"Are All Artists Introverts?"

How many extroverts does it take to change a light bulb? Twenty. One to change the bulb and the others and cheers him on and enjoy that moment of comradery.

How many introverts does it take to change a light bulb. None. He’d rather light a candle instead because of the beautiful ambience that candlelight creates.

Wow, okay this morning I was talking to a studio visitor and she was really trying to understand the artist mind. GOOD LUCK WITH THAT ONE! After trying to figure me out, she said that she assumed that all artists were introverts and that it was so odd I was obviously an extrovert.

But…

I am no extrovert. I know how to act like an extrovert. I even enjoy it. But it’s exhausting to me. I don’t think she believed me when I told her that though. ”You seem like a happy person though,” she said, “and obviously one that likes being around people”.

This brings up so many thoughts in my head, and I need to write them down to process them:

• First of all, I would imagine an artist could be EITHER personality type. I would also imagine that the art an extrovert would come up with might look and feel different from that produced by an introverted mind, but maybe not. But yes, I don’t know what being an extrovert or introvert has to do with being an artist of some sort.

• This woman was seriously doubting that I was in truth an introvert (because I seemed happy and obviously enjoyed people). Okay look, introverts are not always depressed. There. I said it. You know, extroverts can get depressed too. Introversion and misery are not synonymous. I personally know introverts who laugh. True statement. And we can be very happy (as long as we get some alone time to recharge). And both introverts and extroverts have to recharge to love people well and to enjoy life. We both do it, we just recharge differently.

• Introverts don’t hate being with people. We get bad press. Being an introvert does not mean you don’t love and enjoy people. My gosh, from what I read, even Jesus Christ went off by himself at times to be with his own mind and his God. I don’t think people associate Jesus with someone who did not love and enjoy people though, right? Extroverts may like huge parties (with 100 of their closest friends) and loud music and lots of commotion. I get that. I don’t understand that but I get it. See, introverts like SMALL get togethers or one-on-one social settings so that we can have a real, deep, powerful and honest conversation. I’m not saying that extroverts don’t experience that at their large, loud parties. I just don’t fathom how that’s possible. But then, I’ve never been an extrovert so I’m completely ignorant on that point.

I admit I’m totally baffled by extroverts in general. You are a complete and wonderful mystery to me! I need y’all in my life though. My wife and three of my four kids are extroverts. Introverts desperately need extroverts in their lives. You keep life very entertaining! And I would think extroverts need introverts in their lives too. Because of our differences, we can compliment each other, like a bit of salt and a bit of sugar in that cookie recipe you like. Salt and sugar are very different but they go together so well.

So bottom line, I do not believe all artists are automatically introverts. I may be wrong. Honestly, I have no idea. I do think that what makes you introvert and extrovert is not really what you do per se, it’s where you go to recharge emotionally and spiritually AFTER you do whatever you do. My wife and kids totally get recharged by being with people. I get recharged by sitting by myself and letting my mind rest. It’s not that an introvert longs to sit in the dark and embrace misery. It’s joy we are trying to embrace there. Personally, I really crave quiet sometimes. We both (extroverts and introverts) need that recharging time so we can be ready to get back to the craziness and joy of life, it’s just that we have different types of batteries we’re charging I think. What a complex and beautiful thing is a human mind!

I feel better now. Back to painting.

"How do you know you're done with a painting?"

I love the balance between oil painting (a very introvertive exercise) and talking to various people that wander into my Asheville studio (a very extroversive exercise). I’m constantly switching between my introvert and extrovert skill sets. Though it can be exhausting sometimes, it feels very healthy because I’ve found that when I’m pushed and stretched, I grow. One of the ways I grow is by thinking through the questions I’m constantly asked. Most of the questions are the same “What am I looking at?”, “How do you do this?” ,“What’s the shiny finish coat on these”, “Are these photos?”. But now and then, I get a questions out of left field and THAT is invigorating! Those questions make me really think.

“…my goals is that the eyes of EVERY viewer is lead around the piece along exactly the same pathway.”

One question I got recently from some really cool folks from Ohio was “how do you know when I painting is done?” THAT is a really great question! So for any other people interested, here’s my answer:

My paintings are created in many, many steps. They each take about a month to complete, longer if they’re large. The oil paint is applied to a many-layered textured background that I’ve covered with metallic leaf (ultra-thin sheets of metal). THEN I begin colorizing the metal surface with very, very thin layers of paint. Each layer of paint deepens and intensifies the color. Each painting may get at least ten layers of paint, sometimes more.

