Change... Artist Block, and an Action Plan!

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.

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.

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.

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.

A curious pig returning the interest as one member sketches quickly
 to capture her expression.

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.

   

Sheep study in Goldline 8x8" hardback sketchbook.  

Sheep and lamb sketches.

Quick Whitepark cow head study.

   

So, back to thoughts of the future... what do I plan to do about this (temporary) artist block?

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?

Circomedia & Drawing Circus Performers

Trying to capture movement.

This time last week I was in Bristol, staying with my daughter, and it was the eve before an amazing drawing workshop lead by Sara Easby from the Bristol Drawing School. The drawing day was held at Circomedia - the centre for contemporary circus and physical theatre - in St. Paul's Church, Portland Square. The church was saved from dilapidation and converted in 2004 and now houses the UK's largest indoor trapeze rig and aerial facilities. Visit www.circomedia.com for more information.

Circomedia, St. Paul's Church, Portland Square, Bristol.

The day dawned bright but chilly and we arrived at the venue in good time. We had come with sketchbooks (size not specified so I kitted us out with A3 as capturing moving figures suggested to me bigger gestural strokes), pencils, charcoal, Neocolour crayons and water brush pens in case we had time to brush pigment out into a wash.

Sara started by introducing simple ways to tackle figures in constant movement - from a single sweeping line of action to 'pin men' and suggested that we keep in mind where the weight was distributed. Basically we would be trying to capture first impressions, no detail, and just explore how to best describe the evolving configurations of the circus performers (our models) as they practised their skills!

To give you an idea of what we were up against I offer this brief video clip taken on my phone:

A small selection of my A3 sketchbook pages...

Acrobatics, in pencil, A3 sketchbook.

Acrobatics, pencil, A3 sketchbook.

 

Acrobatics, pencil to capture first movements
and superimposed with charcoal
as sequence of positions changed.

Things got a bit more scribbly and manic as I tried to get the essence of our 'models'  doing some juggling with first the diablo then balls/skittles. Can you make head or tail of these?

Juggling, pencil, A3 sketchbook.

Juggling, pencil, A3 sketchbook.

Juggling, pencil/charcoal pencil, A3 sketchbook.

All of this was before lunch! Three quarters of an hour later, back into the fray, with a variety of circus skills on offer. Our next models warmed up...

Circus performer warming up on the floor...

Warming up...

... before they both took to the air on the trapeze!

Two performers on the trapeze.

Two performers on the trapeze, Neocolour crayon.

Two performers on the trapeze.

After the trapeze came Poppy creating beautiful shapes with the Hoop...

Performing with the aerial Hoop
(apologies for the blue tinge - the paper is white).

... and Johnno working with the long drape of red fabric...

Aerial performer with suspended fabric.

Amazing shapes of aerial performer with suspended fabric,
Neocolour crayon, A3 sketchbook.
(Apologies for blue tinge).

By this time everyone was beginning to flag from the intensity of the looking and rapid mark making trying to get the gist of 'poses'. I have done a fair bit of 'blind contour drawing' in the past whereby the drawing is created whilst the eyes are focused solely on the subject matter and not on the page at all - a strategy that proved very useful at times. Then just when we thought we had seen it all the final performer took to the sky - well, the curved swing suspended high up near the ceiling. What a finale!

By this time many people on the workshop had called it a day with the drawing, either from tiredness or shear awe at the difficult task of capturing anything of this last performance. But I was determined to give it a try...

Holly on the curved swing, Neocolour crayon, A3 sketchbook.

The whole day was fantastic. I had treated not only myself, but my daughter (who also likes to draw when she gets the time) as a birthday gift to her, to spend such an extended period of time grappling with this near impossible task of capturing something meaningful of these incredibly hard-working, skilled specialists of the floor and air. Thank you Sara, and the talented circus performers of Circomedia for such an incredible experience.

If you are interested in finding out more about the courses run by Bristol Drawing School visit www.drawingschool.org.uk.

I will leave you with another short clip of Holly on the curved swing.

Practice, practice, practice...

Quick A5 sketchbook portrait studies
(charcoal pencil on left, charcoal stick on right). 

In my Mixed Media classes this term I have been really encouraging the use of sketchbooks. As the pages have been filling up I can see how my enthusiasm is catching on, and many class members have been using theirs between sessions. It is such a simple way of integrating creativity into everyday life and artists at all stages of development reap the benefits of regular practice!

