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Upcoming Work: Project Crete
August 29th, 2017 by Emma
Can you believe that summer is almost over? The year anniversary of my Dad’s death is looming, the mornings are darker and cooler, and the leaves are just starting to think about changing their colours. Are you feeling disheartened about the end of summer, or are you super ready and excited for autumn?
Despite the fact that I think this year’s summer has gone by really quickly, I’m actually feeling pretty cool about it. Perhaps I feel this way because I have a holiday on the horizon..
At the end of September, my family and I are off for a long break to Crete, Greece. Naturally, I’m going to take full advantage out of this and lug my art supplies with me to do some serious fieldwork.
Over the last few weeks, you may have seen on my Instagram that I’ve been doing some extensive research and explorations of colour, marks and compositions. This is all in preparation for a new collection aiming to be released early in 2018 (most likely a bit later because there is a lot going on). It feels so invigorating to be busy- does that sound strange? I feel more energetic, more worthy and more alive. Those past months of nothingness have made me really appreciate being busy and having a mind that’s focused and on the ball 24/7.
So, all of this busyness in the studio is now going to transfer over to Crete in September, to make “Project Crete”.
PROJECT CRETE
This small project will be a stepping stone towards the evolution and development of the new collection (2018). It will be all about interpreting, gathering, documenting and experimenting. Across the 14 days, 14 artworks on spiral bound paper will be given life (and most likely a sketchbook of scribbles and a notebook of short essays). The blank paper will act as a sponge, soaking up the day just past- it’s colours, textures, sounds, smells and conversations. After the 14 days, the works will represent adventures, meditation and creativity experienced in the beautiful Island of Crete. Again, like the Happy Santorini collection, this project will be dedicated to mental health awareness because as always, creating artwork is one of the many things I do to keep my mind happy.
PREPARATION
At the moment, there has been a lot of colour going on in my studio. I’ve been wanting to learn more about colour and get to know how and why we all see them differently. Why is it that the colour orange is linked to humour and also danger? and why is it that the colour green is known to represent envy/greed and also growth/vitality? It’s made me want to get in tune with the way I see colours, how they make me feel and which waves of the visual spectrum I am attracted/not attracted to. So, I’ve mixed up 14 recipes of my own colours, named them, written about them and documented them. They’re now coming with me to Crete.
PACKING LIST
- Fluid acrylics, 30ml (variety of colours- don’t go mad)
- Acrylic medium
- Plastic jar for water- thanks to Pip and Nut
- Daler Rowney spiral bound A5 paper
- Soft pastels (limited colours)
- Tin of pencils
- Paintbrushes (variety of sizes)
- A palette knife
- 2 blank small sketchbooks
- 1 blank small notebook
- Fine liners and biros
- SLR (and memory card)
- Orange notebook full of secrets
PROCESS
I’m a lot more focused and energetic in the morning. So, after a quick workout, I’ll then get to work on the artwork that will reflect the day before. Who knows how long each artwork will take- I usually like to take my time working in layers with my works but obviously, I’m on holiday and intend to go out and about with my family. I also want to soak up the environment, the colours, the culture and the sounds- so, I need time for that! You’ll be able to follow along with my adventures in Crete on my Instagram. Please be aware that the artwork created will not be released until I return. I seriously need a holiday and my business brain needs to switch off, otherwise it will burn out!
The originals and prints of the “Project Crete” artworks will be available at my online store mid-October.
FURTHER DEVELOPMENT
Once our time in Crete comes to an end and all 14 artworks are complete, they will be coming back to my studio with me to be assessed. These works will then lead into further development of the new collection. If I’m super organised before we leave, my studio space and supplies will be all set up and ready for me to crack on with the new works straight away. Stay tuned because things are going to get interesting..
Thank you for reading. As always, if you’d like to get in touch, please message me here.
A note on inauthenticity and plagiarism- I am trying to be as private as possible at the moment to protect my practice. I’ve started to realise that when us artists show the ins and outs of our way of working and share all our ideas with our audiences on Instagram, some aspects of plagiarism can occur. Photographs of our works in progress or pages in our notebooks are not academic essays that are going to be screened and checked for plagiarism, so it’s easy for anybody to replicate ideas. I mean, sure- be inspired by others and experiment with different mediums seen on feeds, but when it comes to actually replicating words and artworks, surely it’s pushing the boundaries a bit too much? (What do you think?- let me know here). At the end of the day, there isn’t really much we can do but to just keep our heads down and focus on our own goals.
What Am I Doing And Why?
