The Worst Advice I’ve Ever Received as an Artist

Every artist’s journey is filled with moments of inspiration, growth, and, unfortunately, some misguided advice. Reflecting on my own path, one piece of advice stands out as particularly detrimental: “Stick to one style and never change.”

At first glance, this advice might seem practical. Consistency can indeed help build a recognizable brand. However, for an artist, this can be incredibly stifling. Art is about exploration, experimentation, and evolution. Being confined to a single style can hinder creative growth and limit the potential to discover new techniques and perspectives.

“Embrace change, experiment boldly, and let your art evolve naturally…”

When I first started, I was eager to find my unique voice. I experimented with various mediums, styles, and subjects. However, after receiving this advice, I felt pressured to conform to a single style that was gaining some attention. I spent months creating similar pieces, but over time, I felt my passion waning. My work became repetitive, and I lost the joy of creation. It wasn’t until I decided to break free from this constraint that I truly began to flourish. I allowed myself to explore different styles again, blending elements from various influences. This not only reignited my passion but also led to a more authentic and dynamic body of work. My audience appreciated the diversity and evolution in my art, and I felt more fulfilled as an artist.

The lesson here is clear: while consistency has its place, it should never come at the cost of your creative freedom. Embrace change, experiment boldly, and let your art evolve naturally. The worst advice I ever received taught me the importance of staying true to my creative instincts and the value of artistic growth. So, to all the artists out there, remember: your journey is uniquely yours. Don’t let anyone box you into a single style. Explore, evolve, and most importantly, enjoy the process. Your art will be richer for it.

Question 3: "Did you go to art school? If so, where?"

“La Mer”

It has honestly surprised me how many people have asked me over the years if I’ve gone to art school or if I’m self taught. That question kind of makes me laugh because even artists that go to art school are self taught. If they’re any artist at all, they will spend the rest of their lives teaching themselves as they try new techniques and tackle new challenges. Just this last week, I ripped the canvases off of two good size pieces of mine and started all over. I know some folks will think that’s sad but it’s not at all sad: it’s growth. It may have been an experiment gone wrong, nevertheless you can’t help but learn from any experiment you work on, so although it was a frustrating thing to have to do (and humbling!), it was nevertheless successful. The pieces I’m working on as “round 2” are turning out SO much better than the previous “round 1”. That is a good thing.

But I digress. I would suggest that if someone were considering art as a career, I would absolutely suggest they ask an established artist whether or not they went to art school, and if so, which one and did they feel the experience prepared them for their future career as an artist.

I have strong feelings about art schools, because they can be really great or really a complete waste of money and time. A visit to the school and their student gallery will usually tell you all you need to know. If all the artwork is off the scale bizarre that will tell you something. If an artist wants to sell their work to the general public, then they need to consider what the general public would purchase. For instance, I once saw an “art piece” in a museum that was a clothes drier with lint balls coming out of it. That was it. I heard a guy behind me whisper to his wife, “that’s art??”. Really good question. I think sometimes that if art can sell, it ends up in a gallery. If it can’t sell, it ends up in a museum. I know that’s a horrible exaggeration but that’s how it feels sometimes.

My point in bringing that up is that if an art school doesn’t train the students in the “rules of art” (yes, there are rules), and if they’re just encouraged to express themselves with no guidance, the students will not be equipped to actually produce sellable art. They basically enrolled in an art therapy program, but I would recommend a would be professional artist hunts out a good school that will teach them technique and hammer the rules into them. Rules can be broken, but you have to be really skilled at how and when to break them. That requires learning.

Question 1..."How long have you been an artist?"

When an emerging artist thinks through the question “How do I get from where I am (a novice) to where I want to be (a professional), I have suggested interviewing artists and asking pointed questions. Most artists I know would be very happy (and even honored) to be asked for their assistance. If you’re an emerging artist, please take advantage of the willingness of the artists around you to advise and encourage you. With this in mind, I have suggested that an easy place to do all this is Asheville, North Carolina simply because we have over 200 artists all working within a square mile of each other, and they have open studios, so they’re totally used to people coming into their studios and observing them work. Believe me, we answer a LOT of questions. So come to Asheville and meet as many artists as you want to meet! Pick your favorites and then…ask if you can make an appointment to ask them some questions. This is key. This is telling the artist that you respect them. That is always a good idea. So once you have that appointment, I am suggesting twelve questions that should help you gain the basic information you need to move forward. For each of the questions, I’ll explain why I’m suggesting it, and then also answer each question myself (in case that might help anyone out there).

Question #1: How long have you been an artist?

