The Messy Studio with Rebecca Crowell - Episodes Tagged with “Abstraction”

Episode 270: Rebecca's Interview on Art Ladders Podcast

Rebecca Crowell — Fri, 19 Jul 2024 12:00:00 -0500

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 Podcast donate here.
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When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
What's new at Cold Wax Academy? You can now join the membership program on a month-to-month basis with full streaming access to all the great features offered, including Rebecca and Jerry's full-length video workshop and Jerry's Mentoring Messages and 12 Essential Lessons. Monthly memberships mean lots more flexibility for you--you can try the program out for a short time, or take a break when you need it. Live sessions will continue twice a month--and along with favorites like painting clinics, critiques, and guests, and as always, everything is recorded and available in the Member Library.

And there's more exciting news! Rebecca and Jerry have just announced the first ever online international exhibit of work created with cold wax medium. All styles and formats are welcome. The juror for the show is Dan Addington, of Addington Gallery in Chicago. To learn more, go to www.coldwaxacademy.com-- and click on the Call for Art button. While you are on the website, check out all the information abut cold wax medium and how you can join the monthly membership.

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.
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For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast
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For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com
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The Messy Studio Podcast is a Tick Digital Media Production.

Episode 264: Interpreting Experience: Abstract Approaches

Rebecca Crowell — Wed, 18 Oct 2023 15:00:00 -0500

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 or textural effects, kinds of mark-making, and considerations of scale or format. This is the result of lot of practice, building up aspects of it over time.

Working in a personal way with abstraction has limitations in how specific you can be in conveying your ideas. You might think of the process as setting a stage that invites your viewer into a certain evocative realm, for example something organic or nature-related, or a something that seems architectural. But a challenge in developing abstraction with personal meaning includes avoiding literal depiction and insisting on a particular interpretation. It's very easy to slide into imagery even if you decide you want to avoid that; finding a context for your ideas that is consistent in its degree of abstraction is important.

Finding the essence of experiences, places, objects, or other subject matter is an important aspect of personally expressive abstraction. Essence means the most basic and pervasive qualities of something, the distillation of an idea. It’s typically the motivation behind wanting your work to be more abstract, because it helps your own responses to your subject be more powerful. You can express essence via any of the visual elements that seem related, and you can use them freely in compositions that are not literal in their depiction.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.
•
When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Fall quarter is now underway with sessions on Texture, Materiality and Process, Finding Time for your Work, a return visit with Gamblin representative Mary Tevlin, a painting clinic for works in progress, and the quarterly member critique. As always, Members are encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, But if you can't make it to the live sessions, remember that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions --and now you can navigate the extensive range of topics with an index to easily find what you need.

By the way, you don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information --including effective use of the visual elements and composition, personal voice and intentions, mentoring topics like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.
•
For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast
•
For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com
•
The Messy Studio Podcast is a Tick Digital Media Production.

Episode 257: More Than One Direction

Rebecca Crowell — Sat, 01 Jul 2023 21:00:00 -0500

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 think about how to present your work when you have more than one direction. Different situations involve different concerns, and you need to consider the audience for each.

For example, when approaching a gallery or applying for a grant or commission, you will make the strongest impression if you present only your main body of work. In these cases, the person deciding about your work wants to see consistency and an immediate visual impression. Other situations, such as when you post on social media, hold an open studio, or do a slide talk about your work, it's fine to show the breadth of what you do. In these situations, your audience has more time to absorb your various directions. If you want to show a range of work on your website, it's best to clearly separate your various directions and provide some written insight into your reasons for pursuing them.

In the best scenario, your work in various media or approaches will have an interesting relationship. Viewers seeing a range of your work will then be able to deepen their understanding of who you are as an artist. If your ideas come from a strong inner source rather than being very scattered, -they will be more worthwhile for you to pursue,and be more likely to enhance how others view your work.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a Tick Digital Media Production.

Episode 249: Explaining Abstraction

Rebecca Crowell — Sun, 23 Apr 2023 16:00:00 -0500

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 who may criticize you or are dismissive of your work because the “don’t get” abstraction.

It helps to recognize some reasons people say they don’t like abstraction. Although they may have a very deeply engrained bias against abstraction, they may also simply be uncomfortable with it and become defensive as a result. They may feel confused when there is no realistic image to identify, and no clear meaning. They may also lack the language to describe their reactions and are afraid they may sound unintelligent or offensive if they try.

In response, if you do want to engage with a skeptical person, you can talk about abstraction in general including its various forms and history, or you can talk specifically about your own work, your ideas and technique. You could perhaps compare abstraction to symphonic music, or point out that all visual art has abstract aspects. It's helpful also to understand and accept a person's resistance to seeing art in a different way and try to meet them where you find common ground.

www.messystudiopodcast.com/blick

What's new At Cold Wax Academy?
Rebecca and Jerry launched their spring quarter on April 12th. Sessions this quarter so far included identifying compositional issues in your work, and technical information from Gamblin representative Mary Tevlin. Upcoming sessions include a painting clinic for works in progress, and much more. As always, members can join in on live sessions with questions and comments, and can benefit anytime by interacting with other members on our Members-only facebook page. With 100 recorded sessions in the member library there is always something to learn or review, with topics ranging from technical advice to visual language to guests speakers and critiques of member work.

To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 244: Abstract Painting: Exploring Media

Rebecca Crowell — Tue, 14 Mar 2023 11:00:00 -0500

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 qualities of various paints also play a special role in abstraction, when color, line, and physical texture can be important be an important presence for their own sakes.

Along with choosing painting media that is in line for your intentions, the tools associated with the medium are a consideration. Experimenting with tools that are outside traditional choices can be exciting, but if you are truly a brush painter, for example, you would probably work best with a fluid media like oil, acrylic, watercolor, and gouache rather than thicker media like oil mixed with cold wax medium, or encaustic.

