The Messy Studio with Rebecca Crowell

Today’s episode is thanks to Valerie Allen and Armin Mersmann, producers of the podcast, Art Ladders: the Creative Climb. In May, they interviewed Rebecca about her background as an artist, her process, development, teaching, and ideas. Their conversation also delves into the unique characteristics of cold wax medium, and why Rebecca was drawn to develop techniques for its use. Both Val and Armin are artists themselves, and their thoughtful questions led to the wide-ranging and insightful conversation that we are pleased to share with you on this episode. Rebecca’s exhibit that is mentioned in the interview, at Slate Gray Gallery in Telluride, CO. is currently on view through the end of this month. Art Ladders podcast is available on Apple podcasts, Spotify and Podbay, and via their facebook page and Instagram. So let’s listen now to the Art Ladders interview with Rebecca, recorded in May, 2024. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio…

All artists are influenced by others, but when an artist has an authentic voice, their influences are well-integrated with their own unique vision. But sometimes the influence from another artist is so strong that the boundaries between the two are blurred. Today we’ll talk about being influenced by other artists -- when it is too much, and what it means when another artist is being copied. We’ll also mention ways that influence can constructive and positive and part of an authentic creative voice. Influence itself isn’t a bad thing—in fact it’s a given as part of creativity. Creativity doesn’t exist in a vacuum, and as artists we are naturally inspired by other artists past and present, and interested in and inspired by what they do. But there is a point when influence is too much, and you are taking liberties with someone else's work. While over-influence is somewhat expected when you are in a learning phase, as you mature as an artist it is expected that you move into your own territory. Some strong…

What sorts of boundaries do you put around your studio practice? What new ideas are you willing–or not willing—to explore in your work? We all have limited time and energy, so how do you decide where to focus? Which new materials, media, or directions are worth pursuing? It’s a part of learning to sometimes spend time and resources on things that are off track or don’t really suit you. And a basic openness to change and growth is a very good attitude. But, letting yourself be pulled too often in different directions can keep you from committing to deeper involvement. Today we’ll talk about boundaries that are useful and encourage growth, along with thoughts about those that are either too tight or too loose. When do boundaries make complete sense, and bring about focus and development in one area, and when is it good to let go of some of them and open new phases of our work? The answer is unique to you as an individual, but a key factor is if you have a solid base from which you can branch out. Every…

It's once again the time of year when many of us make resolutions and set goals. We’ve talked about goals and plans at the start of the year in previous podcasts, but in this episode, we would like to recognize that sometimes having questions about what lies ahead is just as important. The nature of creative work means focusing on what we don’t know as much or more than what we do know. Most goals and resolutions are based on a logical evaluation of what we want to accomplish—and there’s nothing wrong with that. But today we’re going to talk about the importance of generating questions as much as we do goals and resolutions. We base many goals for our life and work on assumptions about what seems like the right thing to do according to outside standards. But as artists we have a lot of independence and autonomy, and a big part of setting your own course is considering what’s right for yourself as an individual. It's also important when setting goals to leave plenty of room for the unexpected, and for…

This is the traditional time of year to focus on gratitude for the blessings in our lives. And while gratitude can and should cover a lot of areas of life, since this podcast is mainly aimed at artists, today we’re going to consider some of the ways that we as artists can be uniquely grateful. These include being thankful for being able to do our work, for those who appreciate it, for opportunities that come our way, and for the personal growth we gain from creative practice. Art adds a dimension to our lives that is deeply satisfying and affirming, whether we do it mainly for ourselves or whether we bring it to the wider world or even make a career of it. Today we want to focus on gratitude for the ability and the passion we have for making art. Spending some time to write about what your art practice means to you is a meaningful way to explore your grateful feelings for your art practice and the creative aspects of your life. We can all get caught up in the ups and downs of the daily situation in the…

Podcast: Studio Tours Being part of a studio tour is a unique opportunity to show your work in the one place where you feel most at home with your work, and where you have total control over what to show and how it will be displayed. It’s a time when you can meet people who are excited about what you do and of course, make direct sales and helpful connections. Especially when your open studio is part of an organized and publicized regional event, you can expect a steady flow of visitors, and the sales that result can be significant. What do you need to do to prepare for being part of a studio tour or open studio event? How can you maximize sales and connections, and keep your energy during all the preparations and planning? Today we’ll talk about some tips and considerations, and ideas for making things run smoothly. The most important thing to remember is to pace yourself, because there’s a lot to do to get ready, and many different tasks to keep track of. But doing a little each day for about four-six…