I keep applying the paint until two things happen:

1) The color is saturated enough. I want the colors to be intense in most cases, so I just keep applying the paint until I get the intensity I’m looking for. Every layer I apply intensifies the color of the painting by about 10%.

2) The values are correct. This means that there are areas that are VERY dark and areas that are VERY light. The very light areas get very little paint. The dark areas get many layers. Value is important, because value is what leads the eye around the piece. I always want to make it very easy to find the focal point of the piece (the first thing you stare at) and then my goals is that the eyes of EVERY viewer is lead around the piece along exactly the same pathway.

I would love to say that when these two points are addressed, then I know the painting is done. But honestly, I usually get a second opinion. When my wife Joy (also an artist) concurs that it’s done, THEN it’s done. Getting the knowledgeable input of another artist can be humbling. I like to think I know exactly what I’m doing, but that’s a fantasy. I really need the input of other people. That’s the great thing about working with other artists. That’s why I love having my primary studio in Asheville (with over 220 other artists).

So basically, it takes skill you’ve developed over time and humility (that is constantly developing) to really be able to tell when a painting is “done”.

“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!)

How do you know when a painting is "done"?

With all the people strolling through my art studio in Asheville, I am asked a whole lot of questions. Usually, they’re pretty much the same questions like:

• What’s the shiny stuff on your paintings? Answer: it’s solar resistant resin.

• Do you HAVE to paint on aluminum leaf? Answer: Define “HAVE” to.

• How long have you been painting? Answer: Since I was four.

• Are you St.Claire? Answer: Yes. You wanna kiss my ring?

• Are these all local scenes? Answer: Not all, but mostly.

• What are all the circles? Answer: What do YOU think they are?

• Is there a restroom nearby? Answer: Yes, the blue door over there on the right

Last week, I was asked a question I don’t remember ever being asked before: “How do you know when a painting is done?” Hmmm. I’ve never really thought about that. My first thought was “well, how do you know when your dinner is done?” It’s just done when it’s done, right? But then I started analyzing that decision and realized the answer is pretty complex.

It’s just done when it’s done, right?

There are at least twenty steps each painting goes through to bring it from beginning to completion and I know from experience when a painting is getting close to that end point. I’m working with layer on layer of texture underneath a thin layer of aluminum leaf. And then I begin applying thin layer on thin layer of oil paint. I’ll first apply the paint on the piece per the different color families I’m using. I’ll apply the warm colors first, let them dry, then apply the cool colors (or the other way around), and work from the farthest background (usually the sky in a landscape) up to the foreground, letting each step dry before working on the closer section. Then I repeat, and repeat and repeat. Each time I apply another layer of paint, the colors are enriched. The very end of the process is just working with contrast so that the piece “pops”, so I’ll darken the darks and lighten the lights in certain areas so that the eye is led by the contrast of those two elements.

And then…I ask Joy if it’s done and she gets the last word. There’s a life lesson there I think.

Regarding "Inspiration" vs "Necessity"

A few days ago, a visitor to my art studio was watching me paint for several minutes, asking good questions about what I was doing, and sharing some of her adventures in artistic endeavors. Then she asked me a really good question that I think bears addressing: “What do you do when you have to paint but don’t WANT to paint?” Then she followed up with a related question: “How do you paint when you just don’t feel inspired?”

There are so many ways I can answer those questions. I wrote a blog a while back “How to create when you don’t feel creative” that addresses some of this, but I’ll answer from a different direction here. 

Art is not just born in a moment of whimsy.

It’s not controlled strictly by the emotions…

I’m a full-time artist and I have my studio in an awesome tourist Mecca: Asheville, North Carolina. We get visitors all year long from all over the country (and other countries) who spend the day wandering through the art studios of over 220 artists, looking at the artwork and getting to know the artists. Because this is more than just a hobby for me, we don’t eat if I don’t sell paintings and I won’t sell paintings if I’m not producing them. So I don’t have an option regarding whether or not I’m painting. That’s my job. What if a doctor didn’t show up in an operating room, or an airline pilot didn’t show up at the airport, or an Uber driving didn’t show up in his car or a restaurant owner didn’t show up at the restaurant simply because “they didn’t WANT to show up”?  I’m not different.

Art is not just born in a moment of whimsy. It’s not controlled strictly by the emotions. If it were, then most of the professional artists I know would go out of business. Just like everyone else trying to earn a living, professional artists have to do what they do, do it as best they can, and then hope it sells. 

