Sometimes our art changes as a result of our process, ideas, or other aspects of growth. But changes that comes at us from the rest of life affect our studio practice, sometimes in ways we don’t welcome. And any change, even a positive one, like retirement or moving to a place you’ve always wanted to live, creates stress that can alter our work. How can we approach life changes in a creative way?

Sometimes what is happening in our lives means that we need to take a break from the studio for more than just a few days. As long as you do something to hold onto the art-making part of yourself you can weather those times. That might be journaling, meditation, talking to a sympathetic listener. Or maybe you can keep your work going in spite of the limitations—using more portable or less messy materials so you can work anywhere in short amounts of time.

If you can continue to work at some level during your changing situation, you may find this to be therapeutic in helping you process what you’re going through. Drawing, simple collage, and other direct and quick ways of working can help you through a big transition with your art self intact. The practice of making art is itself a stress reliever, a time away from other concerns.

“Nothing is constant but change” is a saying that proves itself over and over. When big changes happen in our lives, can we sustain our art practice? We probably don’t need the additional stress of NOT making art when it is something so important to our sense of who we are.

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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
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The Messy Studio Podcast is a CORE Publication MGMT production.

The responses we received aligned with the same pattern we saw earlier in the year, when we noticed three main responses as the pandemic unfolded. The first group have experienced much difficulty with finding focus and motivation for their work. One described the situation this year as “paralyzing.” While some experienced this mainly at the beginning of the pandemic, for others it has persisted. It’s likely that very few artists have avoided these times completely, with the constant influx of bad news.

A smaller group of artists who responded have kept on in much the same ways and with similar work as before COVID arrived. In our earlier podcast, we speculated that continuing with what is familiar is helpful in making the studio a refuge from all the other changes, a steady and productive place removed from the outer chaos.

The largest number of people who responded to our question, though, experienced positive changes in their work and attitudes. They appreciated the extra studio time due to lockdowns, and looked for inventive ways to use materials on hand and to connect with other artists. Some found new directions in their work—a focus on drawing, launching into plein aire painting, discovering photography as a creative outlet. Several found meaningful connections to their immediate environment when travel was cut off. And several expressed insight into the meaning of their work for them and their gratitude for being able to pursue it.

Many of us are feeling hope that the anxiety, lockdowns, isolation and other difficult aspects of the 2020 pandemic situation will be easing up in the coming months. How will we look back at this time and what has it brought to our work that was not there before? Thankfully, for many artists there have been gains along with all the hardships and losses.

If you are interested in buying a 3D Printer this is the best deal Ross could find on an Ender 3. This is not a paid endorsement, just a personal recommendation!
https://www.talkable.com/x/UqZPCK

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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.
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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.

Artists usually consider personal voice to be a concentration of focus that carries us along. It helps others understand what it is that we are communicating. A consistent process, point of view, or approach is achieved through a mastery of technique and a deep, ongoing interest in particular ideas. Traumatic events can disrupt this flow, and change our focus. Now may be the time to loosen our concept of what constitutes our crative voice, and allow for different aspects of ourselves to come forth.

Artists may wish to resist this natural change. There is so much disruption in life without having to completely change artistic direction. This change may also feel like a threat to the personal voice that has been developed through years of work and refinement. Or, in a positive light, our ongoing work may be something that can encompass the new reality, perhaps offering viewers something uplifting or comforting.

This may, however, be the perfect time to explore something new as part of our ongoing journey. Art is a calling, and acknowledgeing that helps connect us with our roots, when we first started making art. For many us it is also a therapy, and during difficult times having a creative outlet may be more necessary than ever. This creative outlet does not need to be related to your current art practice, and can be purely an escape. The art you create at this time may never be shown to anyone else, but it may reveal new insights.

Article referenced in this episode:
https://www.sothebys.com/en/articles/for-the-love-of-art-alain-de-botton-on-art-as-therapy?fbclid=IwAR3BCqbEobPi7JXmEP_Ym0xYCA1QCVZnAp7xrd2KmyXzZy8kQeqL4QTJdUs

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www.rebeccacrowell.com
www.squeegeepress.com

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For artists that rely on sales this is a major concern. Known for something, making
sales… what kind of response will you get if you change directions?

Legitimate concern---yet I don’t feel it is right to let that hold you back. Once
again allowing for risk-taking can lead to better results that you might imagine.

We fear rejection yet if the work is better, we should proceed.
It can lead to a new audience, and being seen in a better light, perhaps more
developed, sophisticated, on a new level

Hardest to navigate is the transitional phase when you have not yet hit stride with
new stuff. Be patient and open to continuing to show older work until the new
stuff has reached a similar level of accomplishment.

General advice for navigating public showing of new direction:

GALLERIES: may mean loss of a gallery—but galleries need to serve us as creative
people just as we serve them with our work. Part of that is giving new work a
chance.

But even if the gallery goes along with it, it may not be right for their clientele. No
guarantees with change. Need to trust in the process.

It may also be a welcome change, bringing in new collectors or reviving interest
from older ones.