We may think of abstract painting as exploring the visual elements and the process of painting strictly for their own sakes, but that’s only one kind of abstract work. Many abstract artists have a more personal approach, in which aspects of their lives, memories and experiences fuel their work. They want to feel a direct connection between their inner lives and what they create. But finding ways to interpret these personal sources in abstract terms is a big challenge. Without obvious subject matter, how can you express an experience, tell a personal story, or evoke a memory? Today we’ll talk about some approaches to abstraction when very personal expression is the goal. if you are an artist seeking this kind of personal involvement with your abstract work, a key is developing a meaningful visual language that feels connected to your own experiences. Personal visual language means the way you use the visual elements and composition that are most expressive to you. This can include certain color combinations…

It’s what so many artists work toward—a solo exhibit or small group show-- when a large body of work is shown at its best, to an appreciative audience. Preparation for an exhibit like that can take months, even years. Slowly you produce the work, experiencing everything from panic to satisfaction as the finished pieces for your exhibit accumulate. It can be both a draining and exhilarating experience as you head toward the finish line. Finally, your show opens, and then what? You have a few weeks or a month of receiving congratulations and feedback, hoping for sales, celebrating when they happen, and then rather suddenly, it’s all over. Today we’ll talk about the aftermath of an exhibit, a time to process what you’ve accomplished and consider what’s next. Exhibits are milestones in your art career, and it's important to take some time to process your accomplishment, by observing how you feel about the work that was exhibited. Take some time to appreciate seeing the work as a body, hanging together, and to…

If you’re an artist who wants to get your work out into the world to be seen, appreciated, and even purchased, you will face the need for self-promotion. If that idea makes you squirm, you are not alone --and this podcast is for you. Why do so many artists hate the idea of promoting themselves? Probably because many of us were taught from an early age to be modest, to avoid mentioning our achievements, and to be grateful for whatever life handed us without seeking more. But dealing with the art world requires a different approach. You need to let people know who you are and what you do if you want to advance your career. Today we’ll talk about ways of self-promotion that may be comfortable even if you have a reserved, humble, or quiet personality. If self-promotion is stressful to you, you may be struggling with overcoming these early lessons. Or you may have a truly humble or quiet personality that you're happy with, but it holds you back from things you need to do to get your work into the world. However,…

In our last episode we talked about some of the practicalities of downsizing, clearing out, or moving your studio, and tips about ways to deal with your artwork, supplies, and other items that you’ve accumulated. But what about the emotional side of this? We’re going to focus today on how it feels to move out of a studio that has been a very important part of your life. You may be on top of the logistics involved in dealing with downsizing, but you are not a robot, mechanically sorting and tossing. Today we’ll talk about the fact that your studio is a very personal place that can evoke a flood of memories and emotions when you need to leave it behind. And we’ll also mention the benefits and positive aspects of going through this process. A studio is a place to make your work, but it's also much more. It is a sanctuary and refuge, and a place of contemplation where you have spent countless hours working, thinking, and observing your work. Your studio represents your personal history as an artist and all its…

The contents of an artist’s studio tend to be anything but minimal. Most of us accumulate a lot of art supplies not only for our current needs but for other projects that we have in in mind, or just because we love the possibilities suggested by a new material or tool. Then there is our inventory of older work, sometimes going back decades, as well as lots of miscellaneous items that tend to land in a creative space. Shelves, drawers, and closets become crammed as all this stuff builds up. Whether you are planning a move or just want to clear out some space, downsizing is a major project. Downsizing a studio requires a great deal of energy and many decisions, and it may be your total focus for weeks or even months depending on the scale of what you’re doing. While the basic logistics of clearing out a studio aren’t very different from similar work in a garage or basement, personal attachment to what you need to get rid of is stronger when it comes to your artwork and other things in your studio space. Much…

Art openings are fun, right? Your friends and family are there to celebrate, your work is beautifully displayed, you meet new people who are interested in what you do, and you may see some red dots appear. So why do so many artists approach their opening receptions with mixed feelings or even dread? Even if you feel excited about the show and grateful for the opportunity to exhibit, you may feel nervous about being in the spotlight, confused about what’s expected of you, or disappointed by a small turnout. Even openings that live up to your highest expectations can feel overwhelming. Today we’ll take an inside look at how to survive and even enjoy your next art opening. Although there are challenges, openings can also encompass many positive moments. It's exciting to see your work in its best light when it has been in your studio for weeks or months, largely unseen. There is often an elevated quality to the work to see it in this setting, and it is affirming of all your efforts to have your work appreciated…

