Painting a Thousand Canvases - Part 2

Finding Your Tribe

I suspect I'm not alone in saying that I spent the first part of my artist journey trying to go it alone.

My first teachers were Walter Foster how-to books, YouTube videos, and lots of Bob Ross.  My community was Facebook groups.  And my critiques came from family.  I knew I needed a community - my tribe - but I didn't know where to find one.

One of the challenges with starting any new endeavor is not knowing where to begin.  Art is no exception, and while there are ample resources, it's not always clear exactly what you need nor where to go for answers.  Simply selecting a medium is tedious, and often leads down to bad purchases and frustrating experiences. 

 Facebook can be a good place to start, but I would never recommend FB as a source for true community.  There are many good intentioned individuals online who are happy to help someone just starting out.  But there's also a good chance that those giving advise are just as green as yourself and whose recommendations may in fact be detrimental to your development.  You are also just as likely to find critical individuals who discourage you as they put down your efforts. 

If you do choose to join a Facebook Group (or similar social media forum), I encourage you to sit back and watch for a few weeks before ever posting.  See if the community is affirming and encouraging.  Look at the comments people make, and see what kinds of questions are being asked. 

 Local art groups can also be a great place to develop community, and can often be located on community organization websites like the YMCA.  I've found that groups tend to be a blend of traditions, mediums, and skill levels which can be good for learning about what's out there, but can also be challenging if you're looking to grow in a particular medium.  Likewise, these often tend to be social clubs centered around a common hobby.  While a social group is not bad in any way,  this may not be the best path for growing your skillset.

 Where I have found the most success in forming my community is joining and participating in the Outdoor Painters Society (OPS), a nationwide organization of plein air painters who have regular meet-ups along with annual competitions and events.  The group was founded by professional artists, but welcomes people of all skill levels and mediums. 

 What makes OPS different than a local community art group is its intentionality in supporting and encouraging its members to grow professionally.  Not only do we have the opportunity to paint next to professional artists during meet-ups, there are numerous resources available such as an extensive video library, an annual art competition, and workshops by professional artists outside of OPS. 

 The annual art competition is designed specifically to give members an opportunity to have their work in a show while also going through the steps of finishing (e.g., varnishing and framing) their work, applying for a show, and shipping their work.  Likewise, the annual competitions (both juried and non-juried) give participants the opportunity to experience the process of applying and participating in a show within a friendly space.

 While outdoor painting my not be your thing, OPS is just one example of similar groups that exist nationwide.  Finding a group is relatively easy online.  When looking at a new group, look at who the founders are and who is currently leading the organization - make sure they are at the level you want.  It's also common for groups to charge an annual fee.  This both ensures that those who join are committed to participating as well as helps pay for expenses such as the website. 

While you can achieve success on your own, I firmly believe finding a community (your tribe) is a critical part of becoming a successful artist.  Through your community, you will both advance your skills and  expand your network (perhaps even to patrons or galleries!).  You have the ability to learn from their successes and mistakes, and likewise, will be able to share your own unique skills and experience.  The French Impressionists of the late 19th Century found success only after they combined efforts to create a supportive community which allowed them to break down the barriers of tradition revolutionizing the art world and continues to resonate today.  Go and do likewise, my friends.

Painting a Thousand Canvases - Part 1

A Humbled Beginning

It was my first session with my mentor.  I had photographed and sent over a handful of my most recent paintings - thus far my best work - for him to assess and scrutinize.  I knew I wasn't as proficient a painter as I'd like to be (hence seeking out a mentor), but I felt I had at least a grasp on the fundamentals and that my work demonstrated competency.  If not great, it was at least okay.  Sometimes it's good to be humbled.

"You haven't painted enough paintings yet." was what he told me.

Now, I don't want to misrepresent the conversation and infer my mentor was overly negative about my work.   Quite the opposite.  He matter-of-factly laid out the areas which I needed to focus on - values and composition to start - but he also acknowledged where I was stronger - color mixing.  He gave me a handful of tasks to be completed before our next meeting which emphasize these elements and required me to work outside my comfort zone.  And for this, I am immensely grateful.

I can't argue with his assessment; he was right!  I hadn't painted enough paintings, and it was time to rectify this.  But what does this actually mean?  I can tell you right away that it's not just about painting.  If it was that easy, a student could spend a year painting three paintings a day and emerge a master.  Yes, they'd be better, but there would be significant and fundamental elements missing.  My point is that to become better, you have to be deliberate in how you spend your time. 

Over the next few weeks, I will be sharing some of the steps I have taken (and am continuing to take) in order to improve my work.  I doubt any of these will be revelatory, but together, they're a good refresher on what it takes to get to your thousandth painting.

Color swatching done with a limited palette of Alizarin Crimson, Cad Yellow, and Ultramarine Blue.

Speaking the Wrong Language

Avery studying her favorite painting - Jacques-Louis David’s, The Anger of Achilles.

My youngest daughter, Avery, is an artist. This is a significant part of her identity, and she has embraced it thoroughly. She is the child who asks to visit museums. She is the child who pours over books of artist’s collections. She is the child who can analyze a painting in detail; discuss how the artist has used a specific color in the under-painting to create the desired mood, or describe how a specific brush stroke has created delicate lines which lead the viewers eye to the desired subject matter.

The Tulip Avery Stubblefield, 2016

Yet while she is quite good at understanding a painting and her own work is good for an eleven-year old, something seems to disconnect when she puts brush to canvas. It’s as if suddenly she no longer speaks this language.

It wasn’t until we started her Model Magic air-drying clay that we really discovered her level of creativity. Clay animals and small flowers in vases suddenly began appearing throughout our house. We later upgraded her supplies with polymer clay for her birthday, and it was as if a spark was lit. Avery began making statues of Greek Goddesses, and sculpting jewelry inspired by Monet’s water lilies. She began blending her clay to create new colors, and using her tools to create new textures and shapes. Avery was speaking a new language - her own language - and her joy of creating resonated.

What I’ve learned is this: we are all artists. We all contain that spark of creativity which when allowed to come out, brings out the joy of creation. But too often, we try to express our joy of creating in the wrong way. We speak the wrong language. Whether it be music or dance, painting or sculpture, prose or poetry, it is imperative we learn our language and express ourselves.