August 23rd, 2017 by Emma
If you’ve ever seen my posts and stories on Instagram, you’ll know that my approach to making art is perhaps a little unconventional. Well- us artists all have our own weird ways of expressing ourselves, don’t we?
I don’t think it’s an issue if people find my practice weird or difficult to understand- I see this as a benefit. Do you need to understand? Do you want to understand? Or do you just like seeing the colours, the textures and the end result? On the contrary, do you want to understand? It’s an interesting notion.
For quite a while, I felt uneasy and self conscious about putting my artwork and studio practice ‘out there’ for all the world to see. For as long as I can remember, I’ve interpreted the world and documented experiences through scribbling, doodling and writing. There are many pages of my notebooks that may seem very illegible, messy and farfetched to some. Perhaps you’d assume that they were markings from a small child. Nope- all me.
In one of my earlier blog posts, I talked about how we all see the world differently, and in another post about how we should be taking advantage out of our environment (the colours, the sounds, the textures etc.) and how we shouldn’t see things as boing. Well, this is essentially why I fill notebooks- to document, to remember, to use in my studio practice, to laugh at, to work on top of later..and the rest. If you were to look through these notes and scribbles, it would be a similar experience to trying to read a language you don’t know.
I’m doing this documentation a lot at the moment. I spent the first half of the year solidly making artwork for therapy. I had so many ideas for collections and I wanted to make them all at once (Vibes, Happy Santorini, Aloha Māla). The feeling of mixing colours and slopping them onto a surface was so invigorating- it was meditative, emotive and I felt like a person again (read my story here for context). So, now that these precious collections of mine have now been released for purchase, I’m now at a point where I’ve gone back to the drawing board.
Over the last few weeks, I have made an effort to really get in tune with who I am as an artist- asking myself why I do the things I do, what I want to show, where I want to go (in terms of my career) and by when?
It’s so important to ask yourself questions like this- especially if you’re one who suffers from depression or is stuck in a job you absolutely hate. My boyfriend always tells me that before I do anything, I should ask myself why. Ok- I have to admit, it really irritates me when he tells me to do this, but it does make sense. If you consistently question yourself, your goals will start to feel more within your reach. It may take a little longer than planned because you’re working it all out- but in the long run, asking questions like why, what and when, helps you get to know yourself and discover what you really want. You can take a leap of faith and dive in at the deep end if you want, but will this translate into reaching a goal? Not always- maybe if you’re lucky.
I can’t tell you how many times I resisted clearing out the dump that is now my studio because I didn’t have faith in myself. I never questioned- I just said to myself ‘there’s no point’ or ‘it will take way too long to set up’ or ‘being an artist isn’t a realistic career’. As soon as I sat down and made the effort to write down the whys, the hows, the whats etc. things started to happen.
So, what am I doing? I’m being an artist, creating honest artwork. And why? Because I finally feel comfortable in my own skin and I want this to be a forever kind of feeling.
In my studio at the moment there are many seeds being planted that will surface hopefully at the end of the year- maybe early 2018.
Have a think about what your goals are, and however much of a pain it may be- ask yourself all those questions.
All my arty love.
If you don’t already, follow along with my journey as an artist on Instagram. I will be documenting a mini project in Crete at the end of September- don’t miss it!
Artist Block: How to Overcome It
August 16th, 2017 by Emma
So, it’s time to start a new painting.. You arrive at your studio/work space, get yourself a cup of tea, line up your brushes, set up your blank canvas and then you just stare at it. At this point, are you the type of person to get artist block or do you get stuck in straight away?
As artists, we all have our own ways of doing things and I’m going to take you through the steps I take to remove any pressure that comes with a blank canvas and how to avoid artist block.
Step 1: Grab A Notebook And Do Some Research
Now this is something I never did before making artwork. For a long time, I didn’t plan a thing and I either copied a photograph of something or made a big mess of random colours on a surface that meant nothing. To avoid this, I bought myself a mini notebook. Here, I write down pretty much anything that inspires me- whether it be the colour of an old scooter I saw by the side of the road, wise words that I overheard, song lyrics that moved me, a quick sketch of a texture.. anything. You will never know when these little notes and drawings will come in handy.
I also make an effort to plan how artwork could look to avoid that fluster in front of the blank canvas. What do I paint? Where should it start? What colour should I use? Why am I doing this? What is life? You know the feeling.
Having notes that you can refer to doesn’t necessarily mean that you’ve got your whole painting idea figured out- it just means that you can at least start and have a path to walk down. If the path changes, that’s totally fine.. and actually happens quite a lot with me.