The photo above was another quick session at trying to capture a likeness in a portrait by looking at the big shapes first. They are both in charcoal, one in charcoal pencil and the other with a willow charcoal stick. Side by side it is easy to see the denser velvety marks deposited by the stick.

Portrait study of my son, 15 minutes.

And another 15 minute study, my son this time as he played on a computer game (wearing headphones). These were in preparation for the class session where members were asked to work in their sketchbooks and do rapid charcoal studies of each other for the first hour. After break they could work on a longer study, in the medium of choice, either from life from their own reference photo. They all did a fantastic job and were pleasantly surprised at how much information could be captured in short bursts of 10 - 15 minutes!

It is still looking like Henderson Art and Framing will be closing it's doors permanently... and I have been firming up plans for the future. The response from the people I currently teach there has been positive and I really hope they will continue on their personal art journeys, with me would be lovely, but in any way, shape, or form. I will be offering various art events and workshops at different locations, so some exciting new ventures for me too! The first is a Social Sketchbook session at a small rare breeds farm next month and in May another outdoor session in the local park. Hopefully the weather will have warmed up a bit by then. Two weeks ago I had a great meeting with the store manager and the catering manager of the Dobbies Garden Centre in King's Lynn to discuss the possibility of holding a workshop there for my class members. I was delighted with the enthusiastic response I received, and in May I will be running a one-day workshop titled Focus on Flowers. 

Pastel Class... working 'as if on location'.

    
In preparation for life beyond the art classes at Henderson this term I included a session for all my hard working students based on the premise of 'as if on location'. I placed some A3 photocopied images around the studio featuring a variety of subjects - a dog on the beach, a bluebell wood, a boat, an old archway, a cat on top of the stairs, a sunflower, some bowls players, a busy scene with chickens and some bright pink flowers clinging to a rock face. I had moved the tables around to enable better views but suggested working with sketchbooks/drawing boards on laps, or even try standing up, to simulate the more usual conditions of working on location.

Mixed Media Class... working 'as if on location'.

There was a great atmosphere in all the sessions and some inspiring work produced. Most people managed two or more pieces of work, some were quick studies but also some resolved artworks. Congratulations to everyone concerned, and my thanks for rising to the challenge!

Entering the spirit of working 'as if on location'...
an enthusiastic class member standing and creating quick sketches
of chickens in her sketchbook!

If you have never tried working on location before why not have a go at this exercise and get in some practice? Instead of having your reference image right beside your working surface pin it up somewhere and pretend you are out of the comforts of your usual art space. Use easily portable art materials and try working quickly to capture the essence of your subject.

A State of Flux

 A5 Sketchbook double spread - experimenting with mixed media.  

I cannot believe that I have not yet posted in 2015, and it is already the end of February! Where has the time gone? It's certainly not because things have been quiet. Maybe it is due to a state of flux that has descended since receiving the news that Henderson Art and Framing is for sale and may actually close completely after Easter. Although I am self-employed I work freelance at Hendersons running adult art classes. It has been a roller coaster couple of months for the owners, Bill and Sue, with several interested parties looking to continue the business (except for the framing which Bill plans to do from home) but unfortunately none of these have yet proved viable. The members of all the classes that are held there are concerned about where, and how, they can continue with their studies. As tutors we have also found the uncertainty tricky. I have been doing lots of visualisation and trying to get a sense of how my art career might develop and how to make new opportunities for myself and my clients.

The photo above is of a double page spread in an A5 sketchbook. It was an experiment with mixed media (gesso, acrylic, graphite pencil and powder, pen) to work out some suitable techniques to encourage the class this week in their exploration of weathered concrete. In some ways it also sums up how I've been feeling, especially the last few weeks, as time is running out. The linear marks could represent the chop and change in mood, up one moment with the thrill of new opportunities and down the next, can I sustain a full time art career or will I need to get a regular job again? Another brainstorming session, and I'm up again... Exhausting stuff. There's the effect of chunks falling off and then the crack, symbolizing the final break; the shop closing. But look closer, at the speckles and spatter - like the threads and seeds of ideas. Some old ones, sown many years ago, now ready to grow into fruition. Some fresh and new, holding such promise. Actually all my thinking, researching and daydreaming have now started to form into positive action. I am gradually putting together a programme of events for my clients that I hope will enable many to continue their art journey. I have been visiting different places, and contacting people, to try and arrange a variety of workshops in different locations. Will keep you posted.