The answer to this question sort of informs the weight you should give to all the other answers. I say that just because you probably will get more pertinent information from someone who has some years behind them. This doesn’t mean that someone who has just made the transition from art as a hobby to art as a profession won’t have helpful information. That person may well have the most helpful information for you, but asking how long they’ve seen themselves as an artist just gives you a good basic idea of who you’re talking to.

Personally, I’ve been an artist since I could hold a crayon. I’ve always drawn and painted as long as I remember. I made the transition from art as a hobby to art as a career about sixteen years ago now. I inched into the career as a part time artist (painting about half the day) and working at my “real job” half time, and then when I was earning the same with my artwork as I was earning at my “real job” when I did that full time, then I quit entirely and painted full time. That felt like the smartest way to do it because…what if I quit my job and painted full time and no one bought my paintings? I had to know this would work (as best I could) so I took advantage of the fact that I could cut down to half time at my previous job. That significantly decreased the nail biting when I quit and went to painting full time.

If you have any questions related to this, please feel free to ask here. I’ll do my best to answer all the questions you might have. Thanks!

So, you're thinking about art as a career?

A client of mine recently told me his high school aged daughter was interested in pursuing art as a career and asked me if they could visit Asheville and have me offer her some words of wisdom and encouragement. I love that. So yes, that meeting is set up for the family to come up the hill to Asheville and I'll try to be as sage-like as possible. 

In thinking about what I would suggest a young artist (ANY young artist) should do as they explore career possibilities, my first suggestion has to be to visit the River Arts District in Asheville. This is a really unique place, in that there are now well over 200 artists all within a square mile, with studios open to the public. I would suggest they spend the day exploring, and make a list of their favorite studios. Then maybe the next day, go back around and ask their favorite artists if they could set up an appointment to ask some questions. I don't know ANY artists here who would have a problem with that. In fact, everyone I know would be more than happy to help and more than honored to be asked. The artists in Asheville are actually selling their art to the public, and since that's the goal (I assume), their input and suggestions would be really invaluable. 

…everyone I know would be more than happy to help and more than honored to be asked.

So, if appointments are made to basically interview the artists, the questions asked are important, so I decided to come up with a suggested list of questions to ask if someone is just beginning to think about creating art as a career. Here is that list:

1) How long have you been an artist?

2) How long have you been selling your work professionally?

3) Did you go to art school? If so, where?

4) For a high schooler interested in pursuing art as a career, would you recommend art school?, if so, how would you find the right one? 

5) Would you mind critiquing my work at some point? (But don't ask that question unless you're really open to hearing criticism.)

6) What are the positive points and negative points about having an "open studio"?

7) How do you price your work?

8) Do you advertise? If so, what seems to have worked well for you and what hasn't? What percent of your budget goes to advertising?

9) How do you manage the business side? 

• Where do you have your art supplies?

• How do you keep track of inventory so you always have what you need?

• How do you keep track of sales tax?

• Do you accept credit cards? What’s involved with that?

10) Do you have your work in galleries? How do you find the right galleries?

11) Where do you get inspiration for your work?

12) What do you do if you get a mental block? 

I'll be forwarding these questions to my clients and their daughter in a couple weeks, but I thought it might be helpful to anyone else who is considering art as a career to spend a blog entry for each question. So, stay tuned. Soon to come...my own answers to all these questions, hoping to help anyone who is interested to make the jump from being an amateur artist to being a full time professional artist. 

What Makes a Painting a Good Piece of Art?

What I do is typically done by myself. I’m an artist and I paint. But the WAY I do it involves regular contact with people who visit Asheville. That keeps me psychologically balanced I think! One of the great things about my business model is that I get to hear all sorts of questions from visitors. Some of them crack me up. Some of them test my patience. And some of them make me think.

One really good question I got a couple weeks ago was from a couple visiting from New Jersey. They love looking at artwork but I could tell they had no confidence in “judging” art, so I had a really great time explaining to them that like it or not, they DO judge art all the time and that that’s okay. That’s a topic for another day, but the question they asked was “Just because I like a painting, does that make it good art? What makes a piece of art “GOOD” art? Is it entirely subjective?”

It needs to adhere to the rules of the craft, or break them skillfully.

Oh, that’s such a great question. My answer took about thirty minutes to explain and I still only scratched the surface. What makes art “great” art IS subjective, but it’s also objective. That combination is what makes it tricky. What makes a painting a great painting is determined the same way as determining what makes a song a great piece of music; what makes a poem a great example of poetry, or what makes a rendition of Beef Wellington a perfect “Beef Wellington”. All art can be judged. I’m not encouraging people to be “judgmental”. I’m just saying that judging all these things is natural and we all do it and that that’s absolutely fine. But just because I personally like this chef or this poet or this musician or this artist does not make what they produce “great”, right? What is that standard something has to meet in order to considered great?