Exploring these different media is exciting, and often leads to a cross-pollination of ideas. For example, you might work through several iterations of an image using water-based media that sets up quickly, and then moving some of those ideas into oil. Or you might increase the scale of a small acrylic study to a large mixed media piece. A shape that you play with in acrylic may take on more depth or dimensionality when you build it up in layers of oil paint. Each medium has distinct effects and potential.

www.messystudiopodcast.com/blick

What's new At Cold Wax Academy?
Rebecca and Jerry are wrapping up their winter quarter of online sessions at Cold Wax Academy, where as always members have access to in-depth and varied content for learning, growth, and support. Their Winter quarter included presentations by guest authors Eric Maisel (may-ZEL) and Shaun McNiff, a painting clinic for works in progress, and live sessions on procrastination, tips on photographing your artwork, and source ideas for your paintings. All of these sessions and many more are available as video recordings in the member library. As a member, you can also access the private Facebook page and the community there of informed and supportive artists who post paintings, ask questions and initiate discussions.

It's never too late to join Cold Wax Academy! Stay tuned for a list of topics to be covered in the upcoming Spring Quarter and please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Please visit http://www.coldwaxacademy.com for more information.
Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Episode 227: The Gift of Days: An Artist Residency

Rebecca Crowell — Sat, 29 Oct 2022 16:00:00 -0500

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 idea of place and in your response to unique aspects of an environment. There can be novelty in what is familiar, when you tune into your daily environment, and there can also be familiarity in what is new, as you seek out what you know and are comfortable with even in a completely foreign environment. When working in a truly new and unfamiliar place, it can be a challenge to find focus and continuity with your ongoing work. Allowing your responses to being on a residency to evolve organically in your ongoing work may be the best way to integrate your new experience.

website for Obras Foundation: http://www.obras-art.org

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available.

Please visit http://www.coldwaxacademy.com for more information.

Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon!

Episode 225: When Less Is More

Rebecca Crowell — Sun, 16 Oct 2022 15:00:00 -0500

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 of abstract work that it is not read like a story, but received as a complete impression, so it needs to work visually foremost. Your ideas are important as guides in choosing the aspects of form in your painting, in arriving at the composition, shapes, colors, lines, and textures. But realize that having too many ideas can negates the ability to create a strong visual statement.

Like so much in art, limitations allow us to go deeper. A focused, simple idea is less likely to become too literal because it allows for an expansion of thought. When you try to pack in too much, your viewer has less room for involvement. Clear ideas on your part can act as excellent guides in your choices. But then you need to step back and let it be what it is to another person. This is a key attitude in working abstractly.

Please visit http://www.coldwaxacademy.com for more information.

Episode 211: Meaning in Abstraction

Rebecca Crowell — Sun, 10 Jul 2022 15:00:00 -0500

Abstract art --especially the kind that has no identifiable imagery-- may appear to have little meaning to the viewer beyond its purely visual appeal. Certainly, we can admire and respond to abstraction without needing a story or an explanation, as long as our eyes are intrigued or delighted, and that is an important way it can be appreciated. But in fact, ideas, emotions, and other points of reference lie behind even the most purely abstract work. Today we will consider the ideas that compel abstract artists and guide them in their work.

While a painting can never be fully explained, and can definitely be over-analyzed, understanding the general realm of ideas that lie behind an abstract work adds to your experience as a viewer. In reading artist statements and biographies, we can see that their sources of ideas in abstraction can be surprisingly specific and autobiographical. The process of interpreting ideas, images, emotions, information, and memories in visual language is challenging and requires a balance of intuition and intellect.

Abstract painting requires abstract thinking for both the artist and the viewer. Avoiding literal or illustrational approaches when working from specific ideas means being open-ended, flexible, and treating specific references more as jumping off points than as something you insist the viewer take from your work. There is a huge component of interpretation in all types of abstraction, and an abstract artist needs to allow guidance from ideas but without a need to dictate how others respond to the work.

Finding and expressing meaning in your work, however you create it, is key to having passion and involvement in the studio. For abstract artists there are special challenges in interpreting their ideas, and for viewers it means entering a world without labels and strict definition. A very different kind of conversation happens outside the realm of easily identifiable imagery. Intuition and imagination are important to both seeing and appreciating abstraction.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information

Episode 209: Abstraction and Visual Ideas

Rebecca Crowell — Sat, 25 Jun 2022 18:00:00 -0500

Abstract artists are known for getting ideas for their work everywhere. If you notice someone taking a photo of a crack in the sidewalk or staring at a piece of rusted metal, chances are good that’s an abstract artist at work, collecting ideas for lines and colors and textures. Even if we don’t depict objects realistically in our work, we are constantly observing the world around us. Today we are talking about the process of gathering and using visual ideas in creating abstract art.

What do we mean by a visual idea in abstraction? It starts with observing something and then using that visual information in your work—not in the sense of literally reproducing it, as you might with realism, but translated into aspects of your abstract work. A visual idea can be thought of as a distillation of something you have observed that enters your abstract work in a way that is removed from its source. Visual ideas can spark imagination and serve as a point of departure into new ways of using techniques, composition, and the visual elements.

Many times, we take in visual information in an unconscious way, gazing at things without mush awareness or analysis or focus, and sometimes these images do come through as we work intuitively. But to use a visual idea consciously, it helps to observe consciously. In abstraction, visual ideas can be taken from any situation you are in—whenever something strikes us as visually interesting, if we have the time and focus to and intention to really examine it.

You are most likely already working with visual ideas if you are observant of the visual world. But it can be interesting to become more conscious or analytic about what you are staring at, at least every so often, and seeing what changes that may bring to your work. Nurturing visual ideas so that they grow their original source or in seeing how they appear in your work and that of others can be exciting and deeply creative.

Episode 194: Our First Year: Reflections on Cold Wax Academy

Rebecca Crowell — Sun, 31 Oct 2021 22:00:00 -0500

A year ago, Rebecca and her teaching partner and co-author, Jerry McLaughlin embarked on a new project to meet the needs of artists during the time of Covid. With in-person workshops canceled, they turned to online teaching as a way to continue to offer instruction to artists interested in using cold wax medium and oils. Faced with this challenge of offering deep learning in a new format, Rebecca and Jerry developed a structured curriculum of online sessions for a worldwide audience of artists. Cold Wax Academy has evolved to be the leading online resource for mastery of both technical and artistic skills required for painting with cold wax medium.

