Review
I have been doing a lot of research. I took the whole bank of pics of my blog paintings (over 800) and sub divided them into categories: Dreamscapes & imagination; Landscapes; Portrait & figures; Stalybridge and canal; still life; Interiors; Europe & elsewhere. Then I went through identifying which pieces I really liked and which I hated.
It helped me to see where the ‘Current Reality’ is for me. Seems like over the last four years, where others have been honing their style (and owning their style) I have been like a flibberty gibbet fly dipping in this, that and the other, both in terms of subject and approach. If I had been on an art school training programme however, that is exactly what I would probably have been required to do. So I’m not apologising for that.
But there come times when you want to take stock and I suppose this is one of them for me. And maybe I’ll learn more and more quickly if I discipline myself a little at this point. I enjoy the Dreamscapes work but it’s a bit like going on my holidays – do I really take it seriously? How much of it has mood and emotion, which are some of the things I am really chasing. I’m thinking it might be good to not let myself go on a holiday for another six months!
It’s funny – when I look back over the past 4 years work I would not say I am any better a painter now than I was when I started, but sometimes it works and sometimes it doesn’t. And yet the paint mileage has definitely been there. But when a painter is not worrying themselves about style issues this can add to confusion because with a mix of styles it’s not easy to see a progression through, if indeed one exists.
A few paintings stood out for me as being important. One is an 8” x 8” painting of the canal in Stalybridge which I called “November” (because it was painted in November). It is in oil on plywood and you can see it below. I wish now I had not sold it because it is probably one of my favourites.
The other paintings which I like are the kids on the beach done in a semi-abstract or expressionist way. The colours here are bright - deep golds and cobalt blues. This one below is 12” x 12” (oil on hardboard) and I called it Dragon Gang. I still have it but I don’t want to sell it right now.
Finally I have the Woodend Mill and Vernon Mill series. I so enjoyed the challenges of this series and I feel in a way I chickened out of going further with it. I attempted a big piece based on one of the smaller ones and it failed dismally so I gave up the whole idea. This series takes more effort because it means I have to visit and interact with people (and should really sketch on the spot and do small studies) and all that takes me out of my comfort zone. .. but..
Here’s one of the Woodend Mill small paintings (8” x 8”, acrylic on hardboard – now sold to the guy whose studio it is! Thank you Chris!
So,three quite different paintings have emerged as my strong favourites. Why am I surprised?
By the way, thanks to Loriann Signori whose recent entry on her blog about self critique approaches by Elizabeth Mowry sparked off this investigation for me (great landscapes as always Loriann).
So let’s say I’m planning to work on bigger pieces of the canal and Stalybridge scenes, maybe with figures, and also pick up the Woodend and Vernon mill series again. Its funny that I should come back to a local context, but it’s one I know well – and what do they always say about painters – stick to what you know! It might be a while but I’ll keep you posted on progress.
It helped me to see where the ‘Current Reality’ is for me. Seems like over the last four years, where others have been honing their style (and owning their style) I have been like a flibberty gibbet fly dipping in this, that and the other, both in terms of subject and approach. If I had been on an art school training programme however, that is exactly what I would probably have been required to do. So I’m not apologising for that.
But there come times when you want to take stock and I suppose this is one of them for me. And maybe I’ll learn more and more quickly if I discipline myself a little at this point. I enjoy the Dreamscapes work but it’s a bit like going on my holidays – do I really take it seriously? How much of it has mood and emotion, which are some of the things I am really chasing. I’m thinking it might be good to not let myself go on a holiday for another six months!
It’s funny – when I look back over the past 4 years work I would not say I am any better a painter now than I was when I started, but sometimes it works and sometimes it doesn’t. And yet the paint mileage has definitely been there. But when a painter is not worrying themselves about style issues this can add to confusion because with a mix of styles it’s not easy to see a progression through, if indeed one exists.
A few paintings stood out for me as being important. One is an 8” x 8” painting of the canal in Stalybridge which I called “November” (because it was painted in November). It is in oil on plywood and you can see it below. I wish now I had not sold it because it is probably one of my favourites.
The other paintings which I like are the kids on the beach done in a semi-abstract or expressionist way. The colours here are bright - deep golds and cobalt blues. This one below is 12” x 12” (oil on hardboard) and I called it Dragon Gang. I still have it but I don’t want to sell it right now.
Finally I have the Woodend Mill and Vernon Mill series. I so enjoyed the challenges of this series and I feel in a way I chickened out of going further with it. I attempted a big piece based on one of the smaller ones and it failed dismally so I gave up the whole idea. This series takes more effort because it means I have to visit and interact with people (and should really sketch on the spot and do small studies) and all that takes me out of my comfort zone. .. but..
