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.

Overcoming Artist’s Block: Practical Tips

“I look into my creative soul for an idea…ANY idea. And it’s just a dark, silent abyss. I have absolutely nothing creative going on in my head. What do I do to get that spark back?”

First of all, look…every artist faces artist’s block at some point. It can be frustrating, but it’s a natural part of the creative process, so please be kind to yourself. I don’t have a cure-all, but I do have a few ideas you might try that have helped me:

 1. Start Creating Sometimes, the best way to overcome a block is to simply start. Put something—anything—on the canvas or sketch pad. It doesn’t have to be perfect. The act of creating can help break the inertia and get your creative juices flowing. 

2. Change Your Surroundings A change of scenery can do wonders for your creativity. Travel, visit an art museum, or even just take a walk in a new neighborhood. New experiences can provide fresh inspiration and new perspectives. 

“Creative block can be frustrating, but it’s a natural part of the creative process…”

3. Try Creative Exercises Engage in different creative exercises to stimulate your mind. This could be doodling, experimenting with new materials, or trying a different art style. These exercises can help you break out of your routine and spark new ideas. 

4. Take a Break Sometimes, the best thing you can do is step away from your work. Take a break, do something you enjoy, and give yourself time to recharge. When you return to your art, you may find that you have a fresh perspective. 

5. Seek Inspiration Look for inspiration in other artists’ work, read inspirational art quotes, or watch documentaries about artists. Seeing how others overcome their challenges can motivate you to push through your own block. 

6. Set Small Goals Break your project into smaller tasks and set achievable goals. This can make the process feel less overwhelming and help you build momentum as you complete each step. 

Trust me, artist’s block is a common challenge, but it doesn’t have to halt your creativity. Every artist goes through this at some point. Like it or not, it’s just part of the journey. If you have an idea for something that’s helped you, please by all means share that idea here in the comments!

Why Purchase Original Artwork?

In a world dominated by mass production and digital reproductions, the allure of original artwork remains timeless and profound. Owning an original piece of art is not just about decorating a space; it’s about investing in a unique creation that carries the artist’s vision, passion, and craftsmanship.

Uniqueness and Personal Connection: In contrast to mass-produced art you can purchase in a mass retailer or box store, original art pieces are each totally unique. They provide a direct link to the artist and their creative process. Every detail — the brushstrokes, textures, and color selections capture the artist’s feelings and ideas at the moment of creation.

Supporting Artists and the Art Community: Buying original artwork provides direct support to artists and their work. It allows them to keep creating and enriching the cultural scene. By investing in original art, you nurture creativity and help artists maintain their livelihoods, and this is as encouraging to the artist as it is humbling. That someone would part with hard earned cash for one of my paintings — that demands the very best I can do every time I paint.

Investment Potential: Original artwork has the potential to increase in value over time. Although not every piece will become a financial asset, many artworks appreciate as the artist’s reputation expands. This potential for growth makes original art a valuable investment, both in terms of financial return and aesthetic enjoyment.

“That someone would part with hard earned cash for one of my paintings — that demands the very best I can do every time I paint.”

Emotional and Aesthetic Value: Art possesses the ability to stir emotions, ignite inspiration, and alter environments. A unique piece can bring happiness, stimulate contemplation, and craft a distinctive atmosphere in your living or working space. The bond you form with an original artwork can offer enduring contentment and a sense of accomplishment.

Cultural and Historical Significance: Original artworks frequently embody the cultural and historical milieu of their creation. They act as concrete chronicles of artistic trends, societal shifts, and individual stories.

To wrap it up, purchasing original artwork is an investment in creativity, culture, and personal enrichment. It offers a unique blend of aesthetic pleasure, emotional connection, and potential financial gain, making it a valuable addition to any collection.

How do you determine the best size artwork to purchase?

