Under the influence ….

not of the drink, I have to add. I like a drink in moderation (mainly because of my age and headaches) but more often than not we have to have the conversation. Are you driving or am I.  But my influence is coming more from other artists, friends and family.

It’s been a relatively busy week with one friend moving into her new home and new life, the end of a photography course for beginners (please don’t ask me what IOS stands for), two days helping out at my friend’s knitting and art shop, several trips to different events or places, a day of babysitting two lovely dogs, one full day’s workshop delivered and an art demo and talk to come tomorrow by an artist in residence who I am thinking of as, not just a fellow artist, but a new friend. Yes, she’ll soon head back to her own life and family with all the influences and memories she’s gathered in a very busy, enjoyable and, I hope, successful residency in Shetland, and we’ll no doubt keep in touch through social media but our lives have collided unexpectedly and delightfully and I’ll always remember her surprise and joy in what we were able to share with her of our much-loved adopted home. She, in turn, has given me ideas for my next steps based on her experiences of co-operating with other artists which I will take to heart and use as best I can.

So we may have had an influence on her time here but she has certainly sharpened our enjoyment of all that is good about Shetland and no doubt her demonstration and talk will slightly deflect my current thinking and practise in painting, as have previous artists-in-residence met through this space in Scalloway that attracts creative people from all over the world. We have met some great characters and lovely artists such as Michael Morgan and Katherine Cooper from Down Under, Karen Willis from Northumberland, Jeff Wilson and the lovely Jan Yates from Canada and Clive Brandon from London.

I still have a child’s appetite for new things when it comes to art, which combined with a (possibly) healthy scepticism for the Emperor’s New Clothes style of ‘let’s see what we can get away with’ means I’m always open to new things and willing to try new media but am usually happy to incorporate what I’ve learned into my own style if it fits. I have tried going all out for a different way of working and the only two things I’ve had to admit complete defeat with were oil pastels and totally abstract work, either or both!  I could not detach myself in order to be able to paint without discovering and developing something recognisable in the marks. I actually got stressed trying to do just that. As for oil pastels, how different could they be from soft pastels, I asked myself. The answer was world’s apart and totally out of my reach.  Is there some connection … maybe abstract artists are really at home with oil pastels? Does oil pastel by nature have to be at least partially abstract? Who knows, not me, that’s for sure.

So what’s new for me just now? Well I did mention that I had bought a stylus that comes with software for creating on the iPad.  Here’s my first iPad sketch – a bit rough and ready and I still don’t quite understand how some colours seem to be transparent and some seem to be opaque as that doesn’t seem to be in the list of options. Still, it was enjoyable to do and it gives me no excuse not to sketch even when I’ve not got my sketch pad and pencil with me, so it could be the start of something big … Maybe not big …. small but interesting?

Synchronicity

This is the coming together of events, conversations, ideas or people, where a recurring theme seems to be pointing you in a certain direction.  For me this has been happening for the  last few weeks with conversations, snatches of thoughts and ideas and finally a sort of casual invitation.  The likelihood of a new co-operation with some other like-minded artists is on the cards.  Something, I’ve thought about in passing for some time.  We all are aware that we’re not the edgy, conceptual or ground-breaking artists that the arts admin folk are really very interested in.  We’re working or hobby artists, producing work that is recognisable and reasonably technically skilled but, and here is the rub, popular.

Personally, in the nearly 20 years I’ve been taking commissions for portraits of people, animals, houses and the occasional boat, I’ve never been without at least one or more commissions in hand at any time.  I think that’s an amazing feat, of which I’m very proud.  OK,in the early days I did work for peanuts and even now, years on, although my prices did go up to a reasonable amount, I did take a step back with prices when I moved to a new place in order to give myself a chance to get my first few local clients and get myself established.  My prices won’t rocket back up, but gradually I hope to get to a point where people will appreciate my work enough to pay that bit more – that’s what comes from getting better at what you do, surely?  However, I’ve never said I could make a living just at doing this.  There have to be other sources of income from sales of prints and cards, from teaching and from, in the future with any luck, some writing about art techniques and tips.

All of this for me is not desperate as I’m now on a pension (yes, I think someone made a mistake on my birth certificate but what can you do?) and with the mortgage paid off and only one very independent and switched-on grown-up daughter, the need for money is not as urgent as it once was.  Of course, living month to month on a pension is not ideal and we’ll never be rich, but we have enough to get by as long as we don’t want expensive foreign holidays, new furniture and designer clothes.  That’s fine.  We don’t, but we would like to occasionally afford a trip to see our daughter in Canada, and to be able to visit my family and our friends in Yorkshire, and to be able to maintain the house and garden and run a small car without getting into trouble. We have modest aims but when you compare our lives with some current lives across the world we are rich beyond the wildest of dreams, and we appreciate that.  We live in a wonderful place, have reasonable health and enjoy a social life with good friends.  So for me the painting is something that fulfills a need so I just can’t stop doing and, when I’m not too pressurised, it’s something I really, really love to do.