Step 2: At First, Don’t Go Wild With Colour
As you’ll see, quite a lot of my paintings involve many colours. However, my palette at the start of these paintings is rather absent of colour. I have a rule that when I start, I’m only allowed a white plus two/three other solid colours on my palette. This avoids the temptation to slap a whole rainbow on the canvas, which firstly- for me, causes a panic about the composition, secondly- it confuses the flow and looks messy, and thirdly- I think it gives all the colours the same status on the painting, which would make it difficult for me to go with a certain colour theme later on. Obviously, this is my practice and it works for me, which essentially might not work for you- we’re all different! Try out this tip if you do find that you get yourself in a fluster about the colours on your artwork- keep it simple at first, go a bit crazy later.
Step 3: Make Your First Mark Blind
Having a blank canvas in front of you is a bit intimidating when you have artist block. That plain white, empty space that longs for you to make them a bit more interesting. It’s so much pressure! So, take that pressure off by closing your eyes when you make your first few marks on the canvas. It sounds quite ridiculous, but honestly it avoids a whole commotion. After these initial marks have been made, I refer back to my notebook and pay attention to any scribbles and notes I did that can harmonise with the marks I have just made. Once I’ve settled on an idea/composition/theme, I blend up the marks and start to move them around. Quite often, the direction of marks change, but it’s got me going and I’m now in the flow of creating – fluster avoided!
Step 4: Don’t Be A Control Freak
This one has been quite crucial in my art practice. Quite often (and certainly at the start of paintings), if I were to do a very controlled paint stroke or mark, it just looks uncomfortable and awkward- they would stick out like a sore thumb. After over a decade of painting, I’ve learnt to be really free with my brush movements – it comes very naturally to me now. I see it like rough sketching. Usually, when you’re sketching something quickly, lots of chaotic marks are made and you end up with a Picassoesque disarray on your paper that may or may not look like the intended subject. Rough sketching does not mean that you sit for hours, drawing each line out perfectly in a super controlled manner- it’s meant to be quick and uncontrolled. If you draw something quickly in a controlled manner, unless you’re fricking incredible at drawing accurately, you’ll most likely end up with awkward lines that are a poor representation of the subject. Come on, we’ve all done awful drawings that just don’t look like the real thing! So, usually when I begin my paintings, I take my time and use the same method as rough sketching.
Just relax and trust your hand’s instincts – they’ve got this.
Step 5. Make Some Miniatures
A great way to avoid artist block and being intimidated by a large blank canvas is by practicing first – make some mini versions! If you have an idea in your head or you’re unsure about a colour combination- make 5-10 mini versions on small bits of paper first. It’s great to do this because firstly- you’ll be able to then get an idea of what your artwork may look like, secondly- you’ve created 5-10 more artworks that you could potentially sell or exhibit later on, and thirdly- more practice means that you’ll slowly get more in tune with your own way of working. You’ll learn how your hand wants to move and be able to then transfer this onto a larger piece.
Step 6. Have Faith In Your Own Ability and Trust Your Own Ideas
This is quite important. You aren’t any other artist. You are yourself and you’ll never be any of those other artists out there. So, if you ever try to imitate or copy the style of another artist, you’ll eventually get very stuck and flustered because you won’t be able to replicate what they do exactly (also, it’s quite plagiaristic and unethical). I get it – they’re great, inspiring and amazing in everything that they do and you wish that you could be like them, but stop this and find your own style, your own niche and come up with your own ideas. At the end of the day, if you start to make artwork based on someone else’s idea, you’re not being true to yourself and eventually, you’ll be sat in front of that blank canvas feeling guilty, uncomfortable and frustrated. Have faith in yourself. Be inspired by these other artists and perhaps try out some of their methods and colour schemes as experiments, but when it comes to making your own original artwork – remember, that no one else has your hands and eyes. So, when you’re in front of that empty surface, take advantage and be you all over it. It’s quite an exhilarating feeling when you finally find your own voice as an artist.
Don’t be afraid of the blank canvas – you can overcome artist block!
Thank you for reading. I hope these tips help you, somehow. If you have any comments about this blog post, please send me a message here. Also, if you don’t already, follow along with my journey as an artist on Instagram.
Art Talk: Finding Beauty in Boring
August 10th, 2017 by Emma
A few prerequisite thoughts:
Have you ever looked at a piece of art, a photograph or even out of your window and thought- that’s so boring?
Look again and find another word to describe what you’re looking at.
