Balance

balance...Something they don't really teach you about. Aside from your 2-D Design class where you learn about balance in your drawing or painting, they don't teach you about balance in your life. How do you balance your readings and analysis in Art History, creativity in Painting, and a presentation in Marketing? Well, maybe most art students don't have to deal with that last one, but I'm sure they have something similar, whether it is Global Connections or Earth Science. How do you balance all of that...and then your job...and you boyfriend...and your friends...and every other responsibility you may have?

The hardest thing is switching gears. When you have 3 tests to study for, you can plan your time and set study times for each subject. But how do you plan creativity? How do you say, "hey, I'm going to paint at 6 pm and it is going to be wonderful." Maybe it's just me, but sometimes you just don't have it in you. And sometimes, you have that mind-blowing idea that you just have to get out. My solution? Art comes first. Keep a sketchbook and a camera with you at all times. You never know when you will be inspired. You can always make time to study, just make sure you fit it in and don't put it off until the last minute. Sometimes you have to put your art on hold, but if you keep that sketchbook with drawings and notes, you will be able to conjure up that inspiration when you are in your studio.

For those who are not in school, the same applies to you. Unfortunately, we can't all make a living as an artist. Life gets in the way. Stay on track and draw, write, or record any ideas you have whenever they come to you. Trust me, you don't want to forget your best idea for a painting because you were at work and too busy to write it down. Remember, it's hard being an artist...but it's harder not to be one :-)

Art and Originality

I remember my sophomore year in college when one of my teachers said, "each generation thinks they are the first." At the time, this comment was made in response to a conversation about how young kids are experimenting with sex and drugs. Although that topic has nothing to do with this post, the idea that we seem to believe we are original simply because something is new to us, is relevant. One of the struggles of art is that it is not about getting the right answer. A + B does not = C. In fact, in art there are no set variables. We get no equation and there are no rules, limitations, or instructions. Instead, we are given a toothpick, a piece of string, and some duct tape and told to build a house. I think that many artists strive to be an original and to make their mark on the art world. More often than not, however, we find ourselves "doing something new," only to find out that over a dozen known artists have done the same thing.

I am not saying that there is no originality anymore because that would be impossible for me to prove and definitely something I do not believe. But our definition of originality may have to change. On one hand we can argue that originality is in the eye of the beholder; if it is new to you, it is original. No one other than yourself can know whether you are referencing other artists or if you have been naive and have come to these conclusions, or questions, on your own. On the other hand, we can acknowledge that of all the work an artist will make, only a small percentage of it will be shown to others (not including close friends and family). Editing becomes key here and after self doubt and harsh self-critiques, only the best (and original) work gets chosen. Because of this selection process, I think that more original work is likely to be shown.

Now, there are undeniably countless theories on originality and I have only mentioned two. Personally, I agree with the first option. All artists MUST be well-versed in both art history and contemporary art. Find artists that share your interest either in painting style, subject, or concept. Learn from them, but do not copy or abandon your work because you find it is not completely original. It is your own and your ideas and even your imperfections are what make it yours. Do not be discouraged if you think that other artists do it better. Do not forget what you bring to the table; something fresh and completely yours.

The reason I am writing about this subject is because it is an issue I have difficulty dealing with. It is easier said than done, but hopefully I too can get past my own insecurities.

Back in the Swing of Things

After a crazy month of last minute creativity cramming and a nice 3 week vacation to follow, it is finally time to go back to class. I have always found myself to be that annoying dorky kid who actually gets really excited about a new semester with new classes and new teachers. With 1 more year to go, however, I seem to have misplaced my enthusiasm.

Tomorrow is my first day back and I am already stressed thinking about all that I have to do. After a misguided semester of indecisive concepts, I am struggling with my direction for the semester to come. As of right now, I think that I will continue to address our judgments. It amazes me how we manage to harshly judge and ignore certain people at the same time. I think that right now I am having a hard time because it seems that I can't think of many female characters. One that I am planning on painting is a stripper.

All I can say is that I definitely have my work cut out for me. I have tons of research to do and a whole bunch of painting to work on while balancing everything else. If only there were more hours in a day or days in a week. But I guess I will have to take what I can get. I can't complain, though, because as much as it stresses me out, all of the work and all of the pressure is extremely motivating.

If you have any comments, feel free to post or email me at heatherg@jerrysartarama.com :-)

Father-Daughter Outing (September 20)

Julie Mehretu, Charioteer, 2007, ink and
acrylic on linen, 60 x 84 in., Collection of
Nicolas Rohatyn and Jeanne Greenberg
Rohatyn, N.Y., © 2007 Julie Mehretu,
Courtesy The Project, PHOTO: Steven Gerlich.
Photo taken from: http://ncartmuseum.org/exhibitions/current.shtml

Last weekend, I made my monthly trip from Charlotte to visit my parents in Raleigh. I find that every time I go back there I am increasingly impressed by the great strides being made in the art community.

