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The Entanglement Collection – Katy Jade Dobson

The Entanglement Collection

I am so incredibly proud and excited to show you my new collection in full. Named after my love for quantum physics and the beautiful phenomenon of entangled particles reacting as one even at great distances, the notion that inspired my collection after noticing the patterns of evolution that a body of work takes. As I work on one idea, I find that I bring these marks and textures onto another. The collection laces together and binds. In my excitement to experience this again I took enthusiastically to a new collection.

After studying the science of pigments in great detail, and really learning about the history and culture of colour usage I was compelled to start a collection of work that began from a love of colour and blossomed out into dreamlike abstract works. I worked from gut instinct and hoped to dispel my pre-planning ways in order to let the compositions form themselves as my hands intuitively glide. I wanted to create a new experience for myself in creating this artwork as well as visually.

This collection boasts 18 original oil paintings, 16 sample sized original oil paintings, limited edition prints of 45 + 5APs and 10 sketches.

Below is the result of a collection entangled.

To enquire about any of the originals or limited edition prints shown below, please click here to be directed to a list of galleries, otherwise please contact info@wishboneart.co.uk

FUSE WEB

FUSE – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

ESSENCE WEB

ESSENCE – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

SACRED WEB

SACRED – ORIGINAL OIL PAINTING

ARBOREAL WEB

ARBOREAL – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

ORGANZA WEB

ORGANZA – ORIGINAL OIL PAINTING

TROPICA WEB

TROPICA – ORIGINAL OIL PAINTING 

ODYSSEY WEB

ODYSSEY – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

DYNASTY WEB

DYNASTY – ORIGINAL OIL PAINTING 

EQUATORIAL WEB

EQUATORIAL – ORIGINAL OIL PAINTING

LUSH WEB

LUSH – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

LOTUS WEB

LOTUS – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

CITRUS WEB

CITRUS – ORIGINAL OIL PAINTING

ENSNARE WEB

ENSNARE – ORIGINAL OIL PAINTING

ALPHA WEB

ALPHA – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

TOWER WEB

TOWER – ORIGINAL OIL PAINTING

DIVINITY WEB

DIVINITY – ORIGINAL OIL PAINTING / LIMITED EDITIONS OF 45 + 5APS

GALLOP WEB

GALLOP – ORIGINAL OIL PAINTING

STALK WEB

STALK – ORIGINAL OIL PAINTING

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New book ‘Phosphenes’ available here!

Motivation – The Art of Staying Inspired

The topic of motivation comes up a lot when your job is your hobby. There is a great argument for the need to keep work life and personal life separate, for the sake of your sanity and ability to relax. What do you do when your hobby becomes your way of earning a living, and your passion becomes a necessary daily thing. Does this make sitting down to work harder? If so in what way? Also, does working from home create problems with motivation levels when your are presented with oh-so many distractions?

I am hugely lucky to be able to paint as my passion and my job, however some days motivation is slightly harder to find. Here is what I do.

Go for a walk

Nature is soothing. When I began painting for a living I lived in an area built up of rows of terraced housing in a small city. Nature was hard to come by unless you ventured to the outskirts, which I could not do at the time. I knew of a park in the area but I had only ever walked passed the gates, I had barely ever looked inside. After venturing inside one day, I found it to be a huge arboretum, beautifully landscaped and very calming to walk around. This became my haven, whatever the weather I would walk around this park. I would do this walk mostly when I was feeling uninspired and finding motivation difficult to conjure. Bike rides along a nearby river also became my saviour. This time outside was both a break from working in my home environment, and a chance to get away from the work and think about it with a clear mind, returning with fresh eyes.

Pinterest

I never knew that such a great source of procrastination would soon became the push I needed to produce great work. There is so much amazing art on Pinterest. However art is not my main viewed content at all. Pinterest is a visual aladdin’s cave, being an app based around images it means that you can search for whatever your interests are, and make virtual cork boards, pinning your favourite photos. There are so many amazing creations from interior design perfection, to home hacks, to handmade crafts. The photography category is what draws me in in particular. I don’t just find inspiration from the art, but mostly from everything as a collective, seeing what people can do and create. It motivates me to make my own creations and do the things that my heart desires, rather than making excuses or standing back and watching others create. Don’t be that person who wishes they created something, or wishes they could do something but feel they don’t have the talent. Instead just give it a try. This is what I take from Pinterest. Other people’s effort in life inspires my own.

