Showing posts with label contemporary art. Show all posts
Showing posts with label contemporary art. Show all posts

Tuesday, March 6, 2012

Mourning the loss of film?


Golden Gate Bridge, By Michelle Geromel
I have heard my photographer friends bemoaning the change of film to digital. Indicating that no matter how advanced digital gets, it misses a depth and feel that film has. I wasn't really believing this until the other day when I picked up some pictures I had printed of pictures of Europe - some of which I took with digital, some of which I took with film. There is just something about the film, that makes things deeper, that the digital misses. 

Anyone else feel this way? Or see any other differences between digital and film?
For another look inside the making of art see Step Away From the Paintbrush!


Tuesday, July 12, 2011

Rediscovering Creative Voice



I know I have written about this before, but as an artist we walk a fine line, between giving people what they want and need, and being true to our own voice. It’s a tightrope walk at times for me because I want to give people want they want and are happy with. While at the same time, I need to paint what works best for me. Sometimes I end up giving away a part of my voice without even realizing it.

(Indian Americans would call this a version of soul retrieval - which can happen in three ways - a) soul theft: someone taking something from us; b) soul gift: us giving a piece of our soul away; or c) soul loss: occurring during times of trauma or death, when parts of us are tied up with other. Me, I tend to give away and not even realize it.)

A few years ago I was dating someone, and while he was very supportive of my art, he had this idea that my color palette was not right.  That it needed to more match his own aesthetic tastes.

I tried to see this as an opportunity to expand my color palette repertoire. And came up with a few additional color palettes with which to paint from that would more suit his tastes, and those of similar background. So I painted a new series in his colors and continued to do so, not because I loved those colors the most, but because I forgot I had ever painted differently.

Recently I dated a guy who has a very similar color tastes as myself. As a gift I went through my paint sketches and gave him one I knew he would love. The thing is, pulling it out, I realized I missed that color palette.  I missed not painting in ways most important to me.

So today, I opened a few new canvases and painted in my colors - not someone else’s - my own. And it feels really good.

Has anyone re-discovered a part of themselves, they had accidentally put aside? 
For another blog on a similar topic see Rediscovering a Passion

Saturday, February 26, 2011

Cheeky


As an artist, I feel that “good” art is art that elicits some sort of response. The worst response I could get for a piece of art work is no response at all. If someone loves it or hates it, then at least  the work has been noticed and felt on some level. 
The interesting thing about being an artist publicly showing work, is I get to hear what people are saying about my art (the good and the bad). It can at times be great instant marketing feedback and at other times an interesting look at our culture. 
I love this painting because it's fun and slightly provocative. To me this is a very girlie piece of art, and I love it for that reason.  I have had it, or a limited edition giclee of it, up at a lot of shows because it gets people to stop and notice my booth or wall space.  But as with any good piece of art - the opinions on this one vary drastically depending on who is viewing it. 
There is one thing, I've heard from multiple little girls that I don't understand.  More often than not, when a young girl passes this painting she will point it out as  "disgusting." Which makes me wonder, what are we collectively as a society telling our kids?  There are areas of the world where this response would not be the initial thought coming out of the mouth of babes. 
On the flip side, the funniest thing that I hear a lot is from mothers of teenage daughters, insisting that this painting is a picture of their daughter. This is interesting to me.  First, to discover that women pay this much attention to their daughters’ bodies and are proud of their fit nature. And second, because I think it’s sweet in a way that moms feel their daughters are flirty and sexy all at the same time. 
So what do you think? Does a piece of “good” art generate some type of response, even if it’s negative? Or do you only think of art that you like as “good?”

For another blog about reactions to art see Funny Things I Hear At My Art Shows

Sunday, January 2, 2011

Step Back

Came down into my studio this morning and realized that I was much farther on this painting than I thought.  I think that life, as in painting,  sometimes if we just step back for a second and come back with a different perspective that only a little time can give us, we are actually making more progress than we give ourselves credit for.
Last night I felt like nothing was reading right on this piece. I felt the girl’s hair and her back were just not coming together.  But that was because I was too close to it.  And my brain and ego were attached.  This morning, looking at the painting through the kitchen (my studio is downstairs) I realized that the parts I had been fussing about last night, were actually quite good - and reading as they should.
Kind of reminds me of a process Jayne Johnson (http://theclearingsight.com/) teaches in her goals workshop.  That before we set goals for the new year, take a few minutes and write down all the things we accomplished in the prior year - and then tell them to someone else.  Two things normally happen - 1st I always realize that I have done more than I thought (stop beating myself up so much) and 2nd, when I read the list aloud, I see/feel even more of the accomplishments I was writing, because it just again, gives a new perspective. 
So - next time I’m struggling with a new piece of art, I’m going to try to remember what I learned this morning - to step back, take a break, maybe work on something else.  And see if it really is as bad as I think, or if I’m actually on the right track, but just too in the way to see it. 
Anyone else have a similar story?
For another look inside the making of art see Happy Mistakes

