It’s hard to believe, but in a little over three months the year will be over! Instead of waiting until the end of the year to assess how I did with putting my 2017 watchword, Follow Throughinto my art practice, I thought it would be better to do it now, while there’s still time to clarify ideas and make any necessary modifications.
Looking at the definition of follow through that I pinned to my studio bulletin board at the beginning of the year, I was reminded that following through means:
Bringing to completion
Bringing to the end
Back in January, when 2017 was all sparkly and new, I had lots of new ideas for improving my work and for taking it to the next level. Now I realize that was really just the “wishful thinking stage” of the creative process. What I learned this year is that when I’m in that stage, it’s as if I’m in la la land! I feel like I can conquer the world….anything’s possible – I’m Super Artist after all! I become overconfident in my skills and abilities, and as a result I don’t recognize the amount of time and effort it would take to master the new skills and abilities that I might need in order to successfully bring any of those ideas to completion. So without really having thought things through, I often jump right in and before long I inevitably find myself feeling frustrated and discouraged because I wasn’t able to pull off an idea that seemed so simple and perfect when I first encountered it. More often than not, those events lead to a slippery slope that ends in abandoning my idea altogether. And the sad thing is – maybe that was the perfect new idea – the one that would have taken my work to the next level if I had just seen it on through to the end.
Reflecting on all of this recently, I decided that I really need to learn how to follow through on new ideas. One thing I know for sure is that abandoning an idea when the going gets tough creates the opposite effect of my intention, which is to move my work closer to where I’d really like it to be. I need to create a list of action steps for acquiring the skills and abilities needed in order to bring an idea to a successful completion. And more importantly, I need to take the action steps and do it until the idea is brought to a successful completion.
It’s often been said that when a goal (or an idea) isn’t working we shouldn’t change the goal, we should change the action. Creating a list of action steps and then taking those action steps is a major key to achieving goals and successfully implementing new ideas. Without the action steps, the goal (or idea) forever remains in the “wishful thinking stage” of the process.
So here’s my plan ………
Put together a list of action steps that might help me express the ideas that I think may help me move my art to where I really want it to be, and at the same time acknowledging that it’s quite possible that an action step might not take me anywhere. We always have to allow for, and be ok with, the inevitable mistakes, failures, and missteps that are part of the creative process.
Instead of just rattling off a list of cliché or abstract actions that I think I “should” take, go deeper and search for practical and doable actions that really stand a chance of producing successful results.
Commit to choosing one action step at a time and keep working that step without judgement until it’s brought to a successful completion.
Detach from results. This takes away the pressure of having to create a masterpiece every time I walk into the studio and puts learning new skills and exploring new possibilities into the category of experiments, play, and fun adventures. Fear is what often stands in the way of taking action steps – fear of making the wrong decision or choosing the wrong path, fear of failure, and the fear of disappointing ourselves. Detaching from results is a great way to by step those fears.
How are you doing with your 2017 art goals?
My painting in today’s post, Everyone has a Story, is currently part of the American Watercolor Society’s 2017 Travel Show.
Lately I’ve become obsessed with artist interviews! Long hours alone in the studio can be very isolating and lonely, and online artist interviews are a great way to connect with other artists from across the globe. I always gain some new insights and a deeper understanding of the creative process as I listen to someone else’s ideas, thoughts, and working process. I love hearing what other artists have discovered and experienced and how they deal with the challenges involved with finding clarity, a personal voice and vision, and balancing everyday life with a life in the arts. I often come away feeling refreshed and invigorated knowing that I’m not the only artist who struggles with those challenges. And I’m comforted because I find that I’m also not alone in feeling frustrated by the fact that the art journey I began so many years ago still hasn’t led to anywhere that I can really count on. The struggle remains. As artist Ken Kewley said, “The secret of painting needs to be discovered everyday. Secrets only work for a little while.” And most artists agree that those secrets are only found by working on our work.
Recently, I summoned up the courage to ask one of my friends and all-time favorite artists, Carla O’Connor, if she would be open to being interviewed for my blog. I’m extremely grateful to Carla for replying, “bring on the questions!” And I’m very excited to share her answers with all of you today.
Carla O’Connor Interviewwith Donna Zagotta
Carla O’Connor lives and works in Olalla, Washington. Along with being a masterful painter, she has spent the better part of her life sharing that knowledge and expertise with eager young artisans all over the world. Beginning in her early married years