Online teaching offers its own rewards and challenges, and Jerry and Rebecca reflect on its many aspects in this episode. Content for online sessions is prepared ahead of time with very specific focus, allowing for an in-depth exploration of various topics. Learning takes place in concise pieces of information, with time in between to process. When combined with actual workshop experience the impact of both foms of learning is especially noticeable.

With so many artists involved in online teaching and learning as a result of the pandemic, the advantages of online learning are becoming increasingly evident and to be involved in this new format is exciting. Cold Wax Academy membership provides deep, structured learning from two experienced, professional artists in the context of a supportive online community. If this sounds right for you, please visit www.coldwaxacademy.com.

www.messystudiopodcast.com/blick

Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium.

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Here is what a member named Sandy has to say about her own experience:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Special Guest: Jerry McLaughlin.

Episode 193: What Realism Teaches Us

Rebecca Crowell — Sat, 23 Oct 2021 11:00:00 -0500

It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others.

Thinking of abstraction and realism as a simple duality is misleading; it is more useful to think of various ways of depiction as a continuum, with extremely realistic work at once end and completely nonrepresentational, pure abstraction at the other end. The line in between filled with various departures from either extreme, and any kind of art is an interpretation, and there are always limitations to the medium an artist uses.

While each way of working has its strengths, too often abstract artists don't consider or exploit the depth and nuances that can be observed in the real world and that realist artists are by necessity very aware of. These can bring more intricacy and complexity to abstract approaches. Realist painters learn skills such as creating visual texture through subtle shifts of value and color, and to edit their work carefully to create good composition that are applicable to abstract work as well.

On the other hand, realism may also include approaches that do not interest abstract artists such as depiction of deep space and perspective, and there are interests that are unique to abstraction such as a focus on materiality and visual elements for their own sakes. So, while there are distinct differences, it's worth paying attention to how these various approaches overlap. All forms of art have more in common than they do differences, and it can be very beneficial to understand other approaches to the visual world.

Episode 192: Your Life & Your Abstract Voice

Rebecca Crowell — Sat, 16 Oct 2021 12:00:00 -0500

How do abstract artists focus on specific ideas in their work? How can personal voice be discovered and followed given the endless possibilities of abstraction? Today we will talk about one path that has proven to be a rich vein of ideas for many abstract artists—that of pulling from their own experiences in life to create a meaningful, personal visual language. Today we’ll talk about ways to access ideas for abstraction from what you know best, your own life.

Many artists, especially beginners with abstraction, tend to be a bit disconnected from personal expression in their work. Maybe it's because they believe that abstraction is always about lofty concepts bigger than any individual, or maybe they consider abstraction to be mainly an intellectual /conceptual exercise, or that it is mainly about process and technique.

All these approaches are satisfying to many abstract artists., but others want a more personal or emotional connection to their work.

if you haven't considered your own experiences, situations, and emotions as pathways to this connection, it may be because you worry that this is too self-involved or somehow self-centered. But there is wisdom in the idea that the more personal a subject is the more universal its potential. Your interpretation of your own experiences can strike a chord with others and thus be more widely meaningful. Work based on your own life and experiences is perfectly valid and is a long tradition in art.

Discovering personal sources for your work is challenging. It requires self-awareness and observation of what moves you and what abstract elements you connect with your experiences. Specific memories of moments and emotions connected with them are most potent, and journaling and sketching can deepen your awareness of these and help you focus.

There is no formula for working abstractly from your own experience, it is by nature individualized and personal. But to realize that your own life is legit subject matter and worthy of your attention is liberating. So go ahead, express your own experiences, be quirky, be open, be a little mysterious, mine your own memories, and feelings.

Episode 177: Searching for Stories

Rebecca Crowell — Sat, 08 May 2021 14:00:00 -0500

Since the beginning of time, artists have told stories with their work. Sometimes the messages are straightforward and other times open to interpretation. Stories can be told with recognizable imagery, with symbols, and even with purely abstract elements. At the heart of telling stories is our desire to communicate and the human love of narrative. Do you think of your work as telling stories? In today’s discussions, we hope to open your mind to the narrative aspects of your work and perhaps enable you to mine your stories for new ideas.

Throughout art history, storytelling has been a primary function of art, using stories from religion, history, and the legends of various cultures. We also find many personal stories, relating to individual artist's experiences. Considering visual expression as stories that record your life, your feelings and thoughts may be a new way of thinking especially in abstraction. But what is a story in its essence? It's something that takes us away from ordinary thoughts and perceptions, shifts our viewpoint, and transports us in some way. This magic happens visually as well as verbally, and for the artist as well as the viewer.

Although visual stories may not follow the conventions of plot development and narrative arc that we find in written or verbal stories, there are similarities, including the dynamic of conflict and resolution. As artists, we manipulate the visual elements on a journey that involves both contrast and harmony A useful term in thinking about this aspect of abstraction is "abstract narrative." Thinking about your own abstract work as a narrative may help you to have patience and trust as it unfolds, much as a novelist allows characters to develop and find a voice.

We can say things visually that go beyond words, but being conscious of your sources of ideas, the stories you want to tell, can strengthen your work. Stories bring meaning to any kind of art but in abstraction this perspective can help you find a voice and personal direction, because we all have stories to tell.

Thanks to everyone who has been sharing the show and donating, and especially to Jennifer Smith for her monthly donation! If you would like to donate to the Messy Studio Podcast donate here.

Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity.

As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 172: Building A Connection

Rebecca Crowell — Sat, 03 Apr 2021 00:00:00 -0500

Creating art is a way to share our thoughts, the ways we see the world, and experience life. This communication is vital-- even when we’re immersed in our process, thinking only of the next step ahead--our unseen, largely unknown audience is with us. Very few artists work in total isolation, with no desire to connect or communicate with viewers. Yet artists are also encouraged to follow their own vision, to not let other people’s reactions pull them off track. Today we’ll toss around some thoughts about the desire to connect with our viewers, and what this means in the studio.