Obviously the same works for books, or whatever format you keep information or images that you find inspiring or fascinating.

Music

Some days I know for sure what I want to listen to as I work, my mood dictates the background music as well as the flow of my work. However some days when I let a playlist run, or listen to something I have never heard before, this can then be what dictates the way my paintings turns out. For me, music isn’t the drive behind my work, it is a tool that makes me excited to sit down to work, and when utilised well it can make a big difference to my levels of motivation as I paint. I sometimes use music as a marker for how long I sit down to paint. (An album that lasts an hour, can mean an hour concentrating wholly on painting whilst it plays.)

Just start.

This one sounds obvious. The trick to motivation is to make yourself WANT to do something. We as humans rarely do things that we really do not want to do. However, to do something, and do it well, we must WANT to do it! I love painting. Some days I would rather sit and scroll through my phone if my energy levels are low, but what helps me work on these days is remembering just how much I love painting. I know that the moment I actually physically sit down to paint, I will be fully enthused. It is rare that I do not enjoy painting. If all else fails, I know that by taking that first step of setting up my palette and picking up a paint brush, then all will be restored and ready to go! For this tip I advise to get the kettle on and force yourself to work for just ten minutes, you will find that this quickly turns into an hour, then another hour… Then another…

If you have any other techniques, let me know! If you would like to take this conversation over to The Art Collective (the Facebook group) then feel free to start a thread and see what others have to say!

Women’s Art – Inspiring female artists from around the world – #1

The art of women is not a category of its own. The art of women through history and around the world is part of the tapestry of art history in its own right, blended in and out of the more predominantly highlighted male artists for sure, but is there and is bold and vital. Highlighting female artists in particular as a series for blog posts is to take up that extra bit of space that women have been denied, to give that little bit of internet over to the women and fill up that space with what they have to say and create.

Researching artists for this little segment on my little blog has been the biggest pleasure and more important personal work than I first anticipated. To be able to step closer to the women whose work I admired from afar and take a closer look at their ‘why’ and ‘how’ has been dreamy.

I had to open the first of the series with my own favourite, kicking off with 4 very different artists, established in their own right and known globally for their work.

 

Wangechi Mutu

Mutu is a brilliant and radiantly established Kenyan-American artist whose work belonging in the Afrofuturism movement focuses on the female body in the form of collages, paintings, sculptures and live performances. Her work sits boldly on the subjects of gender, art, race, politics, environmentalism, personal identity and so many, many more.

Concerned deeply with Western commercialism, Mutu has explained that “a lot of my work reflects the incredible influence that America has had on contemporary African culture. Some of it’s insidious, some of it’s innocuous, some of it’s invisible. It’s there.”  She is exploring the ‘in-betweens of her position of being a female African in America, the hybridity of her culture .’

I first fell in love with the imagery she produces of females and felt compelled to know more about the purposeful distortions that her collages represent. The way the female body is imposed upon within western culture, but more importantly how her own culture is imposed upon, and in showing this in such a way that places a discomfort and unease around the female form she shows, as if blending both the ideal and the disliked that is so heavily put upon women and their cultures and the impossible, non-sensical nature of it is shown brilliantly.

Her work is so important and bold in its message, but pockets of sensualism and a delicateness laces throughout its visuals.

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‘You are my sunshine’ – collage painting on paper – 2015

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‘Forbidden fruit picker’ – collage painting 2015

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Wangechi Mutu

 

Cornelia Konrads

The sculptural land art of Konrad’s is breathtaking. In idyllic settings in lush green spaces, she creates beautiful structures that further emphasise the beauty of the nature around her, without imposing anything new upon it, or overriding it. It feels like an appreciation of nature, and a manipulation of the natural materials around her to make you look twice at what was already there. There is a feeling of a moment frozen in time with her gravity defying visuals.

