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Enjoy the past comments below for The sacred space…
These days my emphasis is on what rather that where. I used to have a 70qm studio where I could slosh about and painted a lot of large canvases, usually starting with liquid oils and using the flat floor as a support. Now I only have my flat (apartment), no space for over-dimensional artworks, and have to improvise. My “really good” easel can’t be wheeled around so it is outside on my loggia, which is not very big. Sometimes I hang a gadget on it and use it as a washing line. Sometimes I put a painting on it, but not very often because either it’s too cold to work, to windy for pastels, or too hot for the paints (all lame excuses). My second best easel is one that can swing around to provide a flat surface for painting without runs (not me, the paint!). That’s in my bedroom, where most of my tools are, and used quite a lot. My third best easel is made of bamboo and parked outside when not in use. Is all this boring you? Me too. I get irate when I hear about pseudo-problems. How great to have the opportunity to work near and maybe even with like-minded people. You can decide how much contact you want by a simple mechanism – a DOOR. Make it clear that when the door is closed, you are meditating. Let them think you need meditation for your work. Hang a sign up saying e.g. not available right now – meditation in progress. Try the various mediums out before deciding. Start with portable ones, like watercolours, pen and ink or a humble pencil. Can you concentrate there? Or is the shared venue going to be a big party where you sketch and find inspiration? Surely that’s reason enough for starters. If you need a second easel just like your “best” one in order to work properly, save up and buy one (go without a few vices – assuming you have a couple – e.g. chocolates, cake, alcohol, cigarettes, restaurant noshes etc.) for a few weeks and the funds will appear like magic. Enough said…
Spot the typing error at the beginning. How I wish there was a review function here. I never manage to find all my faux pas – the typing ones, I mean:-)))))))
An obsession with finding/equipping the right or perfect studio has nothing to do with painting; I have made good and bad paintings in tiny and spacious studios in my house and in group studios all over Brighton (GB). I prefer working at home as it is cheaper, warmer and less disruptive, but studios outside my house had the advantage of the journey to and the ability to leave work related mess outside of the domestic.I can honestly say that studios have never really affected my practice but the search for the right studio has certainly taken up painting time. It is probably easier to procrastinate about light and where to put one’s brushes than getting on with the difficult task of getting the noisy ego out of the way in order to paint with any honesty.Painters paint.I know a few people who have perfect studios and never make any work (The places look fab though,like film sets of studios!)
The home studio is your sanctuary; where you are by yourself and can focus on your work. The studio away from home and share with others is a different venue. Working in that kind of environment can have it’s distractions because of the several discussions going on…all at the same time. I know because I’ve done both. I prefer working at home because I don’t have to travel anywhere. Everything is in it’s place, all the time. Working with others can be a learning experience, especially for beginners. In a group environment you can share in the cost of hiring a model for life drawing or painting. That is my take on this subject. It is always nice to have it both ways. Making art is such a solitary activity that I find it to difficult to take it too seriously in a group environment.
I also have a small “downtown” studio in a complex with other artists, and a small dedicated room at home. I’ve been at the downtown studio for 3 years now, and have signed a lease for another year. Here there is an opportunity for exposure and sales, as we have monthly open studio evenings. I enjoy being part of an artists’ community, really for the first time in my life. The studios are locking cubicles in a converted mill. This has become the space where I display finished work, where I draw, where I can easily have models without intruding on the privacy of my home. As the 40-odd artists all have different working hours, it’s usually quiet, but I still do my oil painting at home. For some reason, I find that I concentrate better there, where there is no chance of anyone wandering by, although closed doors at Golden Belt mean Do Not Disturb. There is less socializing than you might think — except on the Open Studio evenings. It’s sort of “the best of both worlds.”
I am in agreement with a previous comment of “Painters Paint”. I have never had a ‘studio’ as such. In my early years of making art I worked in the Kitchen(with a sink), or the basement away from the family. Now I work in our Condo Dining Room and squeeze out a corner for my stuff. Considering that, I have had several large commissions. One of them was 2 Canvases, each 6′ X 6′. We just moved the furniture back, added drop cloths and lived with it. I have been very prolific in my little space and I don’t believe it’s about ‘where’ but ‘when’. Actually the creativity is in your head and that should work anywhere. Georgia O’Keefe demanded solitude, space and time to create her work. It would be wonderful to have those luxuries and many of us do not. Painting is, I believe, quite a solitary occupation. The “sacred space” is where you find it.
“The sacred space” for me is a upstairs bedroom which I cherish. I have two easels set up, with on going work on each one. One is pastel and the other oil. I do value the room with all my supplies at hand. I also paint plein air with friends. When my friends and I arrive at the right spot, we all scatter and become very quiet, each absorbed in our own work and ideas. Once again, thank you for the lovely letter.
There are SO many art ‘groups’, some actually called ‘art classes’ that turn out to be nothing but social interaction. I was involved in one early in my career where another ‘artist’ got between me and my easel to tell me about her recipe from yesterday’s cocktail party. Social painting is fine, as long as you understand that you won’t learn much ‘fine’ about fine art execution. Mental stimulation, courage to try something new, yes…but the actual creation is more solitary, just you and your muse. Now, I’m off to the garden to play with the fairies in my own studio!