Saturday, October 23, 2010

Painting Away The Angst

Started painting today, as I normally do - with some warm up paintings. (These end up becoming 5 x 7 originals that I create cards out of.) Not every painting makes the cut - the idea is to warm up, maybe try some new color schemes and get focused on the task of creating. Some might call this "getting in the flow." I think of it as shifting my brain from thinking-left-brained mode, to creative-right-brained mode.

Well, today I was just all over the place. I wasn't in a good mood, and it was translating into my work. So I definitely needed to paint that out - in order to be able to paint with intention and intended emotion, instead of with the all over the place emotion I was feeling (which would have resulted in ruined paintings).

So I began to paint hearts - all drippy. Normally I wipe the drips off, but in the beginning today, I did not.


As my time in the studio progressed, I was still not feeling like if I put paintbrush to canvas I would do a good job, so I continued to paint hearts. I finally started to feel in the flow. And in the end this is what progressed.


Although a few still managed to keep some of their original drippy nature. But hopefully with slightly more hopeful overtones.


Of course, now it is time for bed.  Guess the portraits will have to wait until tomorrow. But at least my brain has stopped fighting the process and work should progress much easier.

Anyone else have a way of shifting their brain and getting into flow or state?

For another look at the creative process see Keeping The Vision

Sunday, October 10, 2010

Step Away From The Paint Brush!


People always ask - how do I know when a painting is done. Well... sometimes I know instinctively. Sometimes I think a painting isn’t done and I come back a few days later, and see if the painting is showing what it was meant to show. And sometimes a friends comes over and says wow - Love It just as it is. And sometimes, I just know that it must be done because I have done one or more of the following:
  1. completely mess up a section that was working well, and then mess up another section the same way
  2. take the painting to the mirror, flip it around and see if anything stands out - For ex: is there a color that is too strong in one area and not present in another?
  3. look at the painting from a distance in a different location
  4. repeat any and all of the above, and finally LET GO...
This particular piece, I had trouble letting go of the idea that it was not done. I think because it is a little more raw then I initially planned for it to be. But every time I fight the process, I know from past experience, I will ruin the painting. A painting in some sense, has a voice of it’s own. And to ignore that is to risk taking a beautiful piece and overworking it.

I have two theories as to why a painting can insist on being what it is, instead of what I want. First, there is a belief, of many creative people, that we just let things come through us. A lot of times, when we are in “the zone” we have absolutely no idea how what occurred on the canvas happened as it did. Yes we understand the mechanics of it - but the actual creation, sometimes that happens in spite of the artist creating.

And second, I create my intentions in spite of myself. My objective for this piece - was supple and beautiful. Both of these things are apparent, and I think that is what this piece has created. So by getting out of my own way, the painting has maintained my vision, just not in the way I had imagined when I started.

Has anyone else had similar creative struggles?

Note: This piece has been censored, so that sites such as Facebook might not find it in violation of their guidelines. For an uncensored version go to my website

For another look inside the making of art see Walking the Creative Tightrope

Saturday, July 24, 2010

Love Yourself Gorgeous!


I paint in part to show that women's body are BEAUTIFUL. In an attempt to show women that THEY are BEAUTIFUL. Because, unfortunately, so many women think their bodies are not. There are a lot of reasons for this - social pressures, the ridiculous amount of air brushing that occurs on just about anything you see in print. The absolutely fabulous lighting that accompanies any professional photo shoot or on-camera interview these days. Past sexual abuse, verbal insults from middle school or high school, or thoughtless comment from a former lover. Whatever it is - many women struggle with self-image issues.

Ironically, even I, knowing better, still fall into that trap of not always honoring and loving my body. Of at times beating myself up about my body. Like this week, I was looking at this painting - called Shadow Play - and caught myself thinking negatively about my body. Cause - OK for this one, I was the model. And I was looking at the stomach on this painting and thinking - "Damn, why did I not suck it in for that photo?" And "Damn - why did I not paint that stomach flatter and skinnier?"