The artists personal connection to the work, and in making the work is important in communicating to the viewer a sense of humanity, that their experiences and ideas connect with someone else’s, and that there is mutual validation in both artist and viewer when the connection is made.

From the artist’s perspective, the primary impetus for making art may be self-expression rather than communication with others, but as soon as the work is out in public, the viewer’s responses complete the cycle of communication. Most of us feel deep satisfaction in knowing someone appreciates and understands our work.

For the viewer, connection is vital. If no way of understanding the work is evident, even in an intuitive way, impatience and frustration often set in quickly. Ambiguity and multiple interpretations are fine but there still needs to be some basic structure or purpose sensed in the work. Without that, ambiguity is just muddle.

When an artist has clarity and purpose, the viewer senses this and can enter the work as in a conversation or in appreciation of a story. It’s the job of the artist to create this conversation and invite the viewer to participate.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and
and click on the Memberships button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 164: Abstraction and Your Inner Child

Rebecca Crowell — Sun, 07 Feb 2021 17:00:00 -0600

We all drew, painted, and made things out of playdough and construction paper as little children, in spontaneous and unselfconscious ways. Some of us retain those memories, and we may also have children or grandchildren whose artwork we love. The art of children affords an intriguing view of a very different way of seeing and thinking than we have as adults, and many abstract artists have found it a source of inspiration. Today we look at some special qualities of child art and how it may feed our abstract ideas.

Many contemporary artists find kid’s art intriguing, especially art from the very early years before the child has been told how things “should” be depicted. Whether this is done consciously or unconsciously, well-meaning parents and adults present young children with a very different idea of what art is about. Their emphasis is on recognizable objects portrayed with a single meaning, as in “this is a person, or this is a tree” without considering the different perceptions of a young child.

Children naturally follow their own intuitive logic in depicting their world, using symbolic and narrative approaches that may not make sense to an adult. They are fluid not only in their freedom and inventiveness with materials, but also in their interpretations of their own work. The story they tell about a painting may be different tomorrow, showing how intimately they engage with imagination as they create.

We all made this kind of art long ago. If we’ve lost the memory, can we still reconnect with some of its liberating aspects? Consider the power of symbols, the freedom from conventional approaches to space within the picture plane, and the focus on process rather than results that young children display in their work. Perhaps above all, their trust in an intuitive “rightness” about their work, whatever adult rules it may break. We may have left this state of flow many decades ago, but we can reconsider its advantages now from an adult perspective and how they may fit with our current abstract expression.

Thanks to everyone who has been sharing the show and to Phyllis Lasche for donating via PayPal. Make sure you listen to the episode we did with Phyllis, episode 160, if you haven't already! If you would like to donate to the Messy Studio Podcast donate here.

Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing!

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
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It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and
and click on the Memberships button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 163: Abstracting With Symbols

Rebecca Crowell — Sun, 31 Jan 2021 14:00:00 -0600

Abstract artists find many ways to bring meaning to their work. For some, this may be purely an investigation of color, line, or other elements. For others—it is the expression of emotion or evoking aspects of the visual world. Today we’re going to look at another powerful way that artists can bring meaning to abstraction—through the use of symbols, whether personal in origin or more universally recognized.

We recognize and use many symbols in daily life—every company religion, government, and organization adopts symbolic iconography, and written language and numbers are symbols also. In art, symbols—both realistic images and abstract ones—have been used since earliest times and in every culture. They may be based in universal ideas or be very personal to our own experience. As artists, how can we bring symbols into our abstract work?

This may be a particularly useful path for artists looking for a way into abstraction and away from literal representation. Symbols that refere to actual objects or figures can be placed into an abstract context and provide a bridge between realism and a more interpretative approach.

The most powerful symbols are simple, strong images that distill meaning and have strong powers of communication. Those that have meaning to you can be pulled from any meaningful source, and discovering which you feel most connection with may be a portal to expression thatyou have previously overlooked. You may even find symbols in your work already but not recognize them as such--colors, shapes, or compositions that recur over time--that may reveal meaning if you focus on them. Symbols have strong connections to our subconscious mind and can make themselves known even when we are not looking for them.

Symbolism is a very large topic and we can only touch on a few ideas here, but we hope that this episode will inspire you to give new consideration to using symbols in your work.

Blurb

Thanks to everyone who has been sharing the show and to Laura Smith for donating via PayPal. If you would like to donate to the Messy Studio Podcast donate here.

Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing!

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
www.messystudiopodcast.com/blick

Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 158: Abstracting with Emotion

Rebecca Crowell — Sat, 26 Dec 2020 15:15:00 -0600

Abstract artists are sometimes stereotyped as uninhibited people who slap paint down in direct response to strong emotion. But this idea is far from accurate. While many abstract painters do aim to express emotion and mood, their approaches vary widely --from spontaneous to highly controlled. And even the most intuitive artists need to thoughtfully consider their use of the visual elements and design principles. Today we will look at painting abstractly as an expression of emotion, mood, remembrance, or other states of mind.

While we may think of abstract expressionist painters of the mid-20th c. as being the epitome of emotion-based work, with their bold brushwork, huge scale, and lots of color and contrast,
they may simply be the most obvious. The very name of the movement, abstract expressionism, implies painting with abandon and feeling. But expressing emotion, and working in a very loose, spontaneous way are not necessarily the same. If we think emotional work should look gestural and loose, we may fail to really see the emotion in other work that is much more subtle in its effects.

A restrained way of working emphasizes that as people, not all of our emotions are out there, easy to read. There can be depths of emotion and even spirituality to more austere work. The degree of personal emotion that we express in overt ways is an aspect of personal voice and also of where we are in our learning process. Beginners don't yet have the skills that help open the channels to inner experience.

Creating paintings that connect with your own feelings or inner experience and at the same time with that of your viewers can be very challenging, Over-thinking, shielding our feelings even from ourselves, and settling for half-measures when we could be pushing the expressive aspects of scale, color, and mark-making can all stand in the way. But recognizing what is powerful in our work in subjective ways is a good step toward opening the channels of emotional expression, whether in subtle ways or bold.