This letter reminded me of my very favorite place growing up- just about any tree around that was climb-able. One I called the Tarzan tree because it was my one place no one else ever went to and Tarzan was a hero of mine! I grew up outside Cincinnati in South Ft Mitchell, KY in the 30’s and it started out to be one of the first “suburbs”. That word was, of course, not invented yet. But it meant that it was surrounded by many tiny woods and farmland and lakes and cricks (now they call them creeks) and of course THE river. And my getaway tree was over/under two fences and past 2 cricks and its branches spread in a most comfortable fashion to relax into and read anything I could carry with me. Or just sit and listen to the bugs buzzing and the cows belling past or the cricks flowing nearby and wonder what was what. Such a peaceful time then….that it brings tears to my eyes just remembering!
I’ve noticed on occasion, artists who come to an art class with the most expensive supplies and set each item up with the utmost care and then when it is time to paint still have to follow an inner voice found in the art of creating. This voice is not be found in the expense of their art making equipment
I love your thoughts … I love my personal and private studio… But… Once a week I paint with 5 wonderful other artists , in a warm and loving space… We all paint in oil… And do wonderful work … Because… We feed off the creation and support and input of each other… So sometimes… Creation comes in wonderful things… Like the heart and friendship…
In St Louis, many people have taken to shared studio space the last few years. I considered this myself when a spot became available at The Foundry Art Centre, which is a rehabbed industrial building complete with gallery spaces and individual studio rooms. I realized though that with visitors coming in and out and other studio artists popping in, the likelihood of my producing artwork of any quantity and quality was pretty small. I know people who thrive in these situations but I have never been one of them. The basement studio of my home gives me the solitude I need to intently focus my thoughts on where the canvas is going and why.
I recently moved my studio home again, and I was worried that I would miss the social thing. Once I got settled, I found myself spending more and more time painting. Having all my creative stuff around me and being alone, I feel that I am reaching into places within myself that I had forgot I had. I can try out new thoughts without worrying about it looking good or bad…just me and my paints, canvas, and imagination. I have always been in love with painting. Its like being alone with the one you love, no wonder they call it a selfish lover, or to put it another way; its an Inside Job
I can agree with you on almost all points in today’s letter, and the famous quote from Leonardo made me smile. I’d heard it as “Small rooms are good for the concentration”. I’ve the run of the place in the Old Mill on Fox Hill, with the Waterfall view from my window, but my actual workrooms are several and each small. And it works.
The only thing that makes you an artist is making art. I guess another way to say it is that “it is what you do in front of a canvas that counts”.
I’ve never had the luxury of a studio and thought that working with others would be inspirational, but I agree with you that that can work against you. A lifetime friend (60+ years) had that so-called luxury, but called a halt to it when she found it too distracting and too social. I find that even when I go to a class I am too distracted by others and get nothing accomplished. But that’s me and my ADD at work!
I understand the idea behind sharing space and ideas because as artists we do need to work outside of our own studios in order to avoid isolation and also to get valuable feed back from other artists. I find this can work if we take workshops, attend lectures and exhibitions at art galleries or join an artist guild. However when it comes down to the ”sacred space ”, I would not trade my own studio for anything It is small but accommodates six or seven comfortably for life drawing. I can hire a model for painting and drawing and share the space with several other artists for that particular moment. This way we can be involved in critiques which ultimately help the individual solve a stumbling block in a painting .It really helps to have a different perspectives. To try to segregate work into different categories in two studios seems to be cumbersome. Why not invite artists to share a day in your studio, paint plein air or do watercolour together and exchange ideas. As you point out it is not the space but what you bring to the commute that counts.
How I wish I could have such a sacred place, a place where my easel, brushes and paints are all in one place ready and welcoming! I could just go in there and let my artistic imagination take flight inspiring me to create wonderful images undisturbed. A sacred place all my own undisturbed to work my magic. I also enjoy going to our Wednesday open studio at Neilson Park Creative Center where I enjoy the company of others with like minds sharing ideas and helping each other. It is also sacred space the meeting of like minds.
Personally, I cannot imagine working alongside others, but there is a group of three artists down near Granville Island that not only work together, but work on the same pieces together. (Bjornson Kajiwara Gallery) Of very different ages and different backgrounds, the work produced is interesting stuff reflecting (from what I saw) the universal experiences of being human in this particular time and place. A series of works on the walls involved pen, ink and paint on plywood panels that took a riff off old school desk top scribbles. Very evocative and familiar, while at the same time elegant and complex.
An Artist needs quiet time to produce, same as the sun which rises in a silent morning sky~ An Artist is reflective upon things that matter day to day~ Source of all goodness radiates Love~!