When I use myself as a model, it's not a vanity thing, it's a I need a new painting and it's 2 in the morning and I'm my the only model available, kind of a thing. So I have taken pictures of myself to use as reference at the worst possible times likes during my time of the month or right after my miscarriage. But hey, I had the urge to paint something new, something my previous reference pictures weren't showing, or to finish a story I needed to tell. So I did.

I suppose I wish for myself, what I wish for all women - to love yourself, curves, "flaws" and all. I promise, most men and any man worth his weight, will look at those seeming imperfections and LOVE them. So give him a head start, and love yourself first.

Monday, July 12, 2010

Inspiration


People always ask where I find inspiration. I guess I find inspiration all around, when I'm creating a new piece of art. But when it's like day 5 of painting on something, I sometimes need to be re-inspired. That's when I head to one of two places, or sometimes both at the same time. For some reason a Starbucks Latte and a trip to the beach works every time.

Where do you find inspiration?

Friday, June 4, 2010

Lack of Intention


Like most things in life, painting is better when done with intention. Take this painting I just started. I wasn't feeling it. Partly because while I do love men, this is the first full male booty painting I've done and I'm feeling a little unsure of the whole booty thing. But mostly I think because I allowed that nebulous feeling to invade my normal practice of setting an intention when painting anything.

The funny thing is I love a guy with a butt. It's actually one of my requirements. Guy's got to be able to fill out a good pair of jeans! But unless I'm giving a massage or knocking boots, I don't spend a lot of time getting familiar with that part of the male anatomy. And let's face it, sometimes not even then.

When I was in New York City, a gallery owner said that he tells all his artists to know WHY they are painting that particular picture. Because if you don't know why, your audience won't either. He recommended sitting with the reference picture and really feeling the feeling of what it is we want to express - then begin to paint. This advice has been priceless for me, especially when I get lost, overwhelmed or a little out of my comfort zone.

So going to go back to my easel now, sit with this particular reference photo and remember why I picked it in the first place. Write down that feeling and intention on the back of the canvas bars (to remember later) and hopefully paint a beautiful, sexy piece that fits nicely with the male torso series I've been working on lately.

PS - I think I've got it now. Something that made me smile like the Cheshire Cat as I sat down at my easel....

For another blog on intention when creating,  see Keeping the Vision

Tuesday, May 18, 2010

Double Standard?



It's a funny thing really. On one hand we have magazines like Allure, and Maxim showing women completely nude (with fabulous lighting and airbrushing of course). And on the other hand we have people who complain when they go to an art festival or art gallery and see a painting of a half-draped (partially clothed) woman hanging on the wall. Really? What is this about?

Since when did the female body - or any body for that matter - become OK to flaunt in public, on TV in commercials for lingerie, on the beach, or in a main stream women or men's magazine; and yet NOT be ok to see in an Art Gallery or at an Art Festival?

When I put paintings in restaurants, I always make sure that there is no nudity. But the fact that I sometimes feel the need to censor my own art when hanging it in an art setting is a little ridiculous. I generally hang paintings of half draped models, or paintings where the nudity is implied. But this still isn't enough, someone will always complain. And still others will look at a painting of a partial nude, or even of a draped model, and because she's not wearing a turtleneck call it "disgusting."

Nudes have been part of art for a very long time. My work isn't porn, it's art. Is there a sexy side to some of it? Sure. But that doesn't make it bad, wrong or inappropriate in an art setting? Absolutely not.

Oh yes, and just to clarify - this is an actual nude! ;-) 

For another female inspired post, see Honoring Ourselve as Women

Wednesday, April 14, 2010

Sometimes Size Really Does Matter

A few months ago my Mom and I went to Hawaii for vacation. I took lots of pictures of fish when I was snorkeling and now I'm painting a few. The problem with fish (creatively) is that they have a lot of tiny angles. And for some reason I decided to paint on smaller canvas than I normally do. Which means - I can't use my normal set of large brushes.

I know some say it's not the size of the tool, it's how you use it. But so far, I have not been able to figure out how to use a large brush to fill a tiny precise corner of canvas. Its like trying to hammer a tack into the wall with a mallet - it just doesn't work.