Based in Germany, Konrads has three passions: art, philosophy and travelling and is grateful that life has offered her the opportunity to combine the three. On the topic more specifically about being a woman in her field, she mentions that her enjoyment in construction has always been met with the opposition that construction work is not something for girls. She has managed to break that mould and rise above what it had meant to be a stereotypical female artist.

Her manifesto is to shake you out of sleep walking, and reignite your interest in the natural world around you. She says ‘I’m fascinated by this transient thing called “moment” or “presence.” The mysterious rupture between past and future. Consequently my work aims to cause a moment of irritation, by adding an element to the scene, which refuses to fit into the expected order.  On the whole when we look, we don’t see. We wander in a sort of monologue with ourselves. Moments of irritation and amazement can shake us out of this mental drowsiness.’

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Yulia Ustinova

Ustinova creates beautiful soft sculptures from her love of crocheting. Made with a metallic carcass centre, the sculptures are often between 25-60cm big. Previously an illustrator, Ustinov combined her love for sculpture and crocheting by creating these ladies. Coming from an artistic family in Russia with a mother who taught her to crochet at 5, she then followed an artistic path through her academic life.

I can’t find a great deal of information on Ustinova, I noticed she exhibits her ladies in museums and rarely sells them. I personally liked the light hearted nature of her work. As someone who always struggled working with textile materials I find it to be a great mastery of her practice.

 

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Claire Brewster

A UK born artist who has travelled the world in a way that has shaped her artwork, Brewster has worked in a variety of mediums from metal and paintings, to paper art. Using out of date maps and atlases, Brewster creates delicate structures and mounts them almost as installations.

Having lived in Spain and Romania, and spent her adult life living in London, you can see the link between the geological nature of her art and the flurry and wildness of the nature she depicts. She says ‘Nature is ever present, even in the most urban environments, taking over wherever we neglect, living in a separate yet parallel universe. I take my inspiration from the natural environment, creating entomological installations of flora and fauna from imagined locations.’

Working to represent nature in natural materials, I wonder if her urban lifestyle in London has encouraged her to show that nature thrives even in locations that are built in opposition of nature. As a bird art lover myself I really enjoy these little structures as well as her other works in painting form.

www.clairebrewster.com

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‘We all have our freedom’

claire

 

Monthly female artist appreciation

Every month I am going to showcase the work of a number of female artists from around the world.

For a number of years now I have inadvertently been compiling a list of inspiring female artists. What is the point in having such a rich and amazing list without sharing and showcasing with as many people as possible the inspiring work and voices of women from so many backgrounds.

I hold this tiny art space, in this little corner of the internet and while I hold your attention I would like to bring forward female creators, their work and their words. From famous and known globally to women who create for fun and love of making.

Every first day of the month starting next month will be to showcase and pass the mic to female artists. If you have any suggestions, or want to submit your own art, please email katyjadedobson@mail.com

Working from home with a baby/toddler – Adapting.

As a little human moves from infant, to baby to toddler, the way you parent changes and adapts alongside. Fitting in work alongside this is quite the juggle and means your work life is also under the same pressure to adapt.

Only the adaptable survive according to Darwin, and at times I didn’t think my career could survive. It wasn’t until I let go of structure (something that would always be a challenge for me) and expectations, and more importantly, my previous style of working.

I have been self employed and working from home since my early twenties. Before this I worked in bars/restaurants/office/warehouse/shop fronts and back. This level of freedom was something I had aimed for, worked for and achieved with many sacrifices along the way and I appreciated every second of it, and enjoyed each day of feeling free. So when a baby came along this freedom was gone. In Reuben’s case he did not want to sleep. He has been a curious, energised and spirited soul right from being an infant, one of so many qualities this tiny human has and one of the boldest and most exciting. But my work took a hit.

