quality time with the family.  I help my boys with their homework and get them ready for school. I really appreciate these enjoyable family moments.  I look forward to the short walk to school.  On the way back I have the opportunity to start thinking about my first tasks in the studio.  
 

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Increasing learning in the studio
 
 
Stuart Bush Studio Blog, When it is advisable to wrong, My typical day as a painter
Stuart Bush, When it is advisable to be wrong, work in progress
 
For the next three hours its time to put my head in the rabbit hole.  First, I remove all distractions from the studio as I don’t want to be reactive to any outside influences.  Then l immerse myself in painting.  This typically takes me until my stomach lets me know its lunch time.

External links;

Jerry Saltz: How to be an artist
 
If I have managed to achieve all this by lunchtime I feel like I have already won the day.  I have completed sixty minutes or so of writing. Ninety minutes with my family and two to three hours of painting.  Now that my main priorities are achieved, I see the rest of the day as flexible.  If I still feel inspired, I can return to the studio or I can get on with business or home tasks until it’s time to pick the children up from school. 
 
I always look forward to walking to school and being able to ask the children about their day. I then spend the rest of the day with the family. I may do some reading, writing or play games with the family or even do fitness exercises.  If I have any free time, I try to catch up on what is left of my business tasks or studio tasks. 
 
Then the only task left to do is to decide what am going to paint the next day.
Stuart Bush Studio Blog, increasing learning in the studio, My typical day as a painter
Stuart Bush, When it is advisable to be wrong, work in progress

Ernest Hemingway offered this advice for writing, but I think it suits any creative activity. “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 I can tell you so try to remember it.” I have found the advice very valuable.

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Places I go for inspiration

Wishing for dyslexia

The Rush, Stuart Bush Studio Blog
©Stuart Bush The rush 2016 oil on canvas 50 x 70 cm – SOLD
I recently read a book by Malcolm Gladwell called David and Goliath. The theme of the book highlights how we are misled about the nature of our advantages and disadvantages.  Gladwell explains that it isn’t always correct that our disadvantages preventing us being successful in life.  “We have a definition in our heads of what an advantage is — and the definition isn’t right. And what happens as a result? It means that we make mistakes. It means that we misread battles between underdogs and giants. It means that we underestimate how much freedom there can be in what looks like a disadvantage.”
 
In chapter four, Gladwell starts with the question, ‘You won’t wish dyslexia on your child, or would you?.’ Gladwell explains that when you’re dyslexic to overcome reading and writing issues, dyslexics really have to work extremely hard. That extra effort to compensate for your disadvantages develops into new advantages.  Malcolm says, “If you take away the gift of reading, you give the gift of listening.”  In my case rather than listening I developed the gift of seeing.
 
While battling with comprehension as a dyslexic, I had to concentrate extremely hard. I learnt to look harder and more deeply while fighting to understand and comprehend what I was reading.

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The benefits of adversity
The usual strategy for learning to read is to be able to break down words and understand each syllable. Enabling the reader to form the words by saying the sounds. I was told by a psychologist when I completed a dyslexia test that I have learnt to memorise thousands of words whole.  For this strategy to work, I have developed an advanced visual memory to compensate for my weakness.  To me, this makes a lot of sense as I am not good with reading and spelling words I am less familiar with.
 
 
I believe that what Gladwell talked about in his book is very interesting. I think this idea broadens as Gladwell noted and is the reason why many dyslexics end up becoming artists. Through seeing and thinking thoroughly, they continue to struggle to understand the world.  Dyslexics are often resourceful individuals, and they continually look for a solution. Dyslexics develop and build an advanced visual memory, they start to notice what others ignore.  
 
This happens to me, I start to ask questions when I notice something I find interesting. I ask, has anyone else observed this?  If they have, surely they would have painted it or draw attention to it another way.  I continue looking around to see if anyone has in case I have overlooked it and missed it.  After a while, I began to trust that these things that I have noticed have probably been ignored.  
 

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How technology Helped Me Cheat Dyslexia
Then I start the journey of processing these things of interest. Looking at them even more profoundly. I play with them in my head and in a sketchbook turning them into a variety of outcomes in order to see what works.  The hardest part is to look and see if I can turn it into successful artwork.  This is really what an artist’s role is, to think deeply about what hasn’t been noticed and draw attention to it.
 
Gladwell highlights this fact in the book, “An extraordinarily high number of entrepreneur are dyslexic about a third…There are two possible interpretations for this remarkable fact. One is that this extraordinary group of people triumphed in spite of their disability. That they are so smart and so creative, that nothing, not even a lifetime of struggling with reading could stop them. The second more intriguing possibility that they achieve in part because of the disorder.  That they learnt something in their struggle to be at an enormous advantage. Would you wish dyslexia on your child?”
 
George Bernard Shaw, “The reasonable man adapts himself to the world,  The unreasonable one persists in trying to adapt the world to himself.  Therefore, all progress relies on the unreasonable man.”
 

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Dyslexia isn't going to stop me

A painters approach to street photography – Stuart Bush Studio Blog

©Stuart Bush, untitled photograph, A painters approach to street photography
©Stuart Bush, untitled photograph, A painters approach to street photography
I found the question of where to start as an artist after art school an easy one. I had a desire to capture something about now; the present moment in the city.  My camera seemed an obvious place to start. I picked up my camera and took pictures.  Cartier Bresson labelled it the “the decisive moment.”  I wanted to capture a split second of an ever-changing mad rush.  By doing so, I found a way to make art; I discovered a painters approach to street photography. 
 