I can’t answer for any other artist out there, but personally, I’ve never NOT wanted to paint. I love painting because I love imagining (I can’t help it). But the issue of painting when I’m not “inspired” usually just means I have to be quiet, go for a walk, listen to music. Creating involves emptying the creative “tank” inside my head and when that tank gets drained, it’s important to fill it back up again. So I hike. I pray. I think. I listen to leaves rustling in the trees. I try to listen to God. How one “fills up” would probably be a personal thing that varies from artist to artist, but that’s how I do it. 

In short, I don’t have the option of just painting when I’m “inspired”. If my creative tank is empty, it’s because I’m not regularly filling it up and while I sometimes don’t have control of when and how my “tank” is empty, I do have control over how often I am filling it. It takes time. Resting time. Quiet time. My culture would look at that sort of thing is frivolous and unproductive. It is not. For an artist (and I assume everyone?), that replenishing time is absolutely essential, and that’s an element of my culture I try vigorously to take exception to. 

Progress!

I was bored yesterday and read one of my old blogs. I’m laughing at myself right now! I mean, how bored does a person have to get to re-read their own blogs?? Actually, I was just checking my post “Looking Back and Looking Ahead” and I was kind of excited. It’s just over a month ago I wrote that post, and I’ve already started tackling the goals I listed.

I mentioned first that I wanted to get into more art galleries. That’s important, because although I have an art studio in Asheville’s River Arts District, having your work in other places increased the chance that something will sell. It just makes sense. I do have a gallery (Hanni Gallery) in Harbor Springs, Michigan that I’ll sending my work to and I’m curious about it. It’s in a great location. I’ve been to that part of the state and it’s really beautiful and draws lots of tourists. So we’ll see.

I’ve also had several art galleries recommended to me in Dallas, Houston and Austin, Texas. I’ll be headed back out to my Texas studio soon and will be visiting galleries while I’m there.

The next point on my “goals” list had to do with connecting with designers and art reps. I do have a good lead in Dallas that a client of mine in Asheville (an art consultant) recommended I contact, so I’ll reach out to them while I’m there as well. But I’m really searching for art consultants that can connect me to corporate art opportunities. So I only have one lead so far, but that’s a start anyway.

The last point on my “goals” list had to do with finishing my “sails” paintings and I’ve nearly done that and I’m really excited about the potential there. I just last night poured a single layer of resin on three of the panels and when I checked this morning, though the piece was sealed and high gloss, it was still flexible enough for it to do what I want it to do (billow out from the wall). I’ll be hanging all three of my prototypes on my Asheville studio wall in early March and then I want to start working on a larger piece with multiple, overlapping panels. Isn’t this fun?

This winter has been amazing so far. More sales and more commissions than I’ve ever had. I am so, so thankful for peoples interest in my work. It’s so humbling and gratifying, and it enables me to keep dreaming and scheming and planning and creating (i.e. doing all the things I love to do). Enough for now. I should really get back to painting…

Preliminary Photos of my "Sails" Prototypes

So (drum roll please), I’m ready for the “soft” unveiling of my “sails” experiment. Normally, I’d wait until I finish a painting to take it’s completion photos, and these three prototypes are still technically pre-completed, as they still need a layer of resin and edges cleaned up. That said, I couldn’t wait any longer to at least post some photos of the pieces. Usually, when I experiment with something, some things go right and some things go wrong, so you shape an idea into what it will be. This time though, there was no shaping…it just all happened exactly to plan. Trust me…that’s unusual.

This project posed some challenges though. First, I had to find a substrate that would easily bend. Then I had to find a material I can use for the texture the would also flex. Once I figured this out though, the rest was easy.

I’m really happy with these, and I think the possibilities are really exciting. These prototypes are only about 20” tall, but what if they were 4’ tall? The panels here are all mounted in two parallel hardwood tracks, but what if they’ were mounted at different angles? What if they overlapped each other? Sorry, this is how my mind works. The “what if’s” never stop until I try it and see.

Back to work for now. More to come.

”Azure Sails”

“Aegean Sails”

“Crimson Sails”

The Benefits of Slowing Down

I’m a hopeless “creative”. I love to invent things in my mind. I love to imagine. I can’t help myself. I’ve been doing it all my life. Thankfully, I’m no longer in a job position that requires multitasking. I stink at multitasking. Give me just one thing to focus on and I’m very happy, thank you.

