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Painters sometimes run into problems when they attempt larger works. This goes for artists who transpose smalls into bigs, as well as those who make bigs for their own sake. For many, bigs and smalls can appear to be the work of separate artists. Spontaneity and simplicity in the small give way to complexity and labour in the large. In the larger painting we may be trying too hard or trying to “give too much.” Big paintings can fall into the “mish-mash” category — too much going on. Small paintings rarely have this problem.
Take a winter break! Join me, Hermann Brandt for one or both of these retreat/workshops…
The Power of Paint; Creating the WOW factor in your paintings with Dutch artist Carole Boggemann Peirson
Week-long workshop in gorgeous paradise retreat between Puerto Vallarta & Mazatlan, Mexico for beginning and…
A friend phoned and brought my attention to a study done at the Harvard Medical Center. It seems that nurture, not nature, is the big factor in the making of creative genius. Talent and genius are not inherited. These were the findings of Dr. Albert Rothenberg, the principle author of the study. Thirty years of research concluded that creative intelligence is due largely to parents’ own unfulfilled dreams of high creative achievement. Researchers used Nobel Prize laureates, Booker and Pulitzer Prize winners, and other cultural and literary awards as evidence of literary genius.
Last night, I dreamt about being part of a group of friends who, one by one, were consumed by a giant python. Before anything permanently terrible happened, the python spit us out and everyone survived. This morning, I went to Google and, according to Carl Jung, the snake dream was a kind of subconscious, impending transformation. As soon as I read this, I felt my skin loosen and start to peel.
A burgeoning screenwriter recently told me about a side-hustle in her industry called, “pay to play.” For $30, a writer can book 10 minutes of Skype-time with a producer or distributer looking for new projects. After narrowing her pitch to seven minutes with three minutes for questions, her Skype ends abruptly with, “thanks!” and she awaits feedback by email. New to this system, my friend has already received a follow-up request from a global network for her latest script. When I asked how she knew about “pay to play,” she told me it’s a common path for actors looking to audition without an agent, or if their agent can’t get a meeting with a desired casting director.
A subscriber wrote, “I find that doing demos is extremely challenging as I never know quite where a painting is going until I get there. There seems no time to ponder, to try this and that. The expectation is to just keep painting and turn out something reasonably competent in the given time.
“I know students benefit greatly from watching demos — I just don’t know if I will ever get comfortable giving one. It’s not getting any easier. I once watched you do a demo and you seemed very relaxed. What’s the secret?”
A recently retired schoolteacher shared her career-long response to students complaining of boredom: “Only boring people are bored.” I strained to think of an artist who had ever complained of being bored. I wondered: Are artists innately gifted with a love of time? Are they anointed with savvier powers to daydream, to reflect, to be curious, inventive, doodling and self-reliant? Do they possess a diminished need for pastimes and entertainment? How did they get here? Are artists born not bored?
In July 1977, a broke and couch-surfing screenwriter was sparked to action by a book of paintings by a Swiss surrealist. He called the artist in Zurich and invited him to work on some concepts in Hollywood. The artist, an insomniac who suffered from night terrors, was also afraid of flying, so they agreed instead on England, where for 11 months the artist lived above a pub in Shepperton, Surrey. There, he built a prototype out of Rolls Royce parts and reptile vertebrae, working only from a brief sent in the form of a letter from Los Angeles