Website mentioned in today's episode: www.richarddavidson.com

We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast!
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Thanks to everyone who has been sharing the show and to Albi Ulat for donating via PayPal. If you would like your own shoutout on the podcast donate here.

Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 152: Abstracting Our Visual Experience

Rebecca Crowell — Sat, 21 Nov 2020 04:45:00 -0600

Abstraction takes many forms for artists—from working with the visual elements for their own sakes to using emotion and mood as a starting point, to interpreting what they see in the world around them. Many artists combine these approaches to find their own personal voice in abstraction. Today we are going to examine the path favored by many artists who are inspired by the figure, the landscape, or other subjects in the visual world while avoiding literal depiction. What are some things to consider if this is your own direction, or intrigues you with its possibilities?

A starting point is asking in what ways would you want to engage the viewer. Do you want the viewer to identify the source ideas of your work? You can be inspired by the visual world yet leave little obvious evidence of that. Some works of art might not show source ideas in the visual world at all even though they underlie the composition or color choices of the artist. Other artists seek to evoke associations with the visual world without including specific images, while others give more clues to guide the interpretation.

If you are interested in this approach, consider what clues you are giving the viewer and if they align with how you would like the image to be understood. For example, an illusion of space has a lot to do with how an abstracted landscape is perceived. Once there is a sense of physical depth, of looking at a scene, the literal reference become stronger. For example, the inclusion of a horizon line evokes pictorial depth. In abstracted figures, the amount of detail in the face or clothing may be connected to the degree of literal representation. The kind of title, whether open-ended or specific, is also a powerful way to direct the viewer's interpretation.

Abstraction also typically emphasizes just a few of the visual elements, rather than using the full range necessary in realism. Expressive use of the visual elements in a way freed from representation is also a hallmark of abstraction. This can take the form of gestural marks, use of subjective color, simplified shape, bold contrast, and many other approaches.

People often have limited ideas of what abstraction means—that it is just about shape or color or design. But you only have to think about the early modernist artists like Matisse and Cezanne to notice their movement away from realism into abstraction while retaining subject matter.

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Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here.

Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 138: My Kid Could Do That!

Rebecca Crowell — Sat, 15 Aug 2020 13:00:00 -0500

Saying that an abstract painting is something a preschooler could do sounds like the ultimate putdown for abstract art. It implies that abstraction is a scam, meant to fool the viewer into thinking it has actual importance and ridiculing the fact that it is sold for thousands of dollars. It also denies that it takes effort, skill, or seriousness to make the work. But can that same remark be viewed in a positive light instead? What do we lose as adult artists that children have naturally, before becoming self-conscious about their work? And is child art really the equivalent of adult work?

We're talking here about gestural, expressionistic abstraction like the work of Cy Twombly, and Jackson Pollock. Obviously, there are many other kinds of more cerebral, controlled, and planned abstraction that would be less likely to elicit the disparaging comparisons to child art. But the idea persists with expressionistic abstraction that it is some kind of joke even though it has been practiced widely for decades and holds a significant place in art history.

Are child art and adult art actually interchangable? In a Boston college study done in 2011, people with no art background were asked to distinguish between child art and abstract expressionist adult art. They answered correctly in numbers significantly better than chance. The conclusion was that most of the time, we can sense intentionality and structure in an adult painting that distinguish it from child art. Children, with their fantasy-oriented, unselfconscious approach, simply have other concerns.

Another question to consider is is why spontaneity and intuition are undervalued in abstract painting when those same qualities are respected in forms of art such as jazz, and improv theater. To be able to respond to emotions and materials in a fluid, natural way is actually a challenging skill to learn for adults. As Picasso famously said, "It took me four years to paint like Raphael, but a lifetime to paint like a child."

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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 121: Working with Place...While Sheltering in Place

Rebecca Crowell — Sat, 18 Apr 2020 02:00:00 -0500

Many artists working in both realism and abstraction explore ideas or emotions through the lens of unique or moving aspects of a particular place. This place may be as close as the artist’s own backyard, but it is often more distant.

At this time we are encountering many challenges in our daily lives due to the COVID-19 pandemic, including being unable to visit the places that motivate our creative processes. Nationwide “stay at home” orders are restricting our movement, but even in normal times we may still be unable to visit these places at will. Many of us have had travel opportunities, including artist residencies, that focus our attention and introduce new ideas while we are away, but the experience may seem inaccessible once we return home. How can we keep our connection to these places and allow our time there to keep influencing our work?

Memory is a great distiller of experience; working from memory can encompass visual imagery as well as emotions. Photos of special places may also be useful, but working in a literal way from photographs can be restrictive, leaving out emotions and subjective interpretations. But used as a point of departure, photos can trigger ideas. The same can be said for sketches, notes and objects we bring home. Sending time researching interesting aspects of where we have been can also being conceptual depth to our work with place.

As we continue to work while sequestered in our homes, remember that this too will pass. While we do need to reconnect physically from time to time with places that are important to us, there are many ways to nurture that connection and continue to work with what we love about these places from a distance.
Stay safe, everyone.

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Episode 104: Questions And The Creative Process

Rebecca Crowell — Sat, 28 Dec 2019 13:00:00 -0600

The questions we ask ourselves as artists are at the root of the creative process. As artists we are driven by the unknown. Contemplating various possibilities brings energy and change to our work. It keeps our work dynamic, and exciting, and it keeps us engaged in the creative process.

These questions may be big or small. Where is a particular piece heading? What “works”, and what does not? When is a piece finished? There are also deeper questions about our overall practice and direction. These questions play an important role in our work, and in developing a personal voice.

If we are not asking questions, it can only mean that we are completely satisfied with our work, which is seldom the case. We can always be asking the question “what happens next?” or “how did I arrive at this point?” When we stop asking questions, we are halting the creative process and stagnating. At this point it is easy to become bored, and for the quality of work to suffer.