I have found that about half the people who wander into my studio don't seem to be too worried about the size of the artwork they're considering purchasing. They have a general idea of what might look correct and from photos they send me of my painting installed on their wall, they're often spot on when it comes to the size of the artwork. The other half of my clients go home and measure their walls. That may be really helpful to avoid a mistake. I've had people tell me they've cut pieces of cardboard to different sizes and tacked them up to the wall. That's a great idea. The other option is to enlist my help with sizing. In this case, my client sends me a photo of the wall in question along with some basic dimensions, and then I take the photo into Photoshop and insert different sizes of gray rectangles on the wall, so my client can see a variety of proportions and sizes.  Either way, cardboard or Photoshop can help you visualize exactly what a specific size painting would look like on your wall.

So how do you figure out what size is really best for your space? It kind of depends on a few things. First of all, how big is the wall and what other art is already installed on it? You might consider a small piece of art as an accent piece. An accent piece works best when it contains the complementary color of the main color in the room. It can also be much brighter in color than you'd want in a larger piece. Think of a gemstone on a black velvet background. An accent piece can scream at you "LOOK AT ME!" and that works because it's small. 

Or you might need a stand alone piece above a bed or couch. In that case, the size of the bed or couch would determine the optimal size of the painting installed above it. I always recommend choosing artwork that's just a bit smaller than the width of the piece of furniture it's hanging above. If it's too large, it will look ridiculous (see above photo). 

The other (and uh...my favorite) option is to choose a very large "heart stopper" piece of art on a large wall. This sort of artwork should be a real "statement piece". Where the accent piece can shout at the viewer, the statement piece should sing (very loudly). The size and the subject matter should work together to produce an emotional response. I once had a 6' x 8' painting hanging in the back of my studio, and I could always tell when a studio visitor rounded the corner because I'd hear things like "Oh...my...gosh" followed by silence as they just stood there. I love that! That's exactly what I wanted when I painted that piece. 

So what do you want? What do you need when you consider artwork for your home? Whether it's small, medium, large or gigantic...talk to me. We can figure something out that works best with your specific wall and color scheme. 

"So, what's this painting worth?"

I don’t know why I get this question, but a few times a year, I get a call from someone with a painting to sell me. The call goes like this: “Hey, my grandmother has an original signed oil painting and it’s really nice. It’s signed ‘Wilson’ and she said she paid a lot for it. What is it worth, do you know? And would you be interested in it if I sold it to you at a discount?”

So then, I explain to them that I’m not an art appraiser and I don’t run an art auction house. I’m just a painter, and although I understand it’s a “signed” painting, that really doesn’t mean anything to me because heck, when I took my first oil painting class at the age of nine, I signed my paintings when I was done, but I assure you, I painted nothing at the age of nine that was worth anything at all except to my parents.

“ If your grandma enjoyed the painting,

it’s fulfilled it’s mission”

Honestly, you are probably okay just selling the piece at a garage sale. If that just makes you cringe, then here are a couple of things you might try first. You might take it into a reputable art gallery (where they sell the work of many artists) and ask the gallery manager for some advice. They may have much better advice than I have, because I’m just an individual artist and not a gallery manager or art auctioneer. You might also google the artists name just in case there’s something written up about them. That might give you a clue. If there is something written up about the artist, you might try to find a gallery that carries their work and approach the gallery manager. They may (??) actually be willing to purchase the piece if it’s worth it to them.

But again, 95% of the time, it’s probably not worth the time involved in trying to sell grandma’s painting if it requires doing more than what I’ve just suggested. The whole reason to purchase artwork is because it’s something you enjoy. If your grandma enjoyed the painting, it’s fulfilled it’s mission in life and the artist should be happy to hear it brought joy to grandma. That’s awesome. That’s really what art is all about.

How to deal with criticism as an artist

Beauty or just a big mess?

First off, I love creating art. I pour my whole heart and soul into every single painting I create, and so I have a whole lot of me invested in my work. Most artists I know understand exactly what I’m talking about. Creating art is risky. See, if people love what you create, it feels amazing. If people don’t love what you create, it can be completely devastating. So I say that creating art is risky because with every piece you create, you’re basically putting your soul out there for the whole world to judge.