As artists we are often in uncertain territory when dealing with the world of galleries, exhibits, and other opportunities, and leaning on assumptions --what we believe you know about a situation --can help you feel more grounded or confident. But when you find out you’ve misread a situation, you may be left feeling angry or frustrated, or blame yourself for not seeing things more clearly. How can you maintain your objectivity and identify your assumptions as you navigate the ups and downs of an art career? There are no easy answers but today we will offer some perspective on this tricky issue. The definition of assumption is "something that is accepted or believed to be true, or as certain to happen, without proof." But proof is very hard to come by when dealing with unknown situations. Nobody can have proof of everything in their lives let alone in the variable and diverse art world. We all operate on plenty of assumptions in our attempts to further our art career. But some assumptions can come from being…

In the interest of having a consistent style, artists are generally advised to stick to one type of work --both in the studio and when exhibiting. But many artists are experimental, curious, and explore more than one direction—so this advice can seem too restrictive. In our last episode, we touched briefly on the idea that a range of the same artist’s work can be promoted effectively if done with consideration. If you have more than one direction you may have questions about how you can best present your work when exhibiting or in other situations, and today we will address those concerns. While it is advisable to have one primary focus that you fully develop and go deeply into, there are many good reasons that artists explore multiple directions as sidelines. Working in various media and approaches tends to inspire new ideas, energy, and insights, and helps keep your work fresh. Different approaches may also appeal to different audiences and thus expand your marketing possibilities. But it's important to…

We’ve talked several times in the past about the experience of attending an artist residency program when you are away from your home studio, focused exclusively on your work in a stimulating environment. We’ve also talked about the importance of travel in general for feeding your creative ideas. But what about when that residency or the travel is over? Will the bubble you have been in for weeks, focused on your work or satisfying your travel curiosity, simply burst? Today we talk about that transitional time back to ordinary life and how that plays out in your work. When you spend time at a residency or doing art-related travel, coming back to your studio can present challenges. Your vision has been altered, and your experiences while away will affect your thoughts and feelings. You may have done work that is quite different in terms of media, scale, or source ideas that what you normally do. You have also probably been free of marketing or business concerns, and perhaps not considering where the work would…

Many creative people embrace quiet, solitary moments as portals to being in synch with their work. Stepping away from everyday distractions is a way of nurturing your creative self, bringing you more in touch with your emotions, ideas, and the bigger picture of what you want to express. Yet true silence and solitude tend to be rare in our lives, unless we make a conscious effort to bring them in. Most people are aware of the value of meditation and other spiritual practices like prayer as a way of calming and centering and consider it important, usually as a way of starting the day. But once you move into the main flow of a busy day, most of us never pause to find a quiet moment of solitude. A purposeful, brief stepping back from full engagement with your work, a pause in which you take a moment to refresh your vision and can enhance your creative process by allowing you to get find your center and purpose again. It's good to take this kind of pause not out of frustration or exhaustion, but during a good…

Intuition and spontaneity are important to many artists. But what about randomness? While these words are related in superficial ways, they have very different meanings in the context of art practice. Intuition and spontaneity play positive roles. Intuition can be a powerful guide and a source of new ideas, and spontaneity leads to energy and excitement. Randomness, on the other hand, tends to lead you off track and reduce the meaning and impact of your work. Intuition and spontaneity have somewhat different meanings although they are very closely related. Intuition means inner knowing or understanding, a sense of rightness. It may evolve slowly and grow over time based on practice and experience and can stand up to analysis and questioning. Spontaneity means being in the present moment, playing, and acting with freedom and energy. It is reactive to the situation and not something to question or analyze. How do these approaches differ from randomness? Although all three are alike in not being planned, random…

It’s never easy putting your work in front of others to be judged and scrutinized, but if you don’t it’s very hard to gain a wider audience or grow as an artist. Submitting work to galleries, grant panels, juried shows, and competitions tends to become a routine part of what artists do. But for every time you’re chosen for an opportunity, there are many more times when you are rejected or simply ignored. And despite the thick skins many of us develop, rejection is never easy. Today we’ll talk about coping with rejection and try to gain some perspective on its inevitability Accepting rejection as part of the process of your development is important. We all try many things as artists that don't work out for us, whether that is a new medium, a project, or a technique. Yet we learn to carry on with the next idea with a positive attitude. Rather than taking rejection as a personal affront, it's helpful to look at it in a similar objective way, as just another attempt that didn't turn out as you hoped. But…

We tend to think of artistic expression as being very personal, as coming from the artist’s experiences, emotions, memories, and responses. But there are also many works of art that are not focused on personal expression. Instead, the artist is motivated to explore a more impersonal realm of ideas, patterns, and more universal concepts. For most artists, there is a balance between sources that are more and less personal, a balance in working between the heart and the mind. That individual balance is basic to the artist’s voice and unique expression. Today we’re going to talk about these two different approaches to making art and the balance in your own art practice. In looking at art history in these terms it is easy to see the differences, and to recognize the ways that artists have drawn from both personal and formal sources. These divisions, although they tend to overlap in any one artist's work, are useful in understanding your own preferences and tendencies, and what is important to you. Do you prefer a…