Some of the best questions to ask start with “what if”. These questions are basic to finding your way into a process that works for you. We may not even be conscious of these questions, or put them into words, though it is not a bad idea to do so. A good idea is to keep a log or journal of your creative activities. You may wish to take notes as you work, but if this is disruptive to your process try taking a few minutes at the end of your day to write down any fresh insights.

Our work is built on the gradual accumulation of knowledge that arises from asking questions. Try putting a little more intention into these questions. Think about the questions you have asked in the past, the ones that you are currently asking, and the direction of your work. As you think about these questions more consciously, your work will gain depth, meaning, and complexity.

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Episode 86: Meaning in Abstraction

Rebecca Crowell — Sun, 25 Aug 2019 13:00:00 -0500

Intro: Many of our listeners know about the book that Jerry McLaughlin and I co-wrote--Cold Wax Medium: Techniques, Concepts & Conversation—and also that, from the beginning we did not want to only talk about techniques (hence the title.) Today we want to talk about why we find the concepts and ideas of abstraction important and offer some ideas about understanding and developing meaning in your own work.

In a recent podcast Ross and I talked about the commonalities abstraction has with other approaches to art as well as its unique aspects. We mentioned then that there are challenges for artists working in abstraction and today we’ll talk more about that. How to bring meaning and individuality to the work?

An idea that some find hard to grasp—thinking abstraction is simply design or random occurrences. Yet all you have to do is recognize that people have personal voices and recognizable styles to know that there is more going on than that.

Odd that imagery = meaning for many people. Tied to a strictly literal way of thinking and interpreting. Using only a small part of our means of appreciating the world.

Labeling of imagery can lead to a shallow interpretation of any kind of art including realism—ask more questions, why has the artist chosen the subject matter, how is it handled. True appreciation never stops with identifying subject matter even when it is the most obvious component.

Abstraction—usually imagery is removed from the equation, or if it is there it is handled in a non-illusionistic way. We can jump in more readily to the interesting things—what’s behind the work. Labeling does not need to intrude. Abstraction includes the artist's experiences, emotions, thoughts.

We do accept non-literal associations through our other senses--hearing, smelling, tasting.

Our human brains seek structure and meaning-- but literal image is only one type of structure. Look for how the artist has structured the work as a way in. Notice contrasts, how the visual elements are used and which ones.

As the artist, abstract painting requires abstract thinking. Letting go of labels, letting yourself be carried by ideas, feelings, memories. No need to explain, stay logical. We've all founnd ourselves caught in reveries without visual reference.

At the same time give yourself some structure—identify intentions, preferred elements, use of form and content.

Getting away from linear thinking does NOT mean lack of content. Many things bring meaning to our lives that are not clearly defined.

Sources of abstraction include any aspect of experience you care to bring to your work—in any combination. We can be pulled off track into the familiar when "things" appear as part of the process. this can be very random.

Intuition does not mean finding something identifiable things in the painting but rather playing off important visual elements.

Intentions: important to set them to develop and understand yourself and meaning of your work. Your essential character and core values and feelings. They make your work you. They can evolve over time.

Challenges for Artists /personal voice
Idea that abstract artists as need to be more individualized or unique because they are creating their own realties rather than depicting a shared one as with realism.

BUT like other approaches, there are similar appearances. Ex: geometric abstraction, abstract expressionism.

Learn about artists working in these ways and how your work might be seen in that context, the history and cultural connections among people.

You can feel quite lost without these references. Be open to various influences that mix and enrich your work. Influence doesn't mean it has to have obvious visual siilarities. Can be an intrigue with process, background, thoughts.

What other aspects of your life bring meaning to your work? what are you interested in?

Expressing your complete self is an advantage of abstraction. The multiplicity of influences and sources both external and internal can be very rich. Keep an ongoing awareness of these. This can also include spontaneous, intuitive work.

Involves a lot of personal, inner work--a very examined life. An understanding of yourself.
Intentions involve both personal content and formal aspects (such as exploration of color.)

Be willing to examine your own inner impulses, and for ways to communicate those . be able to think in an abstract way, don't over-explain. Difficult but can look easy to outsiders. Analytic phase interspersed with flow. That takes a lot of experience.

trying to sort all this out may require simplifying, finding a structure, talking about it out loud.
Intuition does play a huge role.

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Special Guest: Jerry McLaughlin.

Episode 85: What is Unique About Abstraction?

Rebecca Crowell — Sat, 17 Aug 2019 14:00:00 -0500

Intro:
Many people find abstraction very challenging to either create or appreciate because it seems so different from more realistic approaches and it seems hard to find a way in. Although in some ways there are radical differences, there are also some basic similarities with representational art. Today we’ll talk about abstraction in a way that may help your efforts to understand it as an artist or art appreciator.

Realism and abstraction often both get put into fairly rigid boxes in many people’s minds, yet there are also artists who have worked well in both and lots of gray areas in between, or who work back and forth between these styles freely.

All art = translation of some kind. Starting with a source, an idea, something seen, thought, known or felt.

Artist wants to interpret the source in a meaningful way. Which path to take? As an artist, be open, follow your gut, no easy answers with any approach

Quick run through some broad/simplified categories of art approaches: Lots of overlap, these are all continuums-- but for discussion purposes

Realism/Illustrational—as close to what is observed as possible. Can be narrative, allegorical or straight forward observation—artists motivation varies. 

Interpretive—subject matter is very important and identifiable BUT artist’s personal style/interpretation is important. emphasis on technique or particular visual elements. Van Gogh example. Surrealism. Expressionism. 

Abstraction—ideas, visual input, emotions are interpreted with varying degrees of recognizable subject matter—from some inclusion of subject matter (Picassos abstracted figures) to pure abstraction/no recognizable image/abstract expressionists

like Pollock. Includes Mimimalists like Agnes Martin.

When subject matter is included it tends to be loosely defined, and either a vehicle for emphasis on color or technique, or symbolic 

Conceptual art—might be its own category but definitely a lot of overlap with abstraction. Visual image may not be part of it at all. Performance art, ephemeral art. 