Shows your growth and seriousness you give your career, you are not just
producing

IN FACT the change may not be as dramatic as you perceive it to be, or there is
still strong connection to older work so both may be shown together (Atlanta
show) Changer is internal as well as external and you may feel it more than others
see it.

Big noticeable is a risk worth taking--such as moving from realistic landscapes to
non-referential abstract work –could be seen as positive, interesting move by
gallery OR flat out rejection.

Be prepared for either. Put your work first. Know that it will find its audience.

Make sure the new work is as well-developed as older stuff; don’t try to show it
too early in the transitional phase or you may impede its acceptance

For already-scheduled show: do you need to focus on getting the new work to the
point of exhibition? It’s the usual urge--we tend to think our current work is the
best and want to show that.

If at a commercial gallery get their input and realize it’s a business; they may
decide to hold off on the newer work or mix with older.

Not good to pull a total switch if direction just before a show. Allow them time to
adjust to the change if they do not embrace it.
save out enough of the older work if necessary. Send images of the newer work to
get the response.

At a self-curated show/noncommercial—much more leeway. Set your goals and
go for it.

If you need to include older work and newer work in a show it can be presented
as two different series-- allows viewers to make connections between the two.

Consider making separate sections on your website for the two bodies of work
but if not clearly related, let the older work drop off as soon as newer stuff is well
underway

Know that you may be asked to go back to an older style by a collector or gallery.

As in, “can you do some more of those realistic landscapes?” how will you
respond?

Maybe fine if you’re not firmly settled into new approach,

OR some people do work in more than one style, always.

Individual decision.

Conclusion: change is a necessary process and try to embrace it in positive ways
but be prepared for some obstacles in its marketing. They may or may not
happen—BUT if it’s truly a change for the better believe that good things will
follow.

http://www.joangearystudio.com/
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Notes:

“Nothing is constant but change”—good mantra for those of us in creative fields

Change is holistic—affects your work, and how you view it, your market, your
opportunities.

Relates to previous podcast about blocks, which can be related to resisting change

Necessity of change for growth, keeping ideas fresh, avoiding repetition and
boredom—as artists we recognize this need and yet may shy away out of concern
for other’s reactions—galleries, collectors, our own circle of family and friends

I see it in workshops—the urge to move into abstraction –takes time

Shows true dedication to the process

Stressful if you have commitments to exhibit in the midst of change—wanting to
show new work but not sure if you can pull it off in time. Go into some strategies
for this in next podcast
introduce Joan Geary who recently shared her struggles with change with me via
email. (Friend and former student in cold wax workshops who has been struggling
with change—desire to find a more personal voice and way of expressing her
ideas.)

Long interested in expressing light in her work but had not found her way in
technical terms. Issue of form and content—cold wax artists tend to work most
successfully with aspects of texture and numerous layers; many paintings tend to
have a very solid presence.

There are those whose work emanates light (JMS) but it’s important to find one’s
own way

Joan was challenged by a gallerist/friend to take her work to a new level. Felt like
criticism at first but J. also saw the need herself. Realized she was stuck in a mode
of trying produce work rather than keeping on exploring and growing. (Very
typical and easy trap to fall into with demands and pressures on us.)

Studied other painters such as Helen Frankenthaler and Emily Mason --ended up
developing a new technical approach in her cold wax work, involves pouring paint
onto the panel. Involved a LOT of trial and error, frustration, despair.

Technical issue of finding right consistency and additives to allow paint to adhere.

Chipping and flaking issues. Did research, tried a lot of things.

Worked on this for about 6 months before achieving any success. Will post the
painting that was successful as a result of efforts.

Impressive amount of focus and determination. All while under pressure with 3
exhibits on the horizon. Excellent example of what we talked about in the podcast
about being blocked.

We have to be open to change or stagnate. But as Joan said, growth is painful.

How to distinguish change from simply being too scattered, which is a concern for
many artists.

How do you know you are growing instead of spreading too thin

Look for connection

It can start out as random but sometimes random means intuitive—do you keep
on with the idea? Ask if it feels right for you, is there something truly intriguing?

Instructor once gave me a compliment -- he could see a logical connection from
one group of work to the next—showing exploration, moving step by step –done
intuitively, I was not aware of it. But seeing the connection was encouraging.
ask if it feels right and sincere to you, while allowing for a wide view of yourself

Try and see the purposeful reasons for change, it can help to define it –

Take your time, no rush to get feedback or show the new work

Sometimes you need to digest it alone for a while; resist urge to seek validation
from a lot of people right away. Social media validation is easy to come by and
can be too influential.

Talk to someone you trust or keep it around long enough to feel you trust it
yourself.

The time of creating new work/transitional time/you are vulnerable

Not to be afraid, just know that it may take some time to really understand what
you are doing.

The most significant changes take place somewhat slowly, organically. Can start
with bold moves but takes time to understand and integrate.

Realize it can change how you are viewed as an artist in positive ways.

In conclusion, change is integral to the creative process, welcome it, respect it,
give it time. Holisitc, affecting not only the work but how it is seen, by whom, how
others see your work

www.squeegeepress.com
www.rebeccacrowell.com
www.jerrymclaughlinart.com
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Special Guest: Jerry McLaughlin.