Or not.

That last sentence describes my way of looking at my own art abilities when I was a grade schooler. I was always the best artist in each of my classes growing up and since I was NOT the top of my class when it came to team sports or academics, I made my artistic abilities my key to feeling accepted by my classmates. That scheme worked great until high school. In tenth grade, I realized that I was no longer the “best artist” in my grade and I kind of fell apart. By my late teens, I realized I was just using art as a tool to get what I really wanted: to feel like I deserved to be here, earning my right to breathe, and I have learned that no ability I could possibly have can give me that kind of inner-soul validation. That’s got to come from somewhere else. Art cannot bear that kind of weight.

And so, over time, I have learned that my art abilities were just given to me to enjoy. That’s it. They are my key to fun. They are not my key to feeling acceptable as a human. And when that weight is taken off of art, creativity can just be enjoyed, so nothing is on the line. If people like my artwork, I’m happy. I like it, and I’m glad when someone else does too. If someone doesn’t like it, that’s got to be okay. Nothing is on the line. So when someone critiques my work, I really try to take a deep breath and listen. Over and over again, I have been able to glean something from every critical comment. Every artist has got to be okay with the idea that they are not perfect; that they make mistakes and that they are still growing. The most difficult people I’ve ever been around are those that are convinced that they never make mistakes. The other group of people that are really difficult to be around are those that think they SHOULD NEVER make mistakes and when they do, they nose dive into depression. Both types of people are arrogant…two sides of the same coin. I don’t want to be like that.

“I have learned that my art abilities were just given to me to enjoy. That’s it.”

The man I want to be informs the artist I want to be. My faith tells me that my Creator loves me and approves of me. That faith says that one day I will stand before him. Him. Only him. That faith teaches me that I am forgiven and loved and approved by him already. And if that is true, then there doesn’t exist anyone whose critique or disapproval can undo the approval my creator promises me I already have.

Honestly, that’s what I remind myself every time I receive a critique. Nothing is on the line. And in every critique, if I listen, there may just be an element or two of wisdom and I can use that wisdom to improve my craft. And because I love my craft, I want it to be constantly improving. Critiques are just part of that.

Question 12: "What do you do when you have a mental block?"

“In the Heart of the Woods”

This question definitely falls into the category of “Last but not Least”: “What do you do when you have a mental block?”. This is such a difficult question to answer, and THAT may baffle non artists. I’ve never heard of a doctor or a car mechanic or an attorney or an insurance salesperson say “I just have no idea where to start. My head isn’t in this at all.” Maybe they say that. Maybe I’m making a huge assumption based on ignorance. I just know that when it comes to creating…creating something out of nothing, it requires inspiration. It really does. Whether that’s writing a song that has never been sung, or writing a poem that’s never been spoken or painting a painting that’s never been seen…creating from nothing requires an almost “spiritual” energy.

If that is an accurate way of looking at it, then because I am not God (the source of unlimited spiritual energy), I have only a bit here and there. I am a rechargeable “AA” battery, and not a cold fusion reactor. And so, a creative person absolutely needs to recharge their AA battery or nothing will happen creatively at all.

So my answer to the question of what to do when I have a “mental block” is a very person answer. I have my own answer, but if YOU were asking me this question, rather than telling you my own answer, I would first have to ask you a question. My question would be “What is ‘life-giving’ to you? What recharges you?” Maybe it’s cooking. Maybe it’s hanging out with friends, or hiking, or traveling, or reading, or singing in the shower, or finger-painting or taking a long drive. Do that. Do whatever recharges your own AA battery. My answer is MY answer and I'm fine sharing MY answer when specifically asked, but I don’t think this is the place to do that. See, your answer to a truly “spiritual question” is also a very deeply “personal answer”. Your answer is as custom fit to you as mine is to me. So I make it a rule of thumb not to give my own answer unless I’m actually asked for it.