So, I’m not just fanatical about drawing and painting; I’m also a huge fan of documentary and street photography. So much so, my final year dissertation title was this:
“Black & White Photography: An Examination of the Role of Documentary Photography in the Ending of South Africa’s Apartheid”
Did you fall asleep a little bit whilst reading that? If you did, don’t go anywhere- continue reading because I’m going to talk a little bit about how stereotypically ‘boring’ things can be the most beautiful things.
When I typed into Google ‘beautiful photograph’, it came up with things like eerie forests, skylines of New York and camels walking across the desert. Don’t get me wrong, these photographs are incredible and I’d have any one of them hanging on my walls at home. However, why are there no photographs that fall under the category of street or documentary photography showing up on my Google search? Because many people find them boring.
I must admit, even I sometimes doubt everyday surroundings as being beautiful. Occasionally, I resist taking my camera out and about with me around my hometown because I have in my head that I’ll just be seeing the same things as usual and won’t find anything to photograph- also, carrying a camera around will just be ‘another thing to carry’.
This is so wrong of me – I will elaborate further on.
Check out this photograph by the great Henri Cartier Bresson:
Cartier Bresson, Henri. (1928). Hyères, France.
Can you see why this photograph would be considered beautiful? Or do you just see it as a boring, black and white photograph of some stairs and a cyclist?
It might seem funny to some, but this photograph is actually used quite a lot in books about great photographs. Obviously, there will always be the ‘everything is subjective’ argument and what’s beautiful to one person, is ugly to the next yada yada. However, what I’m trying to do is to open up the minds of those who would consider a photograph like this as only boring and not beautiful. You know what, it is boring- the subject matter that is. But look at the photograph again and see what it does to your eyes; where do they go? Look at the lines, the angles and the geometry of the stairs, the railings and the road below.
Photographs like this fascinate me because to capture something so ordinary, the things we see in our everyday lives- stairs, bikes, bricks etc. and to frame them in a way that shows both stillness and movement, horizontals and verticals, blacks and greys- it’s fricking cool. It might be worth mentioning here that apparently, Henri Cartier Bresson spent hours uncomfortably crouched on the stairs waiting for the right moment to shoot this. This definitely adds to the photograph’s iconic status. What do you think of his photograph?
See below a photograph taken by Garry Winogrand, who was considered a “giant” and a “legend” of Post-War American street photography. Read the photograph- it’s like a visual story in one snapshot. The parts that are out of focus/in focus, the shadows, the lines and the movement make this a beautiful photograph- forget the subject matter. Although, this completely goes against the purpose of this series of photographs by Winogrand, which was about photographing the beauty of women. Nonetheless, this still would not show up in my ‘beautiful photograph’ Google search- but why?
Winogrand, Garry. (1975). Women Are Beautiful.
“Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.” – Garry Winogrand.
I think what Winogrand means by this is that one should forget about the thing that’s being photographed – whether it’s a staircase, a man sat selling pretzels in the street or a woman wth a handbag standing on the pavement. The subject matter can be as ‘boring’ as you like- but how it’s framed is what makes it beautiful.
These words from Garry have opened up my mind to the idea that the everyday isn’t as boring as I once thought. If you can see past the subject matter and instead, take into account colour, angles, lines, shapes and movement- surely, you can find beauty in most of the ordinary things around you, right?
I’m not saying that anyone can take a beautiful photograph whenever, wherever- it’s possible – but quite rare. High quality camera equipment, a certain artistic eye and a bit of stamina can come in handy to take a great photograph. Then again, there are millions of incredible photographs out there taken on iPhones- so, you never know.
Similar to what I was talking about in my last post “Being an artist: Soaking up the world“, I’m basically trying to tell you, whether you’re an artist or not, to look up and around in the places you call everyday and see more than ‘boring’. Look at them- try and not view them as a dustbin, a brick wall or a man sat on a bench, see them as colour, lines and shapes. Even use all of your senses. No, I’m not saying to go and smell or touch the dustbin or the man sat on the bench, perhaps not with those types of things (I’m talking about leaves, walls, fabrics, road signs etc). If you’re a non-artist, it makes going for walks a lot more interesting and if you’re an artist, it opens up your mind to new ways of seeing things and new ways of creating things. This means, I will be making an extra effort to bring my camera or sketchbook out with me every time I leave the house (apart from maybe the supermarket).
When it comes to art, in my opinion, beautiful art isn’t necessarily complicated art. It’s also not necessarily realistic art. It can be simple, monochrome, intimidating, boring– but still beautiful. For non-artists, see the artwork of Mark Rothko, and Yves Klein. Let me know what you think.
What makes something aesthetically pleasing to you?
I’ve found myself thinking about this a lot lately.