Well, in my opinion…

1) ATTENTION TO DETAIL. It needs to be well-crafted and that well-craftedness should be obvious. There needs to be that mystified “How’d they do that?” asked. Great skill level counts and will be obvious.

2) INNOVATIVE. It needs to display a new take. There is nothing new under the sun, that is true. But to be considered “great”, I think there needs to be something unique about it. Otherwise (even if it’s well done), if it’s just like the next song, poem, plate or painting, what’s the big deal about it? Why does it matter? There must be something that grabs attention. There needs to be some obvious imagination involved in its production.

3) RULES, RULES, RULES. It needs to adhere to the rules of the craft, or break them skillfully. Like it or not, there are rules to art. There are mathematical rules that determine pleasing proportions. There are spelling and punctuation rules used in writing. There are rules that dictate pleasing intervals of sound when one writes a piece of music. There are rules that dictate great or horrible results in cooking. Rules are everywhere. And they can be skillfully broken, but you really need to know those rules intimately, inside and out, before you know how and when to best break them.

The thing is, if there is artistic expression that adheres to these three points, people respond to it. You can’t help but respond to it. It creates pleasure.

At this point in my talk with my studio visitors, the gentleman said, “But when I go into an art museum, half the stuff there just looks like crap to me. I mean, my two year old could do a better job.” Yep. Sometimes I think that good artwork ends up on people’s walls. Artwork that can’t be sold (i.e. no one wants it in their home) ends up in an art museum. Perhaps that’s too cynical. Probably. But there’s an old Dutch saying that probably applies here:

“Just because a mouse lives in a cookie jar does not make it a cookie”.

I think I’ll leave it at that.

“Are You Self Taught?”

I was asked the question the other day, “Are you ‘self taught’ or did you get training somewhere?” I’m actually asked that question a fair amount, so I figured I’d answer here: Yes and Yes. That’s my answer. Just as a rule of thumb, I think it’s a very good thing to get trained in a craft or skill by someone who knows that craft or skill better than you. That’s probably true of most things. The concept of being mentored, trained, even parented…that’s generally just how things work best in my opinion.

For artists though, there seems to be a personality type that wears that “self taught” label like a badge, and I think often times, that’s just because they are arrogant. Sometimes, I think that badge is code for “I figured this all out by myself”, “I don’t need anyone teaching me to do this better”, “I am above input from others”. Maybe. I have to grant the possibility that there really are geniuses out there who need no help or shaping by others. I don’t think there are many people like that though.

What I’m not saying is that if you want to be a professional artist, you should just find an art school and enroll. Not all art schools are created equal. Some schools are excellent, teaching technique and the rules of art. And once you know the rules, over time, you learn how and when to break them. But honestly, some art schools could be compared to a driving school that takes your sixteen year old and sticks them behind the wheel and just says, “okay, drive. There is no ‘right or wrong’ way to drive, just proceed as the spirit leads you.” Imagine the catastrophe.

“No one sees a strong foundation, but the higher you would like to build a structure, the more important a foundation is."

So, learning the rules and techniques are just wise, and can save a lot of time and frustration. “But” you say, “art schools are crazy expensive!” Yep. But there are lots of ways to get the cost down. I won’t take the time here to go down that rabbit hole, but feel free to email me if you’d like input there. The other option would be to find an artist whose work you admire and ask them to mentor you. That’s how they did it “back in the day”. Really, you just need someone to teach you the rules, and then give you input on your work. This takes a good deal of humility, but unless we really think that what we do and create is above critique, that critique is absolutely invaluable. I still get some folks visiting the studio who think it’s their God given assignment to critique my work. And sometimes, I gain something awesome by listening (not all the time, but sometimes).

I went to Art Center College of Design in Pasadena, California. That was an awesome experience. What those four years gave me was akin to a foundation. No one sees a strong foundation, but the higher you would like to build a structure, the more important a foundation is. Since college, I’ve invented my own technique. No one taught me that technique. I made it up all by myself, which is very gratifying and it’s awesome when you invent a technique because no one can say you’re doing it wrong. :) Well, sales or lack thereof tell you if you’re doing it right or wrong. I’m constantly playing and experimenting now…”self teaching”. But that’s all based on the foundation of color theory, composition and basic painting/drawing skills I learned in classes.

So, those are some thoughts from me. What are some thoughts from YOU? I’d love to hear what you think (especially if you’re an artist!)