Abstraction is a huge, broad category. Discussed in early podcast #13 and 14

Not a small box of non=representation only, or any one way of working. So broad in fact that aspects of it can be found in all other approaches.

. Similarities: what is NOT unique about abstraction
**All artists (with exception of some conceptual art) use visual elements /principles of design to create their work—these building blocks are basically purely abstract. An abstract language.

Visual elements—color, value, line, shape, form, texture
Design principles—aspects of composition, distribution of visual weight, contrast, unity

Art school or independent study teaches much of the same basic principles of art to everyone. Important no matter which path you take. (A misperception that abstract artists do not need to know basic skills, that it is entirely free-form. These are very basic tools for all artists. )

Structure and tension are important no matter what the style.

**All artists deal with relationships between parts of their work. A realistic landscape painter is thinking similarly to an abstract painter in placement of shapes, colors, movement of eye throughout the painting.

**Communication—trying to convey a perspective, idea, emotion, interest, bridging the gap between one’s own perception and the viewers

A matter of how your sources or input are translated, more literally or more abstractly.

** growth/development: all serious artists share this goal/ abstraction is certainly not an easy path though some may assume it to be so

Unique aspects of Abstraction:
Creating a different kind of reality/ based on thought, emotion, imagination—tapping into viewer’s subconscious or non-linear thoughts, associations

Emphasis on a few visual elements within one work ---takes viewer’s interpretation away from more illustrational reality. Recognize which elements the artist is focusing on and this can be a basis for understanding the work.

Challenging to viewers: Many people want to see something in the work as a way in—but realize the way in may be something like exploration of color for its own sake, like music without words. No easy labels. Requires a letting go, an immersion, allowing your own feelings and gut responses. Artists have to accept some will never “get” their work.

Integration of numerous sources: unlike more illustrational kinds of art. Can involve a lot of free association, influence from the visual world, memories, pure impulses of color, line or shape.

“Making something out of nothing” – yet there is plenty to work with, it is just not presented in a linear way

Wrap-up:
Sometimes people think as an abstract painter myself I would not appreciate other styles—but the principles of good art carry across styles. I like to point this out so that people open up more to abstraction, and also to help those beginning with abstraction see that it is not an entirely different world.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Episode Mentioned:

https://messystudio.fireside.fm/13 (Diving Into Abstraction Part 1)

Summary

Episode 77: Surgical Abstraction, Interview with Steve Immerman

Rebecca Crowell — Sat, 22 Jun 2019 12:00:00 -0500

In this week's episode, Rebecca and Ross join Steve Immerman, a Wisconsin artist working in fused glass. Steve discusses his beautifully designed intricate glasswork, how he developed his art practice, his creative process and the relationship between his art and his day job as a general surgeon.

https://immermanglass.com/
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Special Guest: Steve Immerman.

Episode 73: Abstraction In Words And Paint

Rebecca Crowell — Sat, 25 May 2019 02:00:00 -0500

Rebecca and Jerry McLaughlin discuss commonalities in poetry and abstract painting as well as how to approach poetry as inspiration in your own work.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast
www.jerrymclaughlinart.com

Special Guest: Jerry McLaughlin.

Episode 70: The Importance Of Drawing

Rebecca Crowell — Sat, 04 May 2019 11:00:00 -0500

Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop?

Episode mentioned: https://messystudio.fireside.fm/21
https://messystudio.fireside.fm/68

Piece mentioned: https://www.usatoday.com/story/travel/destinations/2013/04/11/possible-van-gogh-painting-exhibit/2074219/

Relates to discussion about drawing in podcast about Intuition with Nuala Clarke and Joanna Kidney, both find it important part of their process (#68)

Drawing def. by Miriam Webster shows the narrow way in which many regard drawing:
“the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines”

Oxford English dictionary is similarly limited: “a picture or diagram made with a pencil, pen, or crayon rather than paint”

“I can’t draw” is like “I can’t cook”—there are lots of ways to approach it and once you find something that works for you, you may want to expand your repertoire

Maybe why many current artists prefer the term mark-making/more inclusive –we’ve discussed this when talking in earlier podcasts about visual elements

A look at contemporary and modern artists’ drawings may be enough to open your mind if you are stuck in this mindset: famous ones like Cy Twombly, Agnes Martin, many famous painters also have done incredible drawings, too numerous to mention

Using non-traditional materials, surfaces, even drawing right on gallery walls—
Rocio Rodriguez—
Linn Meyers

Some contemporary work hard to define as drawing in any traditional sense—for example
drawing with wire or sticks
huge scale, tiny scale,
everything from very expressive and loose to intricate and controlled (Michael Geddis #21)

Many painters include drawing within their imagery, done with paint, paint sticks, or other techniques to create lines or marks. Drawing does not need to be a separate category.

Why is drawing important?
**as personal notes: keeping a sketchbook of some sort—can be drawings from life, or non-referential drawing, doodles, marks—accessing intuition, identifying interests, making observations, noting ideas

** traditional role of drawing as study for paintings/sculptures. Study=exploration; you don’t need to copy your drawings—they are just the first steps

**drawing may be shared or just for yourself; tends to make people self-conscious like handwriting but lots of us doodle, not meant as serious art, but can feed your other work, it is not unimportant just because you don’t include it in your main work

**be open to drawing from reality even if an abstract artist but don’t limit to that, and same goes for realist artists—try some more abstract kinds of free mark-making. You can learn from either direction.

**as personal expression—explore a range of types of mark-making—different media, techniques, range of fluency/control, range of emotional expression, asemic writing

**as part of personal voice—discovering kinds of marks that seem like you, that may include imagery or symbols, outlines, geometric forms—use these freely in abstract work

Tips for working with drawing:
**pay attention to what others do in their work, what do you respond to?
**think of drawing as a way to add visual texture
**as a way to add structure—to lead eye through the work
**consider where a line or mark could make a real contribution, and what kind of mark that would be

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Episode 68: Intuition

Rebecca Crowell — Thu, 18 Apr 2019 14:00:00 -0500

Rebecca discusses the role of intuition in abstract work with Nuala Clarke and Joanna Kidney at Ballinglen Arts Foundation in Ireland.

https://www.nualaclarke.com/
http://www.joannakidney.com/
http://www.ballinglenartsfoundation.org/

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Special Guests: Joanna Kidney and Nuala Clarke.