N.B. The photograph in the header image is “Humdrum”. I took this in New York City in 2014 after being drawn in by this man’s stillness. In the midst of such a hustling, noisy and crowded city, he continued to sit in peace selling his pretzels. As I stared at this image on my laptop screen later on, all of the other quirks in the image came to me, especially the creases in his shirt.
Thank you for reading. If you have any opinions or you’d like to ask me something related to this, message me here. You can also follow my adventures and studio practice on Instagram.
Art Talk: Soaking Up The World
August 3rd, 2017 by Emma
“Others have seen what is and asked why. I have seen what could be and asked why not.” – Pablo Picasso
A lot of people ask me where I get my inspiration from to make the art I do. It’s a bit of a hard question to answer- I can either be too broad by saying ‘from anything and everything’, or too specific and peculiar by saying ‘from the texture of a shirt on a man selling pretzels in New York’ or ‘the lines and shapes I saw in a cluster of clouds last night’. Which way do I answer the question?
Recently, I’ve been reading a lot about how artists or creative people see the world differently to people who aren’t so creative- those who are more analytical or mathematical, if you will. This isn’t to say someone can’t be both- I’m sure there are some brains out there that interpret the world in all sorts of ways. But to keep it simple, let’s just focus on one particular person- me, an artist with a ‘creative brain’.
I’m not going to state facts, figures and scientific experiments here- I’m not submitting this as an academic essay, so there’s no need for quotes and references- I hope you agree.
I deduced from one article that when looking at a landscape, a scene or a photograph, an artist focuses on lines, negative spaces, colours, gradients and angles, ignoring the actual subject- whereas, non-artists only look at specific objects and translate what they see into a concept or a subject matter. Do you relate to either of these?
When I look at the world around me, I instantly see colour and line. So, you could say that the way I see things is comparable to the artists talked about in that article. I don’t just see a boat, some buildings or a cliff face- I see horizontal, vertical or meandering lines, gritty texture with a burnt orange tinge and an expanse of nothingness above. This probably sounds super strange to those who don’t see things this way, but if you’re an artist/creative, do you know what I mean? When you look at a scene, are the first things you visually absorb shapes, lines and textures? Alternatively, if you’re an artist, and you don’t see the world in this way, how do you see it? Let me know here.
Going back to what inspires my art- it’s the world around me and how I interpret it. It’s why I also label myself an adventurer; I like to travel, to go places and to see all kinds of different things. Whether it’s my local park, a nearby forest or 7,100 miles away in Hawaii.. the places I go, the things I see, the people I talk to- they all inspire my work. Usually, I take a notebook with me everywhere I go, so that I can document marks, colours, lines, shapes and conversations- all that make their own way into my artworks. The green in “Jungle Agapanthus” was derived from hilltops in Kauai, the marks in “Pastel Blue Overcast” were taken from dark clouds in Santorini and the layers in my latest paper experiments were all inspired by numerous adventures I’ve been on with Jon. Each artwork has it’s own stimulus.
Obviously, I’m not going on epic adventures all the time and I do have days when I’m stuck in my own head, lacking inspiration and not wanting to be in my studio- this is normal. I have days where I don’t want to make marks, mix up colours and reminisce about things I have seen/places I have been. When this happens, you know what the best thing for me to do is? Leave the studio and go soak up the world on my doorstep. For many years I took for granted where I live- I never realised how much potential artwork can be made from my bubble here in Gloucestershire. It’s pretty much a dictionary of marks, colours and textures- everywhere is!
If you’re an artist, see every place you go as a dictionary of inspiration, whether it’s the Amazon rainforest, a subway in New York, your own hometown or your local garage where you take your car- take a notebook and soak it up; there’s your inspiration.
Thank you for reading. If you have any opinions or you’d like to ask me something related to this, message me here. You can also follow my adventures and studio practice on Instagram.
Art Talk: How to Not Lose your Sh*t
July 28th, 2017 by Emma
Are you an artist? Or would you like to be an artist but you’re not quite sure how it works as a career? Do you lack faith in your ability, so you’ve settled for another career you’re not entirely happy with? Maybe you don’t want to be an artist but you’ve stumbled across this blog post and giving it a read..
So, first things first, it’s hard to be an artist. We get the odd comment and scoff when we tell someone ‘I’m an artist’; many people don’t see it as a job, more of a hobby. Well, they’re half right- it is a hobby but we’ve been canny enough to turn our hobby into our job. It can also be a physically and mentally draining job that involves super late nights, super early mornings, self-doubt, a million spreadsheets, creativity slumps, a heck load of organisation and many more things… but having your hobby drain you instead of a grumpy boss or a mundane office is pretty cool, right? And you can make a living, it does work; but you’ve got to stay cool and not lose your sh*t. So, if you are reading this and you are/want to be an artist, don’t lose faith, we’ve got this!