The ideas and energy gained from travel are important to many artists, and when you travel, you seldom leave your art self behind. The stimulation of travel and new experiences tends to create strong impressions and bring on the urge to create while you’re away from home, no matter the overall reason for your trip. This means bringing along at least some art supplies, and lots more if the focus of your trip is a residency or workshop. It's hard to know ahead of time what environments or situations you will encounter, and what you will want to respond to. So, this makes planning your materials a challenge. But you can make some general decisions about the type of materials you want to bring, and how much time and space you will have for your work. Are you traveling as a tourist, or is your travel more focused on your work? If it's a shorter, busier, tourist type of trip, it may be that simply collecting ideas, photos, and quick work to reference later will satisfy your creative needs. But there are many other…

As artists, what role can gratitude play in our work and practice? On a personal level, we know that focusing on what we’re grateful for is good for overall mental health and contentment. Today we’d like to talk about specific situations in which appreciation and gratitude can help artists cope with some of the tougher aspects of art practice. Expressing gratitude can also help in your professional life to build mutual appreciation and respect in your dealings with the art world. Today we’ll talk about the importance of gratitude on both personal and professional levels. Thinking about gratitude in ways that are specific to your art life and work ienhances a positive state of mind. To look back over your life, and make a list of who has helped you, who has understood your passion, and what opportunities that have come your way is a powerful tool in maintaining a positive outlook. Becoming aware of these sources of support can help you through times of frustration or feeling a lack of appreciation,…

Lots of people misunderstand abstract art and don’t respect it as a valid form of expression. We’ve all heard remarks that imply that abstract artists lack talent or skill or are trying to fool people into appreciating something that has no value. If you are an abstract artist, how do you deal with this attitude? Do you have family and friends who dismiss your work? Do you let negative remarks pass by, or do you try to provide some background or insight into abstraction? Today we’ll explore why abstraction confounds many viewers and some ways you might provide some insight. It's perfectly fine to not attempt to explain, defend, or try to educate people about abstraction. Abstract artists have well over one hundred years of history in the Western art world to support their approach and there are vast numbers of people who do appreciate this type of work. Ignoring negativity toward abstraction is a valid strategy. But there is also value to being able to state your position, especially to people in your life…

As artists, we know it’s good to get feedback now and then so we can understand how our work is seen by others. But managing how and when to solicit feedback can have a lot to do with how valuable and appropriate it will be. While feedback at the right time and situation can be exactly what you need, feedback can also have the opposite effect, and even experienced artists can be thrown off track. Today we’ll talk about exerting control over when and how to receive feedback to make it most valuable. Any feedback—whether it is positive, negative, or indifferent—has the potential to distract you and cause you to lose sight of your intentions. It can also be very helpful, giving you fresh ideas, insights, energy, and motivation. It helps to be clear about when to ask for feedback, and from whom, and to take charge of the situation. Don’t assume that anytime you have the chance to show someone what you are working on that you should seize that opportunity, because there are points in the creative process when…

It seems to be a given that as artists we want to see growth and progress in our work --and many episodes of this podcast have focused on taking on the challenges and mindset that feed progress in the studio. But what does it really mean to make artistic progress? Is there any way to measure or quantify progress as an artist? And how is a sense of progress linked to our basic satisfaction as creative people? Many of us need a constant sense of progress as measured in specific achievements to feel good about ourselves. This is a cultural value and deeply engrained from childhood on, and it seems natural to ask yourself often what progress you are making as an artist. But it's also good to question whether you're applying outside standards of progress to your art self. Your inner sense of satisfaction and achievement is an important factor in recognizing progress as it plays out in your own studio life. If progress is important to you, you may expect it to be happen in ways that are quick, ongoing, linear, or…

For many artists that want to market and sell their work, finding a balance between studio practice and business life is challenging. There are pitfalls in spending too much time on the business side of your practice, and drawbacks to not paying enough attention to this. Finding a good balance between your art and your art business is not simply a time management issue, but also one of your focus and emotional investment. A key to navigating this balance is being flexible because your needs for greater focus for either studio time or business change over time, depending on your current situation with your work and your financial needs. Besides time management, also consider where you find that your focus and emotional energy are best spent. Not everyone wants to invest a lot of themselves in marketing their work, teaching workshops, or other forms of art business. Motivation for becoming involved in art business needs to be an inner drive. Art business can be stressful and there is no shame in deciding not…