We come back to that word “popular”.  It was Jack Vettriano’s stumbling block that has kept him out of the top national galleries he might have wished to be invited into despite being one of the biggest sellers and most recognised of contemporary artists.  The establishment thought him popular and that means “of the people” – low-brow and commonplace.  It is a shame that such snobbery pervades the art world still (and always has I suppose).  My fellow artists and I will enjoy painting together, learning from and inspiring each other.  We’ll be happy to sell our work, teach and inspire others when we can and make affordable art that local people and tourists alike will enjoy.  However we won’t get into the higher end galleries because we are not making unintelligible collections that need a statement to go with them in order to justify their laughably high prices. Some of it may stand the test of time but much of this new art where ideas are more important than skill may turn out to be the Emperor’s New Clothes.  I do remember a favourite story about a group of final year art students who were given a grant and offered complete freedom in how they spent it to put on an end of year show.  All the local dignitaries were invited by the college to come along and give gravitas to the event and when the door of the exhibition hall was flung wide, only a chair stood in the empty room.  On the chair was a note saying – “Thanks for the funding, we’ve gone to the seaside for the weekend”.  I liked that attitude as it’s a kind of double bluff about “what is art”.  They had an idea and that’s what they were asked for.

You might say that this attitude to contemporary practice proves we are not serious about our art, but I would disagree.  We are serious about learning and improving our techniques, communicating something through our art and leaving something as a sort of legacy of who we were and what was important to us. So we could carry on working in a solitary way, but how much more fun is it to enjoy meeting and socialising with people you like and admire, who inspire you to do more and aim higher.  Isn’t that why humans have always formed groups?

The art of relaxation

… Cats have it. Zen comes naturally to them. They literally can sleep on anything and during daytime hours, so can I. If I’m a passenger in the car, we’ve hardly reached the end of the road we live on before my chin is bouncing on my chest. I can catnap and wake up marvellously refreshed but once saw an article or heard a radio programme (can’t remember which) where tests have shown that 20 minutes is the optimum for a catnap. Less is not enough and more makes you feel more tired afterwards and makes it more difficult to “come round”.  I’ve made that mistake before and a short nap has turned into a couple of hours’ deep sleep leaving me feeling lethargic and heavy-limbed for the rest of the day and more restless than usual at night.

i’ve struggled with pillows for as long as I can remember.  Don’t get me wrong, I’m not an insomniac thank goodness, and I feel for the people who do suffer. For me it’s been a bad habit of working late at night when everything is quiet, and then struggling to get up in the morning. This started with a particularly heavy load of work some years ago, leading to me working on one portrait under a daylight bulb right through the night so I could deliver my last commission in time for Christmas. This was fortunately not a coloured piece of work as these can go badly wrong with the colours having to be re-adjusted the following day in real daylight,  so I tend to organise myself with colour work during the day and pencil work, admin or writing at night. I say organise with an ironic smile as I have very little organisation in my life – by choice – I don’t like routines or being pinned down to anything on a recurring basis, especially since retiring from “work” but I recognise that I could do with more discipline in my approach to my painting and writing. Order and discipline sound like they are the same thing but not in my life. For me, I can’t work in an untidy space, so I tend to have a problem with displacement activities, I think they’re called, ie  cleaning, tidying and reorganising when I should have the self-discipline to just paint.

So here I go rambling on and I have that kind of brain which doesn’t usually stop me from getting to sleep but does cause me to have vivid and sometimes disturbing dreams which I can often recall in great detail. I certainly hope to visit Cadiz one of these days to try and find the beautiful building I dreamt about –  a church or cathedral in light coloured stone standing above dazzling wide white or soft pink steps leading down onto a promenade overlooking the sea, where I was waiting to meet someone special. Just a mosr haunting  dream that makes me feel as if I’ve really been to Cadiz but I have no idea what caused that to pop into my head that night. So sleep itself does come, but rest is more elusive as I have restless legs, and problems with aching shoulders and neck – back to the pillow problem. I’ve tried all the fancy shaped ones, the memory foam ones, etc, but in the end I found my best night’s sleep was in a Premier Inn with their much publicised Hypnos bed and really comfortable pillows which I investigated and found to be just a firm hollow fill type. So I now have a firm pillow which seems to work OK most of the time. Of course at the Premier Inn I was in a super Kingsized bed on my own as opposed to our Kingsize bed shared with a partner with ridiculously long arms and legs and a variety of cats who seem to work on a shift system of their own making. So usually my head hits the pillow very late and I do get to sleep through sheer exhaustion. I have been known to fall asleep at the computer on a night and crawl to bed once I’d fallen off the chair but last week was a first. I was working all hours on a painting trying to get ready for the exhibition that will finally be hung in the morning, I fell asleep with a brush in my hand and found I’d painted a stripe right across the t-shirt of one of the musicians on my canvas. Easily remedied thank goodness, but it was a signal to hit the hay even though I’d been working well up to that point.

It’s quite difficult to leave a painting or drawing when you’re “in the zone” but I find as I get older I don’t have the legs to work right through the night. Actually it’s more accurate to say I don’t have the eyes for it these days. Just when I feel like I’m really starting to learn how to paint … But then I always was a late starter.