This next bit is for all the artist’s out there that sometimes struggle with the actual process of making the artwork.. but still read on if you’re looking at becoming an artist because this will come in handy! If you’re neither of the above, hello and thank you for carrying on reading!
How many times have you thrown a piece of artwork away because you just can’t get it right? How many times have you sat back and thought to yourself what the hell am I doing, perhaps it’s time to quit while I’m ahead? Have you ever spent hours painting over a canvas again and again and again, making a mess of murky colours and wanting to tear your hair out? I don’t know about you but all of the above happen to me quite regularly- I lose my sh*t.
However, over the last few weeks, with the help of a few people around me and practicing mindfulness/positive mental attitude.. I’ve started to not lose my sh*t and instead, fricking love every second of this artist life, murky colours included.
So, here are 6 things to be mindful of before you lose your sh*t:
- IT’S JUST A LAYER.
You’re painting on a canvas and you can’t seem to get it right. Compositions aren’t forming, paint is not flowing, murky colours are appearing, your water is looking like chocolate milk and you doubt your whole existence over one piece of art- sound familiar? Well, don’t fret, some of the most beautiful artworks I’ve seen are beautiful because of their depth. See your painting as a single layer of marks, set it aside to dry and work on top of it later. Do this twice, 5 times, 10 times- something will come of it, I promise. In addition to this, change the orientation of the artwork.. you’ll be surprised at what crazy cool things you can see at a completely different angle. Oh, and don’t forget to step back at regular intervals.. what you see up close can be a completely different story to what you see from further away. (If you’re a super duper experienced artist, I know you already know this!)
- MAYBE IT DOESN’T MATTER IF YOU DON’T LIKE IT.
So, I have to thank my boyfriend for this one. The other day I told him that I’d made the most hideous painting and that I wasn’t quite sure what to do with it. He said to me “it doesn’t matter whether you like it or not, somebody out there will, right?”- I mean, how fricking wise did he want to be!? Of course someone else will like it.. as the saying goes, ‘one man’s meat is another man’s poison’. I then went on to tell him that I need to write a blog post about this and he said “but that’s not good marketing, you can’t say your work is hideous, no one will take you seriously”. I took his word for it.. but I’ve obviously ignored it. I mean is there a rule that all artists need to like every piece that they make? A lot of my artwork is about the process and not necessarily about the end result. If people like it then that’s a bonus, surely. Therefore, don’t beat yourself up about that “dreadful” painting you did last week because somewhere in the world there will be a living room it will look great in.
- YOU DON’T NEED TO MAKE SENSE TO EVERYONE.
Has anybody ever looked at your artwork and said “I don’t get it” or “I can’t see anything” or “it looks like a 5 year old did it” or “oh my gosh it’s a horse galloping on a wave with flames coming out of it’s ears” when really it was an abstract impression of a landscape you saw on holiday? Yes, this happens to me all the time. From all the things I’ve read and heard, this seems to be quite common among abstract painters. I think the thing to do is to not focus on whether people ‘get’ your art or not and remember that your work is your work, it’s all you and it’s all yours. Don’t feel as though you need to make sense to other people, you don’t necessarily even need to make sense to yourself! As long as you’re creating what you want, using the colours you want to use, holding the brush in what ever way you feel comfortable and you feel happy- you’re set. There are many many people out there who will respect you as an artist and love your work.. some really won’t get you but you can’t cater for everyone.
- YOU HAVE THERAPY ON TAP.
This is a big one for me.
If I’ve ever have a moment of self-doubt and been on the brink of losing my sh*t, I remember that art actually saved me. After suffering a tragedy, I lost all sense of the world and couldn’t see a life ahead of me- I had metaphorically jumped down a huge hole and refused any help to climb out. It wasn’t until I started painting and drawing again that I started to see the light at the top, and kind of wanted to see what’s up there again. I channelled all of my negative thoughts and feelings onto paper and canvas- and jeez you can make some crazy cool marks and blend up some awesome colours when you’re not feeling level headed. Thankfully, I’m completely out of the hole and now climbing up a career ladder but it wouldn’t have happened if I didn’t have a box of paints and brushes. It sounds crazy, mega crazy- but it’s true.