Because I am now a full time artist with an open studio in Asheville, North Carolina, I can focus all day long, every day, and so…I love my job. However, I’ve found that giving constant vent to creativity is both enlivening and draining. I’ve written about this before, but slowing down and “drinking in” is really important for keeping life and joy in my craft. I am realizing that during the really busy autumn season, I ran and ran and ran and didn’t really slow down until now.

Although this winter season is still full of commission projects (thankfully), because I’m taking a break from Asheville per se, I’m finding more time to take walks, stare at walls and let creativity be breathed into life again. As much as I enjoy the actual creating processes, I’m so thankful for the time to slow down and dream. It’s absolutely necessary and I know that but I usually put it off far too long because I love painting so much! What a problem to have, right?

The first photos of my new projects will be posted shortly, but not today. I’m resting. :)

New Idea Taking Shape

2019 has gone great so far! Even in this “slow” season in Asheville’s River Arts District, art is still being sold (THANK YOU!!) and commissions worked on feverishly. And…there’s even been time for me to develop my new type of artwork: the SAILS. The above photo is the beginning of my new “sail” art idea. This thin panel is shown begin covered with texture. The texture is important because it not only makes the eventual painting more interesting, it catches light and creates shadows. That’s especially important with a piece of artwork that is “abstract” in nature. The challenge with the texture is that it needs to be FLEXIBLE. It’s flexible because eventually, this panel will be permanently set in a flexed position as it attaches to the wall. So I can’t use my “go to” materials (modeling compound and gesso) because they will crack when flexed. But after some experimenting (and several trips to several art supply stores), I landed on the right material.

Panel here is textured and sealed, ready for the metallic leaf application

Initially, was picturing these panels in flexed positions in a vertical or horizontal row. The three prototype pieces i’m working on now all fit into hardwood track that will mount onto the wall. But there is no reason why the finished piece of artwork would HAVE to mount in a row. They could be mounted individually at angles to each other, some mounted concave, some convex. Why not? It’s just a matter of finding the right mounting hardware (which I have by the way). Eventually, I’m seeing this turn into something that would be luminous, undulating and covering a couple dozen feet (or more??) of a wall.

So…between my winter art commission projects, I’m still plodding ahead with this new idea, having a blast, and gratified the idea seems to be working (so far) without a hitch. Fingers crossed…going forward; sailing ahead!

Looking Back and Looking Ahead

In thinking about one year closing and another just beginning, I guess I'm not alone in getting a bit introspective regarding the accomplishments of this past year, and excited about the possibilities of the next. So to just get these things out of my head and on virtual paper, I’ll take advantage of this blog and record my thoughts and dreams here. So, in looking back…

2018 was very good to us. Here are some of the highlights:

1) Individual customer base grew to the highest level to date. See, there are basically three ways I sell paintings: individual clients who are purchasing artwork for their home during their trip to Asheville, sales from art galleries that represent me, and corporate / institutional jobs (public art, art installations, things like that). So the fact that more individual sales happened in 2018 is really, really encouraging.

2) Earlier last spring, I came up with a new method of creating an abstract painting. It involves applying texture to the canvas and then applying the metallic leaf, then drizzling resin over the entire piece in a random design or grid. Then when the resin sets, I add the paint in the "resin valleys" and then finish it all off with more layers of resin.

3) Just at the tail end of the year, I came up with a new form of installation art which will literally billow out from the wall. I've tested individual elements of the idea and so far, each test has worked awesomely. In the next few weeks, I'll be working on three prototypes. These will just be 20" x 24" pieces, but if this works (and I'm very positive about it so far), this concept could be accomplished with 4' tall panels, or eight foot tall panels, extending to whatever length desired to fill up the space.

And here are some of the things on my wish list for 2019:

1) Find more key galleries around the country that would represent me. This would result in "spreading out the sales" and income sources so that most does not just depend on Asheville, North Carolina. This seems wise. It would also be fun more me because I could expand the landscape themes I could paint.

2) Locate and work with more interior designers so that my corporate work would grow. These are really fun projects just because of the possible scale of them.

3) Develop and market my new "sail-form" art panels (see point three above). In my head, these could be really cool because the surface reflecting the light and holding the paint layers would be bent, so the colors would differ greatly from top to bottom and/or side to side. That could be really interesting.

I'm really, really grateful that I can now make a living doing what I absolutely love to do. This is something I never want to take for granted. And I'm really excited about dreaming together with my wife Joy regarding goals and ideas and possibilities for the next year. You never know the ride a year (or even a day) can take you on, but I'm ready to take a deep breath and dive right in! Wooo hooo!