As artists, many of us honor the age-old tradition of creating our work with nothing more than our hands, a few tools, and materials that have stood the test of time. Yet we also live in a high-tech world, and that impacts all of us. How artists view technology ranges from a necessary evil to a full embrace of its creative possibilities. But we should all understand that technology itself is not a new factor in making art. Today we’ll look at some of the ways technology has been used over time in art and ways to think about it in our current world. Dealing with technology can feel daunting and unnatural to the way you approach your work or it may be something you embrace enthusiastically. But it impacts all of us in life as well as in art. For artists, technology represents an intersection of scientific knowledge and creative output. It means knowledge that expands the known boundaries of what can be done in the name of creativity. But thinking of technology as something only relevant to artists today does…

Each type of painting media that an abstract artist uses has specific qualities that make it suitable for certain approaches-- and less so for others. As part of your studio practice, it’s important to understand and work with the qualities of different media rather than trying to push against their nature. And it is also exciting to explore outside your typical media to see what each has to offer. Today we’ll look at several media used for abstract painting—oil, acrylic, encaustic, watercolor, and mixed media approaches and touch on the benefits and challenges of each. A basic art theory concerns the idea that each art media has unique characteristics to explore and exploit. There is also plenty of middle ground; various media lend themselves to layering, for example. But in exploring various media for different purposes, you may discover new ideas and directions for your work. Water based media tend to offer possibilities for spontaneity, while oil painting offers special luminosity of color. The material…

A basic human desire is to truly be seen. We long to be understood by other people, acknowledged, appreciated, and accepted for who we are. As an artist, you have a literal way of being seen, of communicating who you are in a visual way. The hope that people will be able to connect with you through your work is a basic motivation for making art. Today we’ll talk about the desire to be seen and understood by the people who view your work. This desire probably goes back to childhood when we bring our drawings to our parents, saying “look what I made.” At a young age we can either be pleased or discouraged by the response. We either feel seen and appreciated, or we realize the person we're showing our work to doesn't understand. Many children leaearly to follow certain rules for visual communication in hopes of a positive response. They start to rely on recognizable symbols like houses that are square with a triangle roof and flying birds that look like the letter V. But this sets up a disconnect between the…

As artists we know it’s important to be open to new ideas and changes—but for marketing purposes we’re also expected to have an identifiable style that is consistent and recognizable. This basic dilemma is frustrating when you have wide-ranging interests and like to explore new ideas or media. Your work can appear to be “all over the place” and seem to lack focus. At the other extreme, being overly concerned that your work is consistent can inhibit your growth as an artist. These are issues that are contained in the idea of personal voice, in which you can have flexibility and change while working within the realm of what is meaningful in your work, that is, your core ideas and content. The search for basic intentions is an ongoing aspect of creative process but is more involved as an artist in is the beginning stages. The stage of incubation of core ideas may take years, and during that time, exploration and experimentation are essential at that time. Marketing enters the picture when galleries and…

Carrying out a creative project is rarely a straightforward process. A basic aspect of creative work is the way that ideas evolve during the process, rather than being known from the beginning. The outcome is unknown as the artist dives in, and the end is often surprising and exciting for its creator. Yet understanding and accepting this process is very difficult for many people. It seems to be human nature to know where we are heading when we set out, to have a goal and a plan and a roadmap. Today we’ll talk about the importance of the unknown in creative work. We call this aspect of the creative process a lot of things-- play, trusting the process, being in the flow or the zone, spontaneity, and intuition. Operating with an unknown outcome may come easily to you or it may be a challenge. Why is it so hard to shift into this mode? It's not something we learn growing up, because throughout our school years we achieve by following a logical progression of ideas with a predictable and expected result. Although…

Privacy and solitude are important factors in producing creative work, allowing an artist to feel secure to explore and take the time needed to develop meaningful work without judgement or observation. Yet the outside world can sometimes push against these needs. It may seem hard to set the boundaries around your studio time, to preserve the time and space you need to focus exclusively on your work without distractions. Today we will talk about setting boundaries around your privacy as an artist and what you choose to share of your unique creative space. Having any other person in the studio, even someone who is respectful and quiet, means your attention is divided. Making art requires complete focus, and disruptions and distractions can derail your process. You never know when you'll enter a state of flow or when you'll be challenged by something that needs your complete attention. Not being secure in your privacy is therefore unsettling. Making art is also very personal, and when you're alone in a private…