So, being an artist or creating art is actually a fantastic form of therapy; it enables you to transfer bad into good. If you view your art making process as therapeutic, healing, meditative and intuitive, you certainly won’t lose your sh*t, you’ll keep your cool and realise how awesome being arty is.
- YOU CAN JOIN A COMMUNITY/ TALK TO SOMEONE.
You know the saying ‘a problem shared is a problem halved’? This is quite fitting for when you come across a problem as an artist. If you’re feeling disheartened about your latest painting, confused about shipping an artwork or in need of some advice about which paint brand to use, talk to other artists; they are everywhere! When I say everywhere, I’m talking about the net. Personally, I use Instagram and Facebook to connect with other artists; it’s tremendously helpful in the prevention of losing my sh*t. Three artists I must mention here that are prominent on Instagram are @amirarahimart, @taylorleepaints and @zaideewalker; they’re all super inspiring and fantastic artists. Amira Rahim actually started a creative community called Passion Color Joy, a support network for artists. It’s there for all artists to share tips, ask for product recommendations, talk about wins/struggles and more; it’s a place that makes you feel supported and encouraged- check it out!
So, there is no harm in asking another artist a question about their work and what materials they use or even ask them their opinion about your work and help you with your creativity block. Talking to other artists and having reassurance from these like-minded individuals will not only boost your confidence but also give you the opportunity to spread the word about your business and on top of this, you make friends from all around the world!
- YOU’RE DOING WHAT YOU LOVE.
Finally, you love making artwork, you love the way paint moves on a surface, you love mixing up new colours and you love that somebody has your work on their walls at home. If this is you, it can be your career- so make it happen!
The days when your boss shouted at you for something you didn’t do, when beads of sweat ran down your face whilst you were sat in that unventilated office, when that customer patronised you, when someone threw a pint at you while working behind the bar.. can you empathise with any of those? They all happened to me and they’ll never happen to me again. If you’re an artist, they will never happen to you because you are your own boss (except during the time you need to work to fund your business- of course!). Don’t get me wrong, I’m not criticising those who work in an office, a bar or a shop, if you can do those jobs and feel happy, I think it’s super amazing. I’m just not cut out for it for the long term. I just need to make art, so that’s what I’m doing.
Don’t lose your sh*t, remember that you’re doing what you love and you chose this path. I think being an artist is incredible and we’re so lucky to be able to call our hobby our job.
Thank you for reading; I hope this helps you, somehow.
If you have any comments or opinions on this, please let me know.
Find Space and Make Awesome Things
April 11th, 2017 by Emma
Just a quick one today to say hello and to show you my new studio space!
Having a studio space wasn’t really anything I’d ever think about. Sure, I’d had a space whilst I was working towards my degree at University, but since leaving, I’ve just been working in the teeny shed I live in with my boyfriend. It was normal for me to lug my box of paints, sketchbooks, canvases and pads of paper up the ladder from the basement, make a huge mess in our cramped living room and then pack it all away. Yes, annoying- but it’s what I’m used to…
Until a couple of weeks ago when my boyfriend had an epiphany moment. He suggested that I use the space above my Mum’s music shop in town. She’s recently taken over my late Dad’s business and has changed a few things around in the building, freeing up a pretty great sized room. It has a high ceiling, spot lights, a quirky window and hardly anything in it.. perfect for not only an art studio, but also a little gallery to hold exhibitions, workshops, meet-ups etc.
After a clean, a vacuum and a little lick of paint, I’ve now moved in.
I’m currently cracking on with various exciting projects, surrounded by an arty mountain of mess; the radio is blaring Toto and I’m chugging a beetroot juice from Applebar– it’s all good.
Stay tuned.
–Emma
Welcome!
March 3rd, 2017 by Emma
It’s been a long time coming, but coding geek Jon Munson and I have finally put our heads together to create my new portfolio and blog page! I’m not just here to promote myself as a working Artist. I’m also here to inspire and motivate, as a person who (after many many years of setbacks) is finally hitting goals, fulfilling dreams and sustaining happiness. You can do it too. As Dale Carnegie said, “if you want to conquer fear, don’t sit at home and think about it. Go out and get busy” in this book.
If this is your first time here, let me introduce myself..
My name is Emma and I am an Artist, a Designer and a Photographer from the UK. You’ve reached my portfolio website, where I will be documenting past, present and future creative projects in:
- Drawing
- Painting
- Photography
- Graphic Design
I will also be providing you with regular blog content that splits into 3 categories:
#Art
#Design
#Lifestyle
Cue the cliché: I’m a true believer in a balanced life (aren’t we all nowadays), therefore, I find it important that you don’t just see my work life; I want to let you in on the other parts that make me.. you know, a real person. So, in addition to arty things, I will be writing about various aspects of my lifestyle that generally relate to food, fitness, mental health, travel and other ‘normal’ life things.