In an instant I went from having all the time in the world to paint, to barely a moment. A number of times I painted with him in a sling attached to my chest but my movement was very limited. He preferred to nap on me and so a spare minute to paint was rarely on the horizon. However, stupidly I would still task myself to complete X amount of painting that day, or write X amount of words towards my book. At the end of the day, when all that was achieved was a rushed shower, a few dabs of a paint brush and a bowl of cereal I would feel utterly deflated. However, I had fed a baby from just my body and kept him happy, comfortable and alive. (Sounds so basic in theory, but in practice…)

Eventually I caved to my new reality. What I saw as giving up ended up giving me the freedom to create more efficiently, and as a result, MORE. I aimed to focus on my baby and myself, if any time popped up, great. If it didn’t, then that is fine. I found that without trying so hard to encourage a nap with so much at stake, he ended up having more small naps in his moses basket here and there. That was ten minutes here and there to paint. That was enough to write a chapter intro. Maybe even enough to finish of the detail on a certain animal subject. From giving up on the ideal of having an hour or so solid time to work, letting go of expectations of the day meant I found time in whatever form it could be. This eased pressure on myself, on Reuben, and on my work. I could only do what I could manage.

Fast forward to him being a toddler. He has gone through a number of evolutions in this period of time where my work schedule has had to adapt around him. The most recent being the dropping of his second nap, which halved my work time. One of the tough parts of working from home as a new mother is that relaxing during his nap times goes out of the window. As soon as his head hits the pillow the brushes are out and palette fully loaded. Adding extra nursery time was the only option to allow me to still thrive and create work, without taking too much of a hit from lack of time. At first I panicked, but then I remembered the importance of being adaptable.

Every mother has a different experience, not every baby avoids sleep. I hear of the mythical unicorn babies who sleep all the time, giving new parents the time to set up side hustles or relax and catch up on TV. Parents who have to head back to work for their regular shifts and adapt to childcare and new routine. Parent’s with family who sweep in like superheroes to relieve the pressure. Parent’s with very little help. But one thing I have noticed is that this pressure eases, as time goes by. You get through it no matter how tough, and being adaptable in your circumstances will always benefit you.

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Book! A collection of collections – Katy Jade Dobson

I have a book!

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For over two years this has been in the works. I knew very specifically how I wanted this book to look and feel. It was going to house years of artwork after all.

The title Phosphenes comes from the name for the sensation of spots of colours and light that you see when you rub your eyes. A phenomena of seeing without light entering the eye. A title that inspired an earlier collection, and a word I find truly beautiful.

At a huge 224 pages, simple hardback cover design with coloured hot foil pressed lettering emblazoned on the front and spine, aesthetically making this book a perfect coffee table book. Inside, the content design (by Ash Dowie) is sleek and minimal to offer more attention for the intricate and boldly colourful works that my signature style focuses on. It is separated into chapters and subchapters to collate my varying subject groups and styles as well as focuses on materials and colours also. I have introduced each chapter with my thoughts and feelings of my work for over 5 years. It was important to me to fulfil the wants of collectors around the world as well as anyone new to my work, the thoughtful design and navigation hopefully lends to this!

As with everything that comes from my studio, this is a labour of love, something dreamed about and brought into fruition with so much handwork and personal touches throughout. Having a book showcasing my artwork is a dream come true, and being able to hold it after 2 years of work has been such a career highlight.

The standard hardback book is priced at £49.99, all shipping and returns information is noted on the website linked. There is also a limited edition boxed book of 295 editions that come with a limited edition print inside the box alongside the book and a certificate, these are priced at £149.99 and are available from galleries noted on my website.

Buy here!

 

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Hunt Slonem – Art to make you happy

The art of Hunt Slonem makes me happy.

Hunt Slonem is an American Neo-Expressionist artist who is very much loved and celebrated for his distinct animal paintings, most famed for his bunny paintings in particular. I personally love his bird paintings. He finds inspiration from his many rescued exotic birds, over 60 which live in a beautiful large avery.

With such a strong spiritual connection to his subjects, his paintings depict the auras of the animals he admires so much. As a child growing up in Hawaii his passion for exotic birds in particular deepened then during his time in Central America. Slonem has travelled the globe with much sensitivity to other cultures and the natural world around him. So much so, his paintings express an ongoing scene of constant stimulation from a world he so clearly admires for its beauty and energy.

