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| End of an era... Henderson Art & Framing closing down sale. |
Change now is inevitable, and I am still trying to get used to the fact that Henderson Art & Framing is now closing and will finally be locking the doors at the end of May. In the meantime they have a half price closing down sale so if you live nearby hurry along to stock up, and resolve to continue your art journey, one way or another! (Fortunately Bill will continue framing from home). Henderson's has been a big part of my life for the past 7 years and I have gained so much enjoyment and experience whilst working there as a freelance art tutor.
I have put several plans in place so that my class members will be able to continue with their drawing and painting and am currently offering one workshop a month, and one Social Sketchbook event a month. Probably not the week-in-week-out classes they might have hoped for but feel this is an opportunity to spend some time reconnecting with my own personal artwork. With a lot of my time spent researching, preparing and delivering art classes I have often let my own work take second place - you may have noticed that I have only been snatching time to sketch recently, when did I last work on a painting? Having spent time over the past weeks reflecting, envisioning and implementing a plan for life without Henderson's (plus a few health dramas for other members of my family) I wanted to get into the studio and do some work. But... nothing... the intention is there yet I avoid going down to the studio... so, nothing. I have ideas for drawings and paintings but that vital spark seems absent. Somewhere along the line I feel I have lost a sense of who I am as an artist, or maybe my art is in a phase of transition? This all sounds very existential but it's as if I don't know what 'my work' looks like any more; that it has moved on in my head but not in the real world because the practical, tangible work is missing.
Before I set out (publicly) an action plan let me assure you I haven't been wallowing in angst and hiding, and have organised two art events recently.
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| Drawing evening for King's Lynn Embroiderer's Guild. |
I really enjoy connecting with people through art and was asked to put together an evening to help members of the King's Lynn Embroiderer's Guild with some drawing tasks to get a new project, based on ancient textiles, off the ground. The group were very enthusiastic and tackled three tasks with gusto.
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| The group working hard on selecting cropped areas to transcribe in a drawn grid on A4 paper. |
Using black felt pens they drew motifs from fabric samples or reference materials on tracing paper (four sheets each) which then could be layered to create more complex designs in a variety of configurations. This was followed by drawing cropped sections into six squares by isolating areas with a viewfinder. Finally a coloured positive / negative image was obtained by covering cartridge paper with a variegated coloured layer of soft pastel, overlaid with oil pastels. When drawn on the reverse side the design got transferred as a positive line on white, leaving the original as a pale negative line on a coloured background. Congratulations to all the members for working so hard and producing some great work - I hope it will prove useful as a springboard for generating further ideas.
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| Social Sketchbook event at Stow Bardolph. |
The first Social Sketchbook event was held at the beginning of the month. I had arranged for us to meet at Church Farm, a small rare breeds centre in Stow Bardolph. The weather was relatively kind as previous days had been wild winds and bitterly cold. Although still chilly, the wind had dropped considerably and the sun even put in an appearance.
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| A curious pig returning the interest as one member sketches quickly to capture her expression. |
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| Smiles all round - but ready for a warming drink and snack in the Tea Room, where one member is already happily ensconced. |
The group seemed to enjoy the opportunity to work outside of the studio environment, and quickly overcame any concerns about using sketchbooks in such a busy environment (it was the start of the Easter holidays and bustling with families enjoying the farm animals). There were nine of us and as the farm is quite compact we all moved about focusing on what caught our individual attention, yet frequently were in close proximity to one or two of the others. By early afternoon the nip in the air was taking it's toll and we were ready to retire to the Tea Room for a hot drink and light lunch while we chatted. The social aspect has always been welcomed by members of my classes and I hope more will join the Social Sketchbook events in the future.
*The drawings below are from a few pages in my sketchbook and apologies for the blue tinge, the paper is white, honestly.
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| Sheep study in Goldline 8x8" hardback sketchbook. |
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| Sheep and lamb sketches. |
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| Quick Whitepark cow head study. |
1. Introduce structured hours in the studio, or on location. Just show up whether I feel like it or not.
2. Work from life as much as possible - whatever takes my fancy initially - I feel sure that if enough work is generated that eventually subject matter or a theme will emerge. It may still be animals and the natural world, or it may be something different, I will try to be open to whatever transpires.
3. Be productive, encourage quantity so that I may move beyond the more obvious.
4. To have a period of experimentation, play and discovery and to withhold judgement and criticism to begin with - what will be, will be.
5. Continue to encourage the social aspect. Spend time outside of the studio with other artists, either at art events or to draw and paint in company.
6. To keep my teaching schedule manageable so that continuity of my personal work remains strong.
7. Outside of 'work hours' continue to read art books / magazines / watch art DVD's or You Tube and as ideas, media, subjects or treatments capture my interest to have a go and see what happens.
8. If I feel really stuck to just play around with colour and create abstract backgrounds to use as a base for drawing / painting / writing over.
9. To keep positive as this situation has happened before, is likely to happen again in the future and is part of the creative cycle - it happens to most of us at some point!
10. To post more often to this blog, in the hope that whatever I produce in the next few months - whether good, bad or ugly, will give you some insight into this frustrating lull in motivation, but that it can be overcome.
Has something similar happened to you? How did you cope, and what strategies were useful in getting your art back on track?
