Ugh! I’ve been having an existential artistic crisis as it is, on top of all the other things that make me wonder what the point of making art is… comes the rejection of all three entries for the latest SoMMA show. I thought at least ONE would be accepted. Those who are not artists of some kind take note the reason WHY we do it despite the blows to ego and pocket book: WE CANNOT NOT DO IT. It’s a compulsion and for a moment we are free and happy. Now comes so many questions, but of course the most useful one is: WHAT CAN I LEARN FROM THIS? That will have to wait though until the burning feeling stops.
Some of you who were use to seeing regular posts while I was in the midst of a challenge might wonder what’s up. Well, when you have a challenge, wether it’s for 10 days or thirty days, wether self imposed or from without, you hopefully end up with some decent work. For those of us who work on paper and/or not on gallery wrapped canvas, that means: FRAMING! (Below 2 piles to go and some complete)
Even though I sell my work on my website unframed, it needs a frame if I am going ti show it and try to sell it locally. So this month my challenge to myself was to frame the 30-40 pieces sitting around my studio. In some cases I reused frames from unsold work. In many cases I had to order new frames because I’ve recently joined JWS (Jacksonville Watercolor Society). They have very strict framing rules so I had to order some frames and …. UGH! I have to cut some plexiglass. I HATE cutting plexiglass. I hate using it. This and the metal frames only and cream or white mats only are the reasons I hadn’t joined this group sooner. I understand the logic of these rules, but that doesn’t mean I have to like them. The order is on it’s way! I will be very busy next week thanks to pictureframes.com
I did better on my last two en plein aire pieces. Then again I was in much more familiar territory. That can make all the difference. Not only have I spent countless hours in this spot, but I’ve probably painted 30(?) paintings there. So even if I don’t properly edit there, it’s easier for me to produce a good composition and better quality of work. In this case familiarity does not breed contempt. Hmmm. It might be worth a “google” to see how many adages or sayings or phrases there are with the word familiar in them.
Looking at my reference photos from my recent Plein Aire excursion showed me so many better options for the painting I might have created. Why didn’t I see it then? What can I do to better the editing of my compositions while painting en Plein Aire?
I feel I’ve taken a step backward and not in a good way. This one isn’t done, but I can already tell it’s going to take a lot of work to redeem. Once again I have failed to edit properly en Plein Aire. It was fun (despite the frustration) to paint at Earth Works. Lots of beautiful vignettes and waterfalls and pots to choose from.
A lil bit. At least I do feel that I helped the situation by darkening behind and around the statue. I’ve only got a little bit more to do. Although, this is likely to be one of those I put in the closet for a month or so. Then I’ll take it out and see if there’s something to fix before I frame. Speaking of framing, this month is going to be dedicated to a lot of that. I must have 30+ pieces waiting to be framed.
Well, I was pretty sure, I’d do something to ruin it eventually. I knew this subject was a little beyond my skill set. How do you get good enough, though, unless you go ahead and give it a go. I’m not done but have already learned a lot for the next time I tackle such a subject. Hear that? I’m undaunted by my failure. For one thing I think I may still be able to get a decent painting out of this. Just not the one I had intended.
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