While a personal space is indeed sacred, we have a group of painters (sometimes about a dozen) that get together once a month to paint. The men and women vary greatly in age and experience, but we each work in whatever medium of our choice and pick our own subject matter. We meet at 10:00 AM and paint until 4:00 PM or later. We encourage each other, make suggestions and share tips. The socializing comes when we eat our potluck at noon if a person wants to visit they can, some just keep working, sometimes we watch a recommended DVD on painting. We sometimes do challenges (not manditory for all to participate). Object is to try a new subject or a new method to become better artists. This is how our challenge works: each person taking part brings an idea or photo to present as a challenge to the other participants. Each person can create anything they want to from the original idea or photo…. Example–somebody may bring a photo of a landscape with a garden, trees, sky, etc. A participant my choose to paint it realistically, do an abstract, paint a single flower or cloud, or portray WHATEVER inspires them. The goal of the challenge is to get us all painting and stretching our creativity in new dimensions. Another challenge had a photo of a bird in a nest…. Some of the results looked liked the photo but in different mediums, and some paintings ended up with lots of extras added to them and you had to search for the bird! One had words added. A challenge could be to paint “Cold” or “Hot”, “Joy”, “Pain”, “Sound”, etc., the list is endless. We encourage making each piece ‘our own’ and as unique as possible. Many times we didn’t see the other projects being done until we were finished with the challenges. What a fun surprise to see all the different interpretations. We did this with 6 different challenges and had an art show of our work. We’ve had people asking when we’re going to do it again. There isn’t competition against each other, but there is a lot of personal growth and the bond of friendship is the most precious of all. Anyone who has joined our group has stayed and we’ve been painting monthly for about 5 years. Each month, each painter is encouraged to bring work they’ve done at home to share with the others as inspiration. Sorry this message got so long. I’m pretty enthusiatic about our group!
Very good timing this article is in my mind. Be in a group or forage on my own has been the dilemma. My heart tells me that I need to just follow my dreams/imagination/inspirations but all that social stroking can you do without it??? Maybe the solitude can push it out. It’s worth a try. And it’s not that I don’t have enough pieces waiting to be finished or done. And just how lucky is that!!
Thank you so much for this. It has come at a time when I have been invited to stay in a cabin in a wonderful area to do my work. My thing is that I am so much more comfortable in my home small studio. I must agree that yes when its a large group, ones ideas go astray.
For some years, due to lifestyle changes, I painted with a drawing board on my travel easel wherever I was.
In these glorious summer days of ample sweet spots, I got a belly laugh out of Sorolla’s comment that a studio is a “good place to smoke your pipe…” I had been thinking of his genius while perched upon my own sweet spot of yesterday, a giant rock at Leo Carrillo State beach in Malibu, watching little boys play in the waves… As I was sitting in that sacred spot, painting, a symphony of happy summer family beach-day fun filled the air… Then a woman whom I can only imagine to be rather self absorbed, stood about a foot behind me on the rock and, without announcing herself, intruded abruptly into my space by screaming to her teenage kids on the rocks across the small cove… I decided to not let it affect my “wa” and made a conscious decision to stay absorbed in my trance of observations, forms and colors… but her screaming continued on and off, for 5 minutes. In what kind of universe is behavior like that woman’s acceptable? If you’d been me, would you have asked her to be more respectful? It was 4:30pm and my light was changing rapidly… I decided my time was too limited, to engage her… Most people I encounter in my plein air experience are way more respectful!
I’m lucky enough to have a studio in our apartment, I love being able to wander in at any time of the day or night. I slipped a disc a while ago and was laid up in bed for several weeks, having the home studio meant that I could hobble down the hallway and slap a few brush strokes onto canvas to satisfy my craving and hobble back to bed.Sadly for the last few months I have been unable to buy any supplies and not being able to paint is beginning to drive me nuts. even reading about painting is starting to become painful. So where ever you’re painting I envy you
I worked at a booth at a flea mkt for 3 months and found it a peaceful space, had the whole table to myself, with one stereo for sale from my husband. Now, at home, I have a corner with a stool for a table. I am most disgruntled and looking for a better space. My husband carved out a corner for a worktable. I am jealous of it.
Dianne, I had a mentor artist who told us that anything is acceptable to get rid of undesired hangers on when painting plain air. He even suggesting harking loudly and spitting on their shoes!
My art studio is a spare bedroom in my home. Half is designated for collage creation, the other half for acrylic painting. I also work full time outside the home (not as an artist) but this studio space is my sacred place. Even if it’s just a walk-through drinking a cup of coffee before leaving for work. Now, if I could keep the cat off the freshly gessoed surface.. .
My studio is 24’x24′ with a high ceiling and great lighting. It was our attached garage. Two double glass garden doors take the place of the double garage door. It’s lovely to back up with my van and load up for a show. No steps !!! It’s a great space for clients to come view my paintings also —-high white walls.
I am still struggling to carve a niche for working, but if I do about 20-30 pieces of pen-work in a 2 week period, I am doing well. Paul and I laminated 40 pieces yesterday, so I have 200 “placemats” to sell, so…we are accomplishing a lot in a small space at home in our 1 bdrm apt with several pets. I have a desk with open space where drawers used to be, a lateral file, 2 bookcases, and I need to weed out the bad and leave the good, and “spread the love” instead of accumulating more.
Backyard Susans acrylic painting, 20 x 16 inches by Michele Mastrangelo, NJ, USA |
What a wonderful idea and painting!