When I was younger, we lived in Queens, NY, and our weekend trips to the city introduced me to the Met, the MoMA, the Whitney, the Guggenheim, and countless galleries. In 1995, I can’t say that Raleigh had much to offer in comparison.

The North Carolina Museum of Art is currently showing Julie Mehretu’s exhibit, City Sitings, until November 30. According to the NCMA website, “Mehretu draws on a dynamic array of popular imagery accessible to diverse audiences—maps, urban grids, graffiti, calligraphy—and configures these into an unanticipated, irresistible personal visual vocabulary.” (Art, 2008)
Her monumental-sized works reference Miro’s combination of blocks of color and intricate line, as well as Pollock’s expressive mark-making and Matisse’s cut-outs. As a whole, they seem to be so free, gestural, and intuitive, but when you get up close, you find the surprise of tight, intricate pen work and the crisp, sharp edges of color.

What I loved most about this exhibit was the time I had to spend with my father. One of my professors once said that you could always tell the difference between the artist and the art appreciator in a gallery or museum. Those who appreciate art stand back and admire the work, while the artists get as close as they can to see how the artist made the piece. Well, my father and I were definitely the latter. We jumped back and forth debating the technique. Did she paint it? Did she cut it out? Was it all done by hand? Was it all done by her? How are there no snags from the technical pen she used? Where are the mistakes? Where’s the hand of the artist? There is nothing better than two passionate people discussing what they love.

Most people are passionate about at least one thing in their life. And my passion is art, not only the art itself, but the community as well. Whether you are a professional artist, a student, an artist-wannabe, or just an art enthusiast, we are all part of this art community. Let me know what kind of exhibits you’ve been to and the discussions you’ve had. I would love to post your stories or questions and connect our art community a little more.

Getting aHead

I know that I am a painter at heart, but sometimes the stress of school just becomes overwhelming. The reasons why I majored in painting begin to blur as the stress of upper level classes and the the end of the semester increases. One of the best things I have found in the BFA program is that I can escape from my concentration without escaping art and creativity.

Aside from painting, Fibers is my next favorite class and medium. There are so many crafty things that can be done with fibers, but there are also endless opportunities in the fine arts realm. I have been working on dolls dealing with body image issues in my surface design class. These dolls led me to the giant heads I am working on in painting. I was getting so frustrated with my paintings and then this came to me. Canvas is just another fabric. We just so happen to paint on it. In the traditional sense, the painter would stretch their canvas over wood, prime it, and paint. Instead of stretching my canvas, I sewed and stuffed it. Remnant of strange, giant, creepy heads in my last painting, I am tearing them off the page and bringing them to life.

Another lesson I have learned from fibers is the value of intimacy with a work of art. This thought led me to the different evaluations we have of a work from far away compared to up-close. I want to create things that may seem welcoming and pleasant (like a pillow) until you take a second glance and realize that first impressions are not always correct. That pillow is staring at you with unsettling eyes. Something you once found comforting is turning on you. How much can we really rely on those first impressions? I am still working out the kinks in my execution of these paintings, but I hope that in the end they will have the impact I plan for.

Procrastination

I think most art students will tell you that procrastination is a part of life. With three studios, regular academic classes, work, and a boyfriend, there is not much time. Somehow we I always seem to get behind in my studio work by the end of the semester and I have no time to catch up. Although I am surprisingly ok in my Fibers and Print Making classes, I am way more behind in my painting class. Funny, since that is my concentration. Right now I have two paintings that are almost finished, one painting I just started, a shadow box in the beginning phase, and a final project I have barely begun.

So all of this work is due and I only have about three weeks. Lucky for me, I have been in this spot before. The key to catching up on your procrastination is to GET ORGANIZED! I like to take out a calendar so I can see everything laid out. First I list all of my major assignments and mark their due dates. Next I break each assignment into sections. If it is an academic class, I would break it down by chapters to study. And if it is a studio, I would break it down by parts of my assignments that I could get finished in one setting. Finally, I fill in the blanks. Assign days and times to each of your assignments in your calendar and do not forget to take into consideration your current schedule.

Most importantly, make sure that the next time you have an assignment, you go through the organization phase FIRST! That way, you do not need to worry about jamming half a semesters worth of work into three weeks. So let me know if you have any tips about procrastination. I would LOVE to hear some new ideas!