Episode 48: The Importance Of Titles

Rebecca Crowell — Sat, 24 Nov 2018 12:00:00 -0600

Rebecca and Ross discuss how and why to title your work.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Episode 43: Abstracting From Place Part 2

Rebecca Crowell — Sat, 20 Oct 2018 09:00:00 -0500

Rebecca and Ross dive into the nuts and bolts and explore the process of bringing experiences from unique settings into the studio.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Episode 42: Abstracting From Place Part 1

Rebecca Crowell — Sat, 13 Oct 2018 13:00:00 -0500

Rebecca returns from Spain and sits down with Ross to discuss the process of absorbing new places and experiences which can later be incorporated into artwork.

www.rebeccacrowell
www.coldwaxbook.com
www.facebook.com/messystudiopodcast

Episode 39: The Creative Pull

Rebecca Crowell — Sat, 15 Sep 2018 03:00:00 -0500

Rebecca and Ross discuss what draws people toward particular forms of expression and how to choose your own path.

www.rebeccacrowell.com
www.coldwaxbook.com
www.facebook.com/messystudiopodcast

Episode 19: Unarmed and Fabulous! Mary Duffy Interview

Rebecca Crowell — Sat, 28 Apr 2018 13:00:00 -0500

Rebecca talks with Mary Duffy, an Irish painter from Wicklow who works in abstraction and landscape. Mary was born with no arms, and says "I paint with my eyes and my heart."

www.coldwaxbook.com
www.rebeccacrowell.com
www.facebook.com/messystudiopodcast
www.maryduffy.ie

Special Guest: Mary Duffy.

Episode 14: Diving Into Abstraction, Part 2

Rebecca Crowell — Sat, 24 Mar 2018 01:00:00 -0500

Rebecca and Ross discuss various approaches to abstraction, transitioning into abstraction from realism, and what can be gained by pushing the boundaries of abstraction.

www.coldwaxbook.com
www.rebeccacrowell.com

The Messy Bulletin Board

Paula Roland...
Paula Roland is a Santa Fe, New Mexico artist known for her works in monotype and painting, for her teaching, and for developing the Roland HOTbox™, a heated palette and monotype/monoprint surface for encaustic.
Roland has also developed the Carbon Lab Mash-up, a workshop she teaches which includes carbon-based media such as graphite, big brushes and Ink. For information on this and other unique encaustic workshops, and the Roland HOTbox™please visit www.RolandWorkshops.com. See Paula’s personal work at www.PaulaRoland.com

Sean Pope...
Handcrafted, high quality painting panels for local artists available in Santa fe, NM: Made of Baltic Birch Plywood, these panels feature a full 1/4 " thick painting surface, with 3/4" baltic birch plywood cradles in 1.5 and 2" depths that are extremely resistant to warping and bending. Aluminum painting surfaces are also available. These are superior painting panels that will be appreciated by artists and their collectors alike.

Contact Sean Pope at sean@5cuplture.com or phone at 505-974-1735

Episode 13: Diving Into Abstraction, Part 1

Rebecca Crowell — Sat, 17 Mar 2018 09:00:00 -0500

Rebecca and Ross have their first of two discussions focusing on abstraction, based on a listener request. Rebecca talks her personal evolution into non-representaional work, a path that has spanned many years.

http://www.rebeccacrowell.com

https://www.coldwaxbook.com

Episode 9: All About Teaching, Part 2: The Workshop Experience

Rebecca Crowell — Sat, 17 Feb 2018 15:00:00 -0600

Rebecca and Ross continue their discussion on teaching. This episode focuses more on workshops, and the intense and highly focused personal interaction that takes place during a workshop. Ross and Rebecca clash over minimalism. During the discussion they shockingly confuse the work of one color field minimalist with another. The piece Ross was thinking of was "Red, Yellow, Blue II" by Ellsworth Kelly which can be seen at the Milwaukee Art Museum (http://collection.mam.org/details.php?id=8007), and not "Who's Afraid of Red, Yellow, and Blue IV" by Barnett Newman. It hangs at the Berlin Nationalgalerie and sadly, Ross has never seen it in person.

The Messy Bulletin Board!

James Scherbarth:

James Edward Scherbarth will be at Peninsula School of Art in beautiful Door County, WI this June.

Jim will be offering an introduction to Abstract Painting with Oil & Cold Wax Medium utilizing his Process-Purpose-Passion approach to meaningful abstract painting.

The class is June 11 – 14, 2018. Complete details and registration are available through both Jim’s website: www.jamesedwardscherbarth.com and the school’s website : www.peninsulaschoolofart.org see their workshop page.

Janice Mason Steeves:

Learn the principles of cold wax medium in a workshop with renowned Canadian artist Janice Mason Steeves. Translating her mastery of technique, composition, and design into an accessible format, Mason Steeves helps students nurture and develop their own creative voice.

She also accepts students for her online art mentoring program which offers honest, constructive, one-on-one feedback to help students and professional artists alike move their work forward.

Learn more at http://janicemasonsteeves.com

Ross Ticknor:

Many of you have commented that you love Ross' voice. If you would like to hear more of his buttery smooth vocalizations, check out one of the audiobooks he has narrated. They are available on Amazaon, Audible, and iTunes. His favorite is "Headhunters From Outerspace" by Brett McCormick, a mind bending interdimensional sci-fi adventure set in Alvarado, Texas.

Find it here: https://www.amazon.com/Headhunters-from-Outer-Space/dp/B06WWFTF86/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=&dpID=51i4R-WHwEL&preST=_SX342_QL70_&dpSrc=detail

Episode 1: Introducing Rebecca Crowell

Rebecca Crowell — Thu, 28 Dec 2017 19:00:00 -0600

Rebecca shares her personal history from her college years to the current events in her life. She describes some of her travels abroad and the influences on her style and technique. This episode was recorded in August, 2017.