Talking of different locations...

Sketching on Roydon Common.

     
This is Roydon Common. And this is the first time I have ever been there! We moved to King's Lynn 17 years or so ago and this amazing place is right on the doorstep, how did it get overlooked? Acres and acres of sandy, heather filled landscape with several interesting features - evidence of an old Victorian tramway for example... Also, there are wild ponies grazing and they look the picture of health in their thick winter coats.

Evidence of an old Victorian tramway.

Wild pony on Roydon Common, a picture of health.

This weekend I plan to get a bit more practice with quick portrait studies in charcoal as this is the focus of classes next week. The study below was done several night's ago as my husband dozed in his armchair, and yes, he still had his headphones on. It only took about 15 minutes and looks more like him than anything I've done before, even caught the little frown between the eyebrows.
 

Paul dozing, still wearing headphones.
Quick portrait study, A4 sketchbook, in charcoal pencil. 

I suppose my message from this post is that when unexpected events happen, life goes on, and it is up to you how you move on and shape the future. It was being made redundant in 2003 that catapulted me into embracing the life of an artist in the first place.

What do you want to do with the rest of your life? Are there any steps, big or small, that you can make in the direction of this dream?

Creative Christmas - Sketching House Rabbits...

Sketching Odie using sepia Artline calligraphy pen 3.0
in a Goldline 8" x 8" harback sketchbook.

Apologies for my blog being quiet for so long... and I wish any readers a belated Merry Christmas! It seems to me that artists fall into one of two camps at this time of year. They are either rushed off their feet and spend every moment racing to fulfil commission commitments and seasonal greeting card orders, or, go very quiet and seem to fall off the creative planet as Christmas preparations (meal planning and family logistics) take over. This year I have definitely been in the latter mode... with a new kitchen thrown into the mix - which is almost finished. I must add that I have had a lovely Christmas and once the final shopping trip was done, and presents all wrapped, it has been great to spend time with family.

However, with my daughter visiting for the festive period I have finally managed to get my artist mojo back as she arrived with, not only her (new) husband, but her two house rabbits as well!

The two house rabbits - Odie on the left and Thor on the right.

I had two sketching sessions when Charley and I let the rabbits have the freedom of the conservatory to stretch their legs and for me to practise drawing live animals as they moved around (often at speed).

Thor investigating the sketchbook...

A brief moment when both rabbits are occupied and relatively still...
it didn't last long!

Pencil sketches of Thor.

A few brief lines then Odie was off, scampering around the conservatory!

Another day and another attempt - using pen this time.

Odie drawn in sepia Artline calligraphy pen 0.3,
and Thor drawn with Edding profipen 0.7

I tried working directly with watercolour using a water filled brushpen... hmmm, very dodgy results and page too wet to turn over and keep going. Decided to return to a more user friendly pencil.

Can't imagine why I thought it would be a good idea to try watercolour...
(once the page dried added a few pencil lines before moving on).

Ah, back to pencil and as Odie calms down a bit and nibbles fitfully on some
cabbage a more satisfying sketch emerges.

Close up detail of sketch capturing the character of Odie...

Thor still lively and only manage quick lines
as pencil dances across the page to try and keep up.

Some rear shots...

Lines showing more confidence in execution...

Final page of rabbit sketches - "such fun"!

The series of photos and the video clips highlight how tricky it is trying to make sketches from moving animals! My approach is to keep expectations low - focus on observing the animal, how does it move, what shapes does it make, what are the eyes, ears, nose like. What are the legs and feet like - how does this affect movement? All these fragments of lines, combined with hard questioning and looking, help to build up an understanding of the animal... page after page of simple elements are testament to the challenge of drawing a living creature and I am satisfied that I have learnt more about the animal, and drawing, during the process than from a single static photograph, especially if it is one that I haven't taken myself. However should I go on to create a more finished piece of work from a photo of Odie or Thor it will be with this first-hand knowledge backing up my intuition.

If you have the opportunity to work from live animals, grasp it, enjoy the challenge and accept the limitations imposed upon the results.

It just remains for me to wish you a Happy New Year and see you in 2015!