What strikes me the most about Slonem’s paintings is that they’re so beautifully unpretentious, naive at face value, but so intricately and diligently executed at a further glance. At first sight, the textures are what stood out to me the most. With a technique of wet on wet paint, with his bunny paintings in particular you can see his actions and movement in each brush stroke. This simple appliqué makes for unique markings that will look different each time. They have a burst of energy about them, possibly captured by the technique that forever encases the original brush strokes, really emphasising a moment where the canvas came to life.

Whether its the child like approach, or the bright and bold colours of his artwork, his paintings have a warmth that makes me feel happy whenever I look at them. I don’t need to know more, I don’t need to read any further into them. I enjoy them at face value and that type of honest and open art can reopen the notion of art being about fun and enjoyment, and not always about locating deeper meanings.

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www.huntslonem.com

Get on the list here

Keep your art practices sacred. You’ll never look back.

A love note from me to all the creatives, who work from the soul and have succumbed at times to the negative chatter around them.

A lot of what people do, which we are all guilty of at some time or another, is resting too much consideration on the opinions of those around us. Our ego is so hugely interlinked with our art practices, we are laying out our talents and often our thoughts and feelings in order to showcase what we can do. Two things that cannot co-exist for your creative practices is the ego alongside the freedom of self expression. It is too volatile.

People put others down to their face, or behind their back. Both equally as cutting. It can be their way of a cheap win. A quick rush of feeling better and above someone else. If they cannot or do not care to go out and create themselves it is the only way they can involve themselves in a way they feel on top.

In order to protect your creativity in a way you can continue with authenticity without bending to the opinions of others, you first have to realise it is not about you. Whether someone likes your work or not, is close to you or a stranger, their opinion on what you enjoy doing is none of your business. You’re doing it for you. Take away the egotistical thoughts where the meaning placed on your work is in the opinions of what people think of it. When you’re really channeling, pushing your own boundaries and experimenting with your skills, remember that the opinions of others are not your problem, and create from a pure place in that moment!

When you don’t care, you hold the power over your practice. It is you who gets to enjoy it from start to finish. If you work in a way that you love, and you accept and revel in the idea that this work will not be for everyone, you’re untouchable. If it was liked by everyone, it wouldn’t be loved by someone. Aim to please yourself and of course hope that maybe a niche few will like it, the few who get it. Don’t aim to convert people.

What will you remember when you look back? That few weeks you spent your evenings writing that book. The months on a collection of paintings. The years on a sculpure.  The decades working towards a career. Will you remember the praise you got momentarily afterwards or will you remember the space you were in when you created it, the season of life that defined it. The pleasure you get from looking at something you enjoyed doing for a set amount of time is worth more than any praise or critisism. For me and my new collection, I already remember my son waking up from his naps and inspecting the colourful animals, pointing out each one. I remember the albums I listened to when I worked on the foundations and the lectures on youtube I listened to as I painted the tiny details. I drank a lot of tea! (My other collections are usually a coffee doused memory…) Winter with hot drinks, losing the daylight quickly, rainy days inside. Cold, fresh sunny walks. That is what I see when I look at a body of work. What could anybodies thoughts on your finished work do to extinguish the memories of creating the work? The memories are yours to keep.

Don’t dilute yourself. Don’t make yourself palatable for other people. Create with authenticity and for enjoyment. Quiet the chatter, the unhelpful opinions, the talking down, its not important. You do you, with conviction and keep your creative practices sacred.

For information on my work contact info@wishboneart.com – Head to my website or sign up here for email updates.

Artwork by Emilio Villalba 

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Adam Handling Chelsea – The Art Of Belmond

Last year I began a project that could only be described as a dream come true. To create bespoke artwork for an impossibly beautiful hotel in the heart of London.

In a complete whirlwind of compositional sketches, late night note jotting, ideas bursting at the seams, scouring the internet for historical records and deciphering latin names for all kinds of botanical specimens… I set to work on a creating bespoke commissioned original oil paintings for the newly renovated building that would become one of the most lavish, expensive and artistically drenched hotels imaginable.