So now I'm sitting at my easel all hunched over, trying to work these tiny brushes into tiny corners. It's still kind of driving me crazy because I hate to work that tight and tense. But - I am making progress, which is fabulous. Guess I just needed the right sized tool for the job. Sometimes smaller really is better. ;-)

Monday, April 5, 2010

Happy Mistakes

I have a friend, Greg Martin, (www.lumartingalleries.com) who is also an artist. He has a concept which he shared with me called making a "happy mistake." This idea initially came up when something went wrong with one of my abstract paintings. And he said, maybe I would learn something or create a new type of art, now that I had to fix my mistake. At the time, it definitely made me feel better, but I didn't actually create anything new and unique from my "mistake."

A month or so ago, I decided to try gold leaf on a painting. Gold leafing is a 3 step process. Sealing the gold leaf is the third step in the process. Well, the sealant for the gold leaf had dried up, so I couldn't use it. I looked around my studio, found another form of sealant, and put it on the gold leaf. The next morning I came back, and realized that some of the painting and the gold had tarnished. At first I was a little irritated, because gold leaf in pristine condition is so pretty. But then I realized, that from an abstract painting point of view, having variations in the leafing was actually better. And is something that makes the paintings very unique and original. With no way to exactly replicate one, even if I make multiples of the same basic concept. This was indeed a very "happy mistake."

Have any of you had similar happy mistakes?

For another look at the making of art see Step Back

Friday, March 26, 2010

Lovers & Haters

Had an art show tonight at Gallery 104. I love interacting with everyone and getting to know their stories. And of course I enjoy seeing people's reaction to my art. It's very enlightening and can be quite fun - especially when people find something they feel is unexpected, and tell their friends.

I honestly don't care if someone doesn't like my art. That's fine, my art doesn't have to be for everyone. But I do care when someone is bitingly and intentionally horrid about it. Which happened tonight.

I know that generally when I have these types of hyper critical encounters, it's with someone who inside is an extremely frustrated artist. But understanding does not make it less of a sting. Luckily tonight, after that encounter 5 people came up to me and said they liked or loved exactly what the other person had criticized.

I know as an artist, I shouldn't "care" what people think. I paint for myself, and I hope people enjoy what I bring into my work. However, let's be honest - art is incredibly personal. Every painting I do shows something of me in it. At the very least the emotion I was feeling at the time. And often my thoughts or feelings about life, love and the world at large. So when someone so expertly attacks my work, it hurts. And having people give another, more positive opinion, does help ease the sting.

For everyone who came to the show tonight, I appreciate you. And for everyone who is supportive of any artist - know your support is at times more welcomed than you may realize.

For another look inside the making of art see Keeping The Vision




Monday, March 22, 2010

Flip Side to Blasé

It occurred to me this morning that there is a flip side to feeling blasé about something that I use to be really excited, or at times kind of overwhelmed about (like standing in line for the art show submission). And that is - I have successfully stretched myself and my comfort zone. Making room for new things to feel excited about, and new things to make me nervous and possibly even a bit overwhelmed about.

Which is a good thing. Because it assures me, that those things I am now feeling intimidated about - like calling people I don't know in an industry I don't know to see if they would like to have my art in their business - I will one day be blasé about those things as well. And have moved onto living in an even bigger world than I am currently in. And that is pretty awesome.

For another look at the art process and art shows, see Cheeky

Friday, January 8, 2010

What Is An Artist?

I was recently in a discussion about what a "true artist" is. One of the others in the discussion insisted that a "true artist" has no business sense, and creates only what they need/are compelled to create, with no care for what other people think or what will sell. And was that once an artist takes into consideration what others might want, they are no longer a "true" artist.

I disagreed for a couple of reasons. First off I think this runs dangerously close to the idea that any artist who is commercially successful has sold out. And second, to label only one type of artist as a "true" artist is discriminatory. I would agree that an artist by definition will continue to create whether or not their work is sold. But, there is nothing wrong with hoping he or she connects with an audience and makes people happy with their work. And in doing so, actually grows creatively by helping to fine-tune their creative voice.

I am not suggesting an artist give up their own personal drive to create by following the latest art fad, or by copying someone else's work to be a success. I have found that most artists who do this, die a bit inside. And for the most part, their art dies as well, because they themselves do not know why they created a piece. Therefore, there is no emotion or feeling behind it, which translates into "dead" art. And as with all fads, doing work this way is generally not sustainable. Another fad will come along, and so keeping up with them can be exhausting.