I’ll be telling you how it is; there will be no fakery here, nuh-uh. I’m a person, like you. I eat, sleep, cry, laugh and burn toast regularly. I pick my spots when I know I shouldn’t, I still have teddies on my bed, I hate it when plans change and I’ve watched all of The Big Bang Theory three times over.
Know me a little better now?
Here’s more: I don’t particularly care about what I wear, I hate wearing make-up and I ironically spend an obscene amount of money dying my hair, despite it being a frizzy mess most of the time- but that’s me, so it won’t be changing anytime soon.
More: My lovely Dad passed away last year from metastatic cancer; he was a quiet man but an incredible musician (the best in fact) and he will always be an inspiration to me. His passing was actually one of the reasons why I’ve restarted a blog, redesigned my portfolio and found my creativity again.
On a lighter note, I have a top class Mum, everyone tells me; she’s the life and soul of a party and will sing you Dancing Queen whenever, wherever. I have an older brother; he has a foul mouth and an Oreo tattooed on his a*se, but he’s alright. His wife (my new Sister-in-law!) is a forever-smiling, smoothie-making and powerlifting champ, who we all call Saint Hannah. Lastly, let’s all take our hats off to the geek behind this awesomely built website, the guitar-noodling, head-banging and adventure KING, Jon Munson, my boyfriend. (If you find any glitches, let me know, he’ll sort it out.)
Now, some of you may be wondering about the previous blog posts listed on my site.. They’re all mine and they’re all honest, but they are not current. They were written as part of my University course and I’ve left them here to remind me of how far I’ve come. By all means, have a read.
Anyway, welcome to my new portfolio, my new blog and my new attitude. Thank you for being awesome and checking me out, I really appreciate it.
Speak soon.
-Emma
25 Fine Liners
January 29th, 2015 by Emma
Some how, I’m halfway through my final year.. with real life starting in 5 months time.
I cannot believe how fast time goes. It’s scary to think that in 153 days I will be saying goodbye to school holidays, financial assistance and the decision of whether or not to get out of bed; and saying hello to mortgages, bills and early commutes.
Anyway, the last 5 months have been all about mark making, repetitive strain injury and the creation of a large landscape of imagination. Bear in mind, these did not happen without a little blood, sweat and tears.. It’s been a bit of a roller-coaster.
Amsterdam
I’ve been working hard to nurture and advance my studio practice, so much so, I was lucky enough to be chosen (along with 4 other students) to exhibit and compete in Amsterdam at the Hans Brinker Budget Hotel. The competition involved approximately 35 students from 6 different Art Schools all in the running to win 5000 euros. We were randomly designated a ground floor hotel room to exhibit our work with one other student from a differing Art School. I was happy with how my exhibition space turned out; I exhibited 4 screen prints and a large landscape drawing. Unfortunately, there was no winner from the University of Gloucestershire.. the winner’s work was on another level above the rest of us; it was obvious he was going to win.. and consequently too many Heinekens were consumed that night, catalysing a few tearful moments.
Anyway, the whole experience really boosted my confidence and enabled me to have more faith in my artwork. It was also great to experience life as a true artist and go through the whole process of presenting artwork to the public in a real exhibition.
Landscape Drawing
So far, my final year has been all about mark-making. The summer before term I began filling a sketchbook with various types of marks, using only fine liner pens. I carried on with this book throughout the first term and translated the invented marks onto a large scale roll of paper; consequently leading to the making of my landscape drawing.
In May 2014, I flew across the pond to Washington D.C and New York City. Here, I documented my journey with my Nikon D60, recording treks through the vineyards of Virginia, hikes up the Blue Ridge mountains and the rush of the big apple. These images now act as main reference points that inform the marks made in my drawing process (e.g. a close up of the rough surface of a paving stone in New York). This amalgamation of marks has built up over the course of about 4 months, forming a very personal and intricate landscape that represents my journey. Currently, the drawing depicts a visual road of self discovery and is a visual representation of myself as an artist, which almost exists as a wordless diary.
So far, it has taken 25 fine liners, a couple of bruised fingers and consistently numb hands to create, but all in all, I’m truly excited about my progress with this drawing and have ambition to ensure that my part in the University of Gloucestershire Degree Show (in 4 months time) will be awesome.
Next time, I’ll be writing about my enthusiasm towards the medium of photography with references to the great works of Garry Winogrand and Vivian Maier.