The Belmond group have renovated a building, where the room marked 118 is famously the room where Oscar Wilde was arrested. The hotel is owned by the Cadogan family, a lineage steeped in rich history as the ancestors of Hans Sloane, the 18th century physician, naturalist, adventurer and collector noted for bequeathing his collection of 71 000 items to the British nation, thus providing the foundation of the British Museum, the British Library and the Natural History Museum. He traveled to Jamaica on a 15 month long expedition to examine the local flora and fauna, also bringing back the recipe for hot chocolate. (Later the Messrs at Cadbury manufactured using Sloane’s recipe.) With this incredible history in mind, I had so much inspiring content to work with to create the pieces for the hotel that were not only to be aesthetically pleasing, but to tell the story of so much history.

The idea behind the pieces (5 in the restaurant although not all photographed yet) are to celebrate both the decadent movement of Oscar Wilde and the bountiful life’s work of Hans Sloane, all detailed within an opulent and extravagant arrangement of brush strokes of rich oil paint.

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‘I plan to incorperate a plethora of plants that are relevant to the life’s work of Hans Sloane. For example, I have used the cocoa plant as the anchor of the piece, using the branches to guide the embellishments and detail of the flora, fauna and wildlife around the paintings. Also to include are other important features fro the Tropical Corridor of Chelsea Gardens such as cinchona pubescent, with its 300 years growth in the gardens, as one of the many specimens brought back to London from Sloane’s expedition to Jamaica. I would like to incorporate at points, the familiar shapes and outlines of the beautiful and plentiful dried plants from the archives of the Sloane Herbarium. The studied specimens of wildlife will be dappled throughout from the bold monarch butterfly to the delicate marbled white. Weft into the jewelled pigments will also be bird species, including the important red-billed steamer tail hummingbird, famously studied by Sloane and is the national bird of Jamaica. Amongst others, I plan for these subjects to be bold in their presence as well as hidden within details, and highlighted by 24 carat gold leaf.

As a nod towards Oscar Wilde, a nightingale and a rose will feature delicately within the botanical flourises, as well as green carnations. An emblem worn by himself and his followers, a symbol of an ideal he supported, in nature imitating art. The use of a spectrum of colours lends nicely to the words of Oscar Wilde: ‘Mere colour, unspoiled by meaning and unallied with definite form, can speak to the soul in a thousand different ways.’

The specimens features in the artwork are: Cocoa plant / cinchona pubescens / carnation / rose / jersey lily / red-billed steamer tail / small blue heron (egretta caerulea) / nightingale / marbled white butterfly / adman many more specimens from archives. 

Adam Handling, the food genius behind the Adam Handling Chelsea restaurant inside the hotel, has created not only a fantastic menu but an experience. Everything from his decided artwork, making the surroundings a mixture of modern and eccentric with the most intricate interior work of small details and art deco perfection. The waiting staff have a warmth and a wit about them. The food is pure innovation. The whole experiance is stunning.

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I was also asked to create bespoke artwork for the hotel tea rooms, an equally beautiful section of the hotel ran by Adam Handling. But thats a whole other blog post…

For information on my paintings, head to www.katyjadedobson.co.uk or send an email to info@wishboneart.co.uk – or subscribe for email updates here!

Creative block – When your art doesn’t look how you want it to!

I love this topic.

But I think there is another side to the conversation of creative blocks that doesn’t get mentioned. Maybe because it’s not about free creative expression and letting your brush work the canvas without a care or thought. Its logical. Its creation, but its not whimsical or freedom. I am talking about when your physical capabilities block the way you want your art to look. The subject of creative blocks and physical capabilities are intertwined but worlds apart.

I don’t get creative blocks. I may have a day once in a blue moon where my paintings don’t come together as they usually would, or writing doesn’t flow out onto a keyboard like it often does. In fact I am so heavily flooded with ideas that I sometimes worry that I won’t have enough hours in my lifetime to create all the things I want to. I do understand creative blocks though, because I used to experience them in a way that symptomatically showed itself as frustration at life.  I know many people who feel intimidated by a blank canvas. Many people worry they can’t fill it in a way they want, or worry they’ll mess it up once they start. Sometimes people feel uninspired. Staying in an inspired space enough to see ideas through from start to finish, from thought to physical finished manifestation is tough, and it takes a lot of mind power. We live in a world that often dulls and does not support our creative senses, almost discouraging expression and instead saturating us with a way of life we are told to be living. Advertisements, social media, algorithms. We are shown what to like and are rarely encouraged to go out in the world and find what we enjoy by action. To me, creative blocks can be overcome by action in any sense. Grabbing a paint brush and doing just about anything. Maybe you’ll find texture that inspires a whole collection. Tap out some sentences on a keyboard and maybe you’ll run into a subject that spills out and could potentially become the basis of a novel.