As artists we all recognize that intuition plays a role in what we do, but what that role is can seem mysterious and elusive. Like many concepts in art, we tend to use the words intuitive and intuition loosely because they defy exact description. But a closer look may help you understand its place in your own way of working, and to better access its power. If trusting intuition doesn’t come easily to you, you are not alone. Today we will talk about what intuition is, why it can be challenging to trust, and ways to nurture it in your work. The word ‘intuition’ has its roots in the Latin intueri which means ‘to look at or toward’ or ‘to contemplate’. This points to the foundation of intuition, which requires an openness, an awareness of your true self, your experiences, and emotions, that you can use in your work. When you have that base, the inner knowing that we call intuition can be accessed. Intuition also comes from being in the moment, and tends to motivate us toward action and decisions. It is…

Artistic expression is driven by an inner need to be your authentic self, to express what is true and unique in your individual experiences and thoughts. That may sound straightforward, but as we know, there is nothing easy about finding the creative voice that is yours, dedicating your time and energy to its expression, or putting the work that results out into the world. Creative expression challenges us to be honest, to focus, face our fears, and to understand and cope with failure. We can feel alone in this journey, but countless other people in all fields of endeavor have followed their creative urges and found a way forward. Today we are excited to welcome our special guest -- author, entrepreneur and award-winning graphic designer Joey Cofone. Joey has designed and art directed over 100 products from zero to launch. His design work has been featured in Fast Company, Bloomberg, New York Magazine, Newsweek, Bon Appétit, and more. He is also the author of the exciting new book that we’re going to be…

Art is primarily a solitary activity. Although some artists collaborate or share studios, most of us spend our time alone with our work and our thoughts, and we value that solitude. But art is also a form of communication, and other artists are often very savvy about understanding the work of others and connecting in that way is valuable. And who better to understand the ups and downs, the challenges and rewards of art life than another artist? Today Rebecca and Jerry discuss the benefits of being part of an artist community. Artist communities can take many forms--from a few artist friends getting together on a casual basis to organized critique groups to online communities and membership programs. Workshops also serve as gathering points around a shared interest, and often relationships continue afterward. An artist group or community can be formally organized with a definite structure, or a looser arrangement created simply by connecting with people in your region. Many artists have a deep desire for…

The beginning of a new year is a time to consider what will bring clarity and focus to your art practice in the months ahead. For many artists, that means setting goals and intentions, and to do that means gaining clarity about what to prioritize. Artists’ goals tend to cover a lot of ground--some may be for the work itself, for improving and advancing skills and techniques, or for completing projects. Others may be more personal, like taking steps to overcome procrastination or negative self-talk. Still other goals fall into the realm of career or professional goals like gaining gallery representation. Which are most important for you? Setting goals and intentions and making resolutions is common practice at the start of a new year and we are often advised to do this as artists. But it doesn’t make sense to do this randomly or to do it just because it seems like good advice. What you really want is to gain ground in some kind of logical progression. With all the moving parts in a studio practice, how do you…

A studio practice of any kind is an optimal learning environment. As an artist, every day that you work, you set challenges for yourself in your work and figure out how to meet them. But beyond learning how to produce the best work you can, there are also personal life lessons that come from a studio practice. We learn patience, perseverance, the ability to live with uncertain outcomes, and much more. Today we will look at some of what art can teach us on this personal level. When you’re committed to an art practice you learn many practical things out of necessity, like the need to show up in the studio, how to conduct the business of art, and how to evaluate your work. But making the commitment itself is a big step that can also lead to a great deal of personal awareness of what is important to you and how you handle your life. Because art is so personal there are deep emotional and personal effects that may evolve from dedicating yourself to your work. These tend to be subtle and slow to evolve but over…

In the process of making a work of art, the artist deals with many questions and decisions. There is a constant evaluation of asking if the piece is on the right track and considering what is needed for the next move. What will best convey the artist’s ideas and intentions? Many of these decisions are quick and intuitive, but sometimes a more reflective and conscious process is called for. You need a balance between intuition and more conscious analysis to produce consistently good work. Both are important—you don’t want to be constantly stopping and picking apart every move, that is paralyzing and over thinking. But without applying some objective evaluation of your work every so often, your work will be all over the place. Sometimes you hit on a good result, but it is harder to do that consistently without a deeper look. A lot this is analysis is thoughtfully but quickly, with just a short amount of consideration. This process borders on intuition because it feels that you just know what to do, although…

There is something compelling and mysterious about the urge to make art. Those of us that make art today are part of a tradition going back many thousands of years. What is its role in your own life? What basic needs does making art satisfy? Why do so many of us spend so much of our time putting down paint, shaping clay, carving wood or marble, or cranking prints through a press? Today we toss around some ideas about what motivates us to create and the satisfaction it brings. It's not uncommon for an artist to stop working for a while due to some disruption in their lives and it can be a distressing time. If stopping is the result of a personal upset or trauma, a vicious cycle can develop in which not working can lead to an even lower state of mind, and lead to even more difficulty getting back to it when the overall situation improves. Yet most artists don't truly give up their studio practice when circumstances are negative, and will continue to search for a way back in. Although artists have always…