The point though is, if you are creative and you have a mental block, you need to figure out how you’re put together so to speak. What is akin to “inhaling”? If you exhale (create), you HAVE to inhale to keep the whole process going. This is very, very difficult in our modern western society, because time does not allow for “luxuries” like taking a walk or savoring a slow, quiet afternoon, or turning the lights out and listening to a Brahms Symphony. The way we look at these “luxuries” is all wrong though. We are humans, not robots. We require real, spiritual input to create beauty. That input is not a luxury. That is real. That is life. And that is deeply, deeply human.

New Goals + Winter Months = "Outside the Box" Creativity

During the winter months, Asheville's River Arts District turns into a ghost town, but I've found the winter months to be an awesome time to think, dream, imagine and plan new work. When it's slow and I have time to catch my breath a bit, that's when I start thinking outside the box. Boredom is something I dreaded as a kid, but now as a full time artist, I’ve recognized boredom is kind of a gift to creativity. Down time is when my creative brain really starts firing and I begin thinking things like “I wonder how I can do THAT” or “What would happen if I tried THIS?” There’s only one way to find out (and then boredom ends, having done it’s job).

Over the years, I've primarily focused on landscapes, but I've had time to develop some really interesting directions as far as abstract pieces go. Ideally, I would like to have a better balance between the two styles (landscapes / abstracts) because they require such a different creative approach, and that keeps life interesting!

And, in addition to working on paintings for my studio in Asheville, I'm also creating several new landscape pieces for Mountain Nest Gallery in Black Mountain, NC and several new abstracts for Revealed Gallery in Charleston, SC. I’m so grateful for how these galleries have exposed more people to my work than otherwise possible with my studio in Asheville.

Oh, also (on a more business note)…I’ve begun to offer payment plans for people who want to purchase my work. Here’s how it works…If you purchase a completed piece or commission a custom piece from me, you can take up to nine months to pay for it at no interest. When the last payment is made, I ship the painting to you (and...shipping costs are on me).  

So, 2024 is shaping out to be a really fun (and hopefully) challenging year, as I continue to develop this technique of mine and see where it goes and what it becomes, and that is incredibly exciting for me. 

Question 11: Where do you get inspiration for your work?

This question, “Where do you get your inspiration?” is one of the most asked questions I get. And it’s funny. It’s actually one of the most difficult questions to answer. It’s like someone asking you, “how do you breath?” Simple question, but how do you answer it? “I…uh…just do?” I don’t know how other artists might answer this question, but since this is my blog, I’ll answer it for myself.

For me personally, I need peace inside my head to create. I need quiet. This may just be because I’m an introvert rather than because peace is intricately connected to creativity. I don’t know. Maybe an extroverted artist would feel different, but that’s not me. And for me, quiet and peace happen best when I’m walking or (preferably) hiking in nature. It can take me a while to walk a few miles because I like to stop and just breathe, listen, take in the essence of the place. Hah! That sounds so “spiritual” but honestly, for me, I guess it really is. I can’t think outside the box and create when life is rushed, loud and crazy. I love rushed, loud and crazy (in bite sized pieces), don’t get me wrong. I just can’t create in that environment.

“…I feel the intense desire to communicate to someone else what I’m feeling at that moment in such a way that they feel it too.”

And usually, walking in that quiet place, taking it all in, I’m with my wife Joy. So it may be quiet around me, but I sometimes talk a lot in that context, expressing myself and processing the emotions the place excites inside my head. Does anyone else do this??? I’m probably really annoying to hike with.

Joy: “Why are we stopping?”

Me: “Listen to that!”

Joy: “What? I don’t hear anything”

Me: “I know. Isn’t it beautiful? Just the wind…that’s all I hear. That’s so beautiful!”

Joy is very patient and is really great at entering with me into that “sacred space”. It’s there I get ideas, and at that point, it’s not just “Oh, I can paint that mountain over there!” It’s more like I feel the intense desire to communicate to someone else what I’m feeling at that moment in such a way that they feel it too. When you look at it that way, it’s actually a very intimate thing — creating a piece of art.