I am also not suggesting that an artist create only what she/he thinks other people will want or approve of. Because again - this work will generally not resonate. Such art lacks the creative spirit, and emotion associated with art that has been created by someone who knows WHY they were compelled to create it. Art created out of a need for approval will not resonate with the audience, because in truth, it did not resonate with the artist when she/he was creating it.

However, I do think it is perfectly acceptable to fine-tune your voice as an artist by listening to what your audience has to say. This can help an artist better tell his or her story and share their vision. For example, I started painting male torsos after multiple requests for such. And I love this new direction. Creating with an audience in mind can also lead to new shifts in work that better resonate with your audience. I love doing commissions because I always learn from the additional points of view, and a good portion of the time my art will be enhanced by that experience. I have had completely new lines of work spring from a commission request. Always in a manner that I am excited about, but that also broadens the amount of people who are excited by my art.

We grew up in a culture that has told us since pre-k that "You can't make a living as an artist" that "Artists don't work" and that "Art is not a real job." So to put an additional restriction on an artist of "true" is burdensome. Anyone who has overcome listening to the many objections about their career path and fearlessly calls themselves an artist IS an artist. It doesn't matter if their work is "good" or "bad, " "successful", or "commercial." These are all outside labels. What matters is that an artist creates, that they follow their muse. And if, in the process, an artist also wants to connect with a wider audience, and allows in some way for that, it does not necessarily make for commercial art. It does not have to equate to loss of creative voice.

Finding and keeping our creative voice is a balance, and we each find our own. To call one person's form of balance wrong, and to declare there is only one true path, is not something I agree with. Especially in art.
For another look inside the making of art see In Line for An Art Show

Wednesday, May 27, 2009

Keeping The Vision


I was sitting on my bed, as I do every morning, writing things in my journal I am grateful for.  I looked up and saw this miniature hut hanging from a hook on the wall that my boyfriend at the time had bought me while we were on a trip.  I don't think he realized it, but it's significance to me was huge. To me it represented being true to myself and my vision, and I felt that he was in his own way recognizing that.

Yes, I know, female circular logic!  But the reason for that - and the reason I keep the miniature hut in my bedroom is because I want to remind myself of the lesson I learned while painting two rather large hut paintings.  I had come home one night after a really fun date - and painted two huts from just what was inside of me.  I didn't use any reference material, I was just going with my feelings, and remembering some huts I had seen in Hawaii on the Big Island.

When I took the paintings into my painting class, which was filled mostly with women, I was told the huts weren't realistic because of their roofs, and that my islands looked like tree branches.  They joked that I was painting bird cages.  On and on they went.  So I changed the paintings, to try and address some of the outside criticism I was perceiving.  And subsequently, hated those two big paintings.

A few years later, a friend of mine came to my studio and bought a small sketch of one of my huts.  A sketch I had done that first night before putting paint to big canvas.  He loved it.  It really connect with him.  And I realized that he was connecting with my original vision.  After he left, I took those two big hut paintings out and painted over them - this time sticking to my original vision. It was a very freeing experience.

And the funny thing is - since then, those two paintings and similar images have resonated with a lot of men.  

So I learned two things from those hut paintings: 1) stay true to my vision in my art; and 2) not every painting is right for every audience. Just because one audience doesn't "get" it, doesn't mean the piece won't resonate somewhere else.

For another look at the making of art see Being In Flow



Monday, April 13, 2009

My Latest Torso Series - A New Twist



While I will admit that my focus of late has been on the female form.  I did not want people to think that I have anything against the male body.  I find the male form, equally beautiful.  And, being heterosexual, quite tantalizing.  I have even been known to trip while passing the larger - than - life images at Abercrombie & Fitch. Something about a flat stomach and showing a little bit of hip bone, like a promise of things to come, really can distract a girl!


So, after being asked repeatedly if I had this guy or that guy in my couple series, but just the guy alone - I decided maybe I should not exclude male torsos from my series and got to work.  This is the first painting in that series.

Everyone of course may have a preference in terms of the "type" of male physique they prefer in their man.  I myself lean towards what I always thought of as a runner's body.  But after much study and consideration... have realized can also apply to volleyball players and swimmers.  So, to start my foray into creating single male forms on canvas, I did start with my preference.  Since, as one of my art instructors always told us - paint what you know.  Not that I know my model personally, but well, you know what I mean. ;-)
For another look at the creative process, see Happy Mistakes