Procrastination may be human nature but identifying its role in your life can be a big help in moving forward. Instead of simple laziness or looking for distractions, procrastination can also be active avoidance behavior in which you channel energy into activities other than what you really want to achieve. You may stay busy, but you’re not doing what is truly important. Today we look at how artists are affected by procrastination and ways to confront it in your own studio practice. As noted in a recent article in the New York Times, "procrastination isn’t a character flaw or a mysterious curse on your ability to manage time, but a way of coping with challenging emotions and negative moods induced by certain tasks — boredom, anxiety, insecurity, frustration, resentment, self-doubt and beyond." Each of these may show up as various aspects of studio practice. Some procrastination has to do with your artwork itself, when you are bored or frustrated, while others are practical chores and obligations. Artists…

It seems to be true for us as humans who sometimes struggle in our lives that identifying the good things in life--what you feel grateful for-- is a practice that leads to more contentment and joy. Thanskgiving in the United States is a traditional time to count one’s blessings and share time with family and friends. Today, Rebecca and Ross share a few things they are feeling gratitude for in their own lives and hope their conversation inspires listeners to think of what has been good in the past year for each of you. Gratitude for family and friends top most people's lists of what inspires gratitude, but there are also many aspects of community and creativity that bring satisfaction and pleasure. For our artist listeners, the ability to work in the studio and to get the work out into the world are significant. Ross and Rebecca would like to express their gratitude for all the followers of this podcast, both those who have been loyeal throughout the two breaks in production last year, and for new listeners.…

We often think of art collectors as people who love art but don’t create it themselves, meaning that the work they purchase may seem to them to come from a somewhat mysterious creative realm. Yet artists are very often collectors themselves, and have a different kind of appreciation for the work they acquire due to their deep understanding of what is involved in creating art. Many artists focus mainly the work of friends through purchase or trade for their own collections. That is not surprising since as artists we know lots of others and have more exposure to artists as friends than the general public does. But many artists also purchase art, from people they know or from complete strangers. Their reasons are diverse, from feeling a personal connection to the person who made the work, to work that moves or inspires them aesthetically. In our homes, we observe and study the work of others on a daily basis, and the work of others can have an effect on our thoughts about our own work over time. Acquiring a…

One of the trickiest issues that artists deal with is pricing their work. While there are some well-known, basic, and useful guidelines to follow, not all pricing situations are straightforward. Artists also encounter situations that may not have obvious answers—situations that are usually not addressed in basic art-business advice. When the situation is not clearcut, even experienced artists can find themselves feeling indecisive or worried they are charging too much or too little. Today we will talk about some of the pricing situations you may encounter that are challenging, and factors to consider when you run into them. Most of us are aware of the standard practices for most pricing situations, which are easily available online or from those who teach about art business. These include pricing in an objective way, perhaps by the square inch, rather than doing it subjectively, based on personal preferences. Consistency in pricing across the various platforms you use and galleries that represent you is also…

The state of flow has been described as the mental state of being completely present and fully immersed in a task, and psychological studies have delved into what enhances this state and what types of personalities seem to be able to access it most easily, although how and why we enter this state remains rather mysterious. The experience of flow in the studio is one many artists crave as the source of ultimate joy and satisfaction in making art. But creative flow is elusive—it may appear without any conscious effort or disappear when you most want to rely on it. Today we talk about this state of mind, how to cultivate it, and the role it can play in your work. Being focused and fully with your work is crucial to the state of creative flow. Without distractions or extraneous thoughts, you are responding with sensitivity to how your work is developing. Flow also tends to lead us to work in ways that are sensual and tactile rather than intellectual, although you may take breaks for more analytic thinking. It…

We’d like to begin today with some words from John O’Donohue, the Irish poet, author, priest, and philosopher--who wrote in his poem, For the Traveler: May you travel in an awakened way, Gathered wisely into your inner ground; That you may not waste the invitations Which wait along the way to transform you. May you travel safely, arrive refreshed, And live your time away to its fullest; Return home more enriched, and free To balance the gift of days which call you O’Donohue’s poem-- from which this excerpt is taken-- reflects on the impact of travel that is done in an aware and thoughtful manner. Taking part in an artist residency program is one way to experience a new place on this deep level and to experience its influence on your work. In today’s episode, Rebecca reflects on her recent 3 weeks of residency at the Obras Foundation in Portugal, and the challenges and rewards of this experience. We talked last week about the duality of familiarity and novelty that you can experience when working with the…