So in a nutshell, I get my inspiration from walking, prayer, breathing and listening in the context of nature. It can take hours, so I can’t rush it at all. But given the time (and the quiet), inspiration comes and at that point, in that quiet moment, it can ironically break in like a hurricane. I love that.

Question 8: "Do you advertise?"

In my blog list of twelve questions I would suggest an aspiring full time artist ask an already full time artist, we have come to the question of advertising…”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?”

The issue of an artist advertising is so tricky. Here is why…The only way you’ll sell your work is for people to see it, right? How will “Joe Public” see your work and then (maybe) buy your painting? Maybe he’ll scroll through Popular Mechanics magazine and see your ad, and voila! A big sale. Well that was easy.

Except it doesn’t work that way. How many people looking through Popular Mechanics are interested in the latest mechanical gizmos AND maybe fine art. I’m not saying those people aren’t out there, I’m just suggesting that you have to determine who your clients are out there (your demographic) and figure out how to reach them.

“Who is your demographic?”

When I was brand new to the professional artist career, I advertised in local art magazines. It cost hundreds and hundreds of dollars and here’s the thing…No one EVER came into my studio and said, “Oh, I saw your ad in ______ magazine and I just HAD to come and see your artwork for myself.” That literally never happened and SO, I never ever had any clue at all whether or not my career was positively affected by advertising. All I can say is that I’m selling more artwork now (I basically don’t advertise now) than I was back in the day when I felt like my career might crumble if I didn’t advertise.

Ahhhh, so the sage advice is this: DON’T ADVERTISE, right? Wrong. See, because I am part of a collective of hundreds of artists in Asheville, we (as a group) advertise in local magazines around the country in locations where a lot of Asheville tourists are coming from. My dues to the River Arts District Artists goes to help fund that advertising. So the advertising I’m doing doesn’t just affect me, it affects the district. But if people who visit Asheville want to make sure they check out the River Arts District, then I stand to benefit. I do have a listing on an Asheville tourism website (RomanticAsheville.com) but that’s it.

So it’s not that I’m such an awesome artist that I don’t have to advertise. I happen to be a part of an awesome group of artists in an awesome tourist oriented town and WE do the advertising together. That’s one of the very biggest perks of being an artist here, but I would think that same model could be adopted anywhere artists are. If you live in Cincinnati, find the other artists around you and advertise together. It works for us here in Asheville, and although we like to think we are so unique, I doubt that’s the case. We’re just running with a good idea and that same idea could work anywhere I’d think.

The other thing I would totally stay away from is the seemingly kind offers you get from people to display your work in their office space or restaurant. Here’s how that usually goes: “Hey, I have a great opportunity for you Steve! I’m opening a brand new upscale Italian restaurant in town and we would LOVE to display your work there on our walls, free of cost to you, and you can put price tags on all your work so you can sell your work from the restaurant. Think of the exposure!”

Don’t do it.

My experience with this is that if your artwork is simply decor on the wall of a restaurant, coffee shop, dentists office or office space, people don’t notice it at all. Look, when you go out to eat, have you ever asked the waiter, “Hey, I really love this potted ficus you have over here. How much is it??” You have never asked that question, have you? Be honest. No, of course not. You probably didn’t even notice the ficus in the corner because…you were there to eat food. Plain and simple. This way to “get your work out there” is a really nice way to give the restaurant owner free decor for their walls. Suggest he BUY the artwork from you and see what he says. Or tell the owner that you have a cousin who is getting married next month and you would like to suggest that he (the restaurant owner) cater it for free. “I mean, we can put your cards around on all the tables so everyone will know where that amazing food came from! Think of the exposure you’d get!”

That doesn’t work for any other profession, don’t let it happen to you.

Concluding this post, it might be good to remind you that I’d encourage any questions relating to whether to advertise and how/where to do it. If I don’t know the answer, I’ll help you find someone who does.