But what about the block that is physical capabilities? We see our favourite artists and are so inspired by their work that we want to create similar effects. We put brush to canvas and its just not the same… Then you give up. All of a sudden the practice of creating isn’t freeing, or channeling your soul, its just failure to create the effect you want. Over and over.

I have had hundreds of messages from tormented artists who want to create certain styles but can’t seem to execute it the way they want! This frustration really resonates with me, in that whenever I turn up to a new painting to challenge myself, I am initially left feeling disappointed with my efforts. I counter balance this with the simple notion of ‘action.’ Action in any form, towards my art work is all practice. Any mistakes made are learnt from, any failures are built upon. By accepting that I cannot get to where I need to be without mistakes and failures as steps to take me higher, then the frustration of the hear and now turns into the will to make it work! When you set the end goal aside, and enjoy the process of learning about your art you will find it all changes. It might even take a different direction, but you’ll end up at the right destination.

A simple sketch, grabbing a paint brush and throwing any colours around, typing any words until something coherent turns up… These are just a few actions that I take to kick start any creative block, or to work on when I feel I can’t physically create what I want to! As long as I look back and learn something from it, then its better than giving up or doing absolutely nothing!

But most importantly…

Trying to stay present is my saviour in the scenario of a painting not working out. I assess why I need it to look a certain way, and what I’m compromising by being so strict with myself on the finished effect. What if my capabilities do not allow for the vision I had? Well to get there maybe it will take years of practice? So what can I do right now? The answer is just to take the piece, relax, and start having fun with it. Maybe I can’t make it perfect, and if I tried it would never be finished. But if the finished effect isn’t a mirror image of the painting I had in mind, then the effort and energy I put into it needs to come from a positive place. My personal trick to my paintings, is that I enjoy them. They get difficult at times, or might not flow easily, but if I didn’t enjoy it they look stiff and inauthentic. When my attitude as I approach the canvas is just to enjoy the process, the outcome is everything I desired and more, even if it looks worlds away from my vision!

I have so many tips, and exercises that awaken my creativity and help me take inspired action. Im currently figuring out a way to share all of this online once it has been compiled, in the form of a course, book website etc.

For now, sign up for email updates here!

 

Lets stay connected

Lets stay connected.

You and I have been connected for a little while. You actually see into every corner of my soul, if you do in fact look at my artwork. Scary.

Sharing my sacred art space has been something I have felt more strongly towards for a long time now! From starting communities on FaceBook to trying to share more information on the how behind my artwork, for anyone interested in the creating side of my art. Whilst also adding additional information for the people who just enjoy the viewing or the more theoretical side. I know from my own experience that when I had made the decision to make my art more of a prominent feature in my life, the social media profiles of other artists were my biggest source of inspiration and drive. I waited for their next post, and I hoped for more information of the how. Be it how they created, how they marketed, anything!

Because of the ever changing social media landscape and the difficulty staying connected to the people I chose to follow, I have begun signing up to email subscriptions hoping to stay connect. And I have.

So…

Here is my email subscription sign up. I certainly won’t be sending emails often, from my own experience I unsubscribe when I feel too hounded. But if for whatever reason, my social media posts don’t reach you, you can still get updates that may interest you.

My brief or crazily in depth emails will hopefully be informative, maybe if you’re a budding artist or curious about the way I create my work, I can share my own art tips, materials, processes. If you are a collector I can give you sneak peaks on my latest work and give you a heads up on my shows, and collections. Let me know what kind of information you might like. or what you might not like too! Anything that helps me shape the most practical, and informative means of connection with the most useful information for you.

Sign up here!