The influence of specific locations on creative work is important among many kinds of artists, from plein aire painters to site-specific sculptors. On today’s podcast, Rebecca talks about the ways responding to certain places has impacted her own abstract work over the years, and specifically how this has evolved in recent years since her move to New Mexico. We hope that her thoughts invite contemplation of your own influences from both your home environment and your travels. Two aspects of place that influence abstract imagery are familiarity and novelty, an intriguing duality. Familiarity leads to visual language based on repeated observations, repeated experiences, and getting to know a place beyond initial impressions. Knowing a place deeply leads to an integrated approach of emotions and visual observations and can be a very satisfying way to experience your everyday life. Treating your home environment as a rich source of ideas enhances your everyday life and sense of gratitude. Although you can…

For some artists, bringing meaning to their abstract work is hard because they lack ideas, or direction, or a true sense of connection to the work. But for others the problem is the opposite. They have so many thoughts, feelings, and references they want to work with that they become overwhelmed and frustrated. Today we want to talk about the value of focus in your ideas for abstract work, and what happens when your they are too complex and create blocks in your expression. Often, to bring personal meaning to abstraction people develop complex stories with a range of ideas they want to bring to the work. These references may be personal or may be broader world issues like climate change or war. Ideas are certainly important, but it takes focus to express meaning in abstraction. Working in abstraction is not a great approach for dictating how the work will be seen and interpreted. Anyone looking at your work will have their own interpretations; that is the nature of abstraction. It is the beauty and challenge…

Whether it’s your first exhibit or you are a veteran of many, an upcoming show of your work can take you on a wild ride of emotions and expectations. In anticipating the planning, production, and stress involved, you may even wonder, why bother? Yet for most artists, being able to show their work in a public space is important to their identity as artists. In today’s episode, we’ll look at the benefits and rewards of exhibiting and the role it plays in an art career, as well as some of the emotional and logistical challenges. Showing their work is vital to most artists because it completes the circle of communication, allowing others to receive and respond. Creating and exhibiting a body of your work is a significant event that allows your audience to have a complete and immersive experience of what you do. There are lots of logistical challenges that we covered in our previous episode (#223). But there are other, more inner issues to confront. For example, expectations for an immediate response and sales…

Nothing energizes and motivates an artist like being offered an exhibit, especially one that involves showing a lot of pieces together. Even experienced artists with a history of exhibits feel excited by the opportunity, but also a little daunted by all the work and planning involved. For artists preparing for their first big exhibit, there is a lot to learn and figure out. Today we’ll go through some of the practical aspects of preparing for a show, based on Rebecca’s almost 40 years of experience with exhibiting her work--and in a future episode we’ll consider some of the other challenges involved with showing your work. There is much to consider in the complex process of mounting an exhibit, starting with deciding if you're ready to exhibit and whether it will be beneficial to you at this time, and how to approach a venue about providing you with the time and space to show your work. You may decide to apply to a non-commercial space like a community art center, or you may already be represented by a…

When artists deal with the world outside their studios, they are often called upon to state their needs, assert their rights, and sometimes to confront unfair actions by galleries, organizers, or clients. Most of us don’t have agents or employees to handle these situations for us, and so we need to handle them on our own. To be effective, you need to be confident and straight-forward with the discussion. But instead, your personality may cause you to feel shy, socially awkward, or less than confident when you need to be self-assertive. Today’s episode is for those of you who struggle with confrontation and self-assertion in your dealings with the art world. Being self-assertive is complex for many people. You may fear coming across as someone who is belligerent or aggressive, but also recognize that standing up for yourself is necessary to avoid negative situations in which you are taken advantage of. But stating your needs or bringing up problems is not the same as attacking someone or inviting negative…

Studio practice has noticeable ebbs and flows in terms of productivity, sales, exhibiting and marketing. There is also an energy flow that is less specific and harder to quantify that runs through our days in the studio. Sometimes our energy is strong, and we feel carried along by ideas and excitement, and other times we feel sluggish, lack ideas, and must push ourselves to even go to the studio. When we lose creative momentum, it’s hard to feel we’re doing our best work. What is creative momentum, and how can we create and sustain it? The official definition of momentum is in terms of physics and it is rather technical. In simple words, momentum has to do with the mass of an object that produces motion. If an object is moving, then an object has momentum, and something with a lot of momentum is hard to stop. In this case the word has a much more popular, non-technical use, and that's how we want to address it today. Creative momentum is the feeling of flow and energy in your work that keeps you excited,…