My walk with a camera started with no intention of where I was going; not in my steps and not in my art.  Each time I went out with my camera, I spent more time reflecting on the photographs I took. Looking for a breadcrumb to follow.
 
Out of the hundreds of photographs, I knew there was a way forward. My own unique way forward. I know I was interested in something significant, but it was impossible to put it into words.  I was interested in elements of form, of architecture and individuals, and formal qualities of a composition.  Over time this vision developed into a kind of transcendence. A nowness of this specific point in time. Of my time and our time.
 

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The influential work of Francis Bacon lead me to become a painter
My camera works an extension of me, I use it as a tool to capture my artistic vision.  I am looking for the right something. When the right individual with the right background, in the right composition, comes together in the frame.  I hope to capture an emotion and feeling of being there. To add a sense of place.
©Stuart Bush, untitled, street photography, A painters approach to street photography
©Stuart Bush, untitled photograph, A painters approach to street photography
When I am out taking photographs is not essential for me to communicate with the people I am photographing.  I try to be invisible, I don’t draw attention to myself.  I very rarely use a direct likeness of the individuals in my paintings, only sometimes in my drawings.  If I was ever asked what I was doing which I never have, I don’t think people would understand. How can I explain I am capturing the randomness of life. This quest to me feels unique.  
 

Related links; A painters approach to street photography

Street photography.com
I paint what I photograph rather than exhibit the photographs.  The are many reasons why.  I have become less interested in narratives and less interested in the details of the image. I want to abstract something out of those moments. To strip away the visual noise, to look for something beneath, where people and the city emerge in a meaningful and surprising way.  At the end of the day, we all see and notice these fleeting moments.  I am trying to ask what does it say? What does it all mean?
 
A fated poise, a combination of colour, texture and cut of the clothes translates into our culture. Street photography can become quite obsessive. It takes dedication to capture that moment. That purely visual moment.  It is gone so quickly there is hardly any time to capture it.  I see it all being about chance. An accidental chance.  In that accident, it says something about being here on this rock in this moment of time, that I don’t think can be said in any other way.
 

Related post to; A painters approach to street photography

How I see art contributing to society

What it takes to paint something original

paint something original
©Stuart Bush, Strange Heart Sings, oil on board 30 x 40 cm
When I started out on my journey, like most art students, my ultimate goal was to communicate what I see.  I was inspired by other artist’s work. As a consequence, I wanted to make my own significant contribution to culture. When everything has been done before, to have any chance of achieving this goal, I realised it’s important to understand how to paint something original and unique. In this post, I discuss what I have uncovered on my artistic journey.
 
In the book Outliers, Malcolm Gladwell explains his thoughts about his ‘10,000-hour-rule’ as, “the magic number of greatness.”  Gladwell’s idea is that originality only comes after spending 10,000 hours mastering a subject.  This rule makes a lot of sense to me. It is helpful as a guide to appreciating what it takes to paint something original.
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush Nobodies fault detail,
I believe looking is the most essential part of being an artist, especially for a painter.  Only after looking can you begin to realise what has been overlooked and then you can start to recognise what is already valued. Plus after reading about and viewing a lot of accomplished art you can start to understand the importance of making great art, and that originality is subjective. As I became aware of what art critics and sophisticated people thought l started to develop my own ideas about what was successful or unsuccessful. 

Related post; What it takes to paint something original

Jealously of other artist's work
This was the beginning of finding my own voice and my own unique visual ideas as an artist then an armed with a pencil, a blank sheet of paper and an open mind l can be transported to a place where ideas become instinctive, intuitive and spontaneous. 
 
I realise I am more likely to stumble across originality when I am making and taking risks. Accidents from unintended footprints, coffee cups rings, photocopiers, spills and other accidents all have their place. They happen when I least expect them and I learn as much from these apparent failures as I do from successes.  
©Stuart Bush, He has never been in love, he doesn’t even know what love is. Gouache on cartridge paper, 43 x 24 cm
 
Open creative sessions leave my thoughts uncovered and on display in their raw state and my ego is left aside. The energy and emotions in the preliminary drawings come from this outburst of freedom. They can be refined by repeating on another sheet. These ideas can be further explored and refined, but at that point, the conscious self comes back into the room.  The work from open-ended creation sessions can often be more prized than the problem solving finished work that follows. Getting this balance right is an essential part of painting something original.

External link; What it takes to paint something original

Is originality in art overrated? - Royal Academy of Art
 
After completing the preliminary studies l often don’t know the potential of the work. Often l store it away and revisit it at a later time.  This time away helps me to realise and appreciate its potential. I am always hoping to find an appropriate form that brings everything together in order to discover something fresh and insightful.  
Stuart Bush Studio, the rush
©Stuart Bush The rush 2016 oil on board 50 x 70 cm
Nevertheless, it is important to throw away what doesn’t work and quickly move on. This can be one of the biggest stumbling blocks for an artist.  New work can be a shadow or an echo of what the artist has seen or experienced before.  Selecting, editing and reworking is an essential process that leads to originality.  The artist’s studio is a place for demolition, revival and transformation.
 
Chuck Close, the New York painter, has this to say,  
“We often don’t know what we want to do, but we sure as hell know what we don’t want to do.  So the choice not to do something is often more important than the choice to do something.”  
I have discovered that a problem creation process is much more effective in finding exciting and original ideas than a problem-solving approach.
 

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I wish I could paint every day

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.  

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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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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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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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