Here’s one of the Woodend Mill small paintings (8” x 8”, acrylic on hardboard – now sold to the guy whose studio it is! Thank you Chris!
So,three quite different paintings have emerged as my strong favourites. Why am I surprised?
By the way, thanks to Loriann Signori whose recent entry on her blog about self critique approaches by Elizabeth Mowry sparked off this investigation for me (great landscapes as always Loriann).
So let’s say I’m planning to work on bigger pieces of the canal and Stalybridge scenes, maybe with figures, and also pick up the Woodend and Vernon mill series again. Its funny that I should come back to a local context, but it’s one I know well – and what do they always say about painters – stick to what you know! It might be a while but I’ll keep you posted on progress.
posted by Sheila Vaughan at 3:05 PM
25 Comments:
One of the benefits of blogging is learning about other blogs of interest. And knowing how other artists solve problems.
Thanks for both, Sheila. Have a nice day!
Style?! Every time one of your pieces pops up on my reader i know it's yours before I see your name. If that's not a "style" then I don't know what is.
You consistently post some of the strongest work I've seen. Your work screams emotion.
Thanks Sally, I agree, you can learn so much from other people's blogs. Trouble is you can also use up a lot of painting time in the process, laugh out loud!
Hi Cindy, well it just goes to show - we don't always view ourselves in a totally objective light so its really good to get that kind of feedback. Thank you!
Sheila, Thank you for your most inspiring comment about my latest figure painting. What you saw is exactly what I was chasing (a wonderful term you used in describing one of your works). Thank you for confirming to me that I achieved a "heavy, sculptural" quality. Of course, I'm honored to be linked with Picasso!.
Your other gift to me this morning is your analysis of your own art. I like seeing what your favorites are and honestly I see a strong bond between these three - strong design and sense of abstraction, big space and enough detail to interest the eye. I can understand why you wish you had not sold the first one. It's exquisite.
Good Art to you, Marie
Thanks Marie, I'm glad you see a connection between these three paintings. I mean, I suppose underneath there has to be one because they are all rooted in the same person. I am keen on keeping the abstract design in mind - it's something I try to carry to every painting, so it is really good to hear you can see something of that.
Hi Sheila,
Boy do I disagree. You have a distinctive style, and it makes me sad that people think they have to concentrate on one subject to be known. Matisse didn't. Perhaps your work didn't need to progress. I find every drawing, and every painting you do absolutely breathtaking. Maybe you
need to lighten up on yourself, and realize how strong, powerful and inspiring your work is. Lord!
I love your paintings. Okay, I understand not loving all the work to the same intensity as an artist, but please give yourself some credit. I think we over analyze ourselves and try to meet a standard we may, (as in your case) have already surpassed.
XOBarbara
great post Sheila! it is interesting how you have made your choices. i once asked bloggers to choose paintings that i could put in an exhibition and i found their responses VERY helpful as i knew i was responding on an emotional level to my work and needed objectivity.
you also have your own unique way of composing and handling paint which is wonderful!
Hi Barbara,
I hesitate raising the word “style” yet again but ok, let’s try to break that down into things like - compositional approach; subject approach; paint handling and palette approach; emotional response approach; the representational/ abstract spectrum;I have issues with some of these but the paint handling and palette choices, for example, do concern and interest me. The last painting of the three anyone can see is far less blended although it returns to the more subdued palette of the first. I keep returning to a blended approach as this gives for me added weight to the emotional response (Hopper, Hammershoi, Vermeer etc.). In terms of palette I enjoy working both with a subdued palette and a brighter palette.The emotion and tension in the centre painting is there for me still, despite the fact it is in much brighter colours.
I suspect all artists feel they have ultimately many choices and ways they could develop. Some make definite choices early on (galleries and market forces demand it) and others of us leave our options open for longer. For me the exercise of stepping back and taking stock really helped not so much with "focus" issues but with “quality issues”. Whether or not this means I end up painting the same things in the same way is another question, but to get each painting as “right” as I can seems to be worth striving for. Sorry this reply is so long and risks boring those people who have already heard me many times go on about this. Thanks for your contribution there Barbara and you may be right about over-analysis! I’ll keep that in mind!
Hi Rahina - another thing which has interested me over the years is that "the market" is perhaps not as simple as we might assume. For instance, most of the pieces I have sold have been ones I have been fairly or very satisfied with. There is a risk of us assuming that "Joe Bloggs the Art Purchaser" doesn't really know what he is looking at (you know - the "will it match my new sofa" argument) but my experience is that a lot of the time he/she does know about quality in art. It's a whole mine field!
Very interesting post. You are such an honest person. I wish you lived around the corner.
Dear Nancy, your words really made me laugh - thanks. I used be called "what you see is what you get" by a colleague at work.
When your "taking-stock" post popped up today, I happened to be having a long conversation with my old art school roommate, about this very same subject, and where we find ourselves in our respective careers, etc, etc.
I think it's one thing to "think" about such soul-searching things, but totally another to put it out there for all of your fans to see. I admire your bravery, Shiela. I think one of the key phrases you wrote kinda' sums up the whole process of being an artist;
"Sometimes it works, and sometimes it doesn't." It's the nature of the beast. And since I quite literally DO live around the corner from Nancy Herman, I share her wish that you did, too.
We'd have FUN. And Nancy happens to live directly across from the Barnes Foundation...and that's yet another unfolding story.
Hi William, I don't think it's bravery so much as 'what have I got to lose' (nothing I put mega value on I have to admit). Some years ago a collector/dealer contacted me to say he would guarantee to buy so many of my paintings each year at an agreed price but I had to paint the things he wanted to see. I hotfooted it out there so quickly!
wooh - typo error! I mean "out of there"!
Regarding the temptations of "mammon"
and the wolf at the door, I recall the actor, Burt Lancaster, saying:
I do one film to pay the rent, then I do the next one for my art."
William, yes, Burt Lancaster's strategy is perhaps a sensible one. I guess I'm just an old radical at heart though.
As humans, we are all so much better than we know. I could go on, but, added to the true words already written here by others, it would be redundant.
Not only are you a better painter than you imagine, you have great taste. The three you have chosen as best are just that. Hard for me to pick a favorite among them.
Well done post and wonderful paintings. If you expect more of the same from yourself, you have nothing to worry about.
Thanks Sam - I do respect these comments and feel a bit humbled by them! I think I should just shut up and paint!
An interesting post and one we can all learn from. In fact, I'm gong to have a look back over my own works now. Looking forward to seeing what you come up with next, go BIG! The first of the three you suggested is screaming BIG at me. Big perhaps with some texture and glimmers of a coloured ground coming through...
Thanks Caroline - well I am working on a bigger one based on this motif so hope to be posting it soon.
You say these 3 are among your most important and your favorites, do you think they are also among your best? I don't know if there is a difference.
I would include 1 of these among my favorites and your best, but after seeing your paintings for the last 3+ years there are many that I think are up there ahead of the other 2.
I find myself doing this exercise also and the paintings change over time. Often times new ones take the place of older one, but not always. I also have trouble clearly understanding the difference between my best and my favorites.
Out of your 800 it would be interesting to see your top 10. I wonder if that larger group would match-up with my idea of your best?
Hi Bruce, yeh "best" and "favourites" you are right they are 2 separate things. "Favourites" is easier and I agree that can change over time as our intentions for painting change. It's purely personal. But "best"? Is that based on a what most painters would say is a "good" painting largely from an external and objective point of view? Problems arise when we allow the criteria "pleasing" into "best" or "good" painting because again that makes the assessment process subjective.
Hi Sheila,
What a great post! All three of these paintings are beautiful and I can see a commonality of style here - each is finished to about the same degree of detail. Two of them are more tonal and the third with brighter colors has a harmony of colors - just this time the harmony is brighter. Your brush strokes are also similar, definitely your brush strokes.
okay, I don't know who all these artists are that have found their style and are honing it, well, I guess I do know some, but I am certainly not one of them. I go from landscapes back to figures every few months. I get looser with quick brush strokes, then go back to thicker paint. It absolutely drives me crazy. I feel like I should stick to SOMETHING, but when I do decide, "aha, this is how I'm going to paint", sure enough something better comes along, a better idea, so I'm off doing that. I am trying to learn to embrace that. :) People tell me the same thing, that I have a style they can recognize. To me, my style is just how I paint normally and I don't see it as much of a style, but if you define a style as something recognizable, instead of something you can name, then we both definitely have a style.
It's a process and I think we're both the same in that we have to explore many different . . . I won't say styles . . . we have to apply different techniques to our own style. Then part of that becomes us and part of our style.
You are a very very talented artist!
Joan
Joan, thanks for boosting my confidence. I feel exactly the same way as you. I think part of it is concern about other people's expectations which we know we really cannot allow to interfer in our processes. When I was in DPG and could see all my small works on the screen together I could easily see then how they formed similar patterns. I think we just carry on as we are. I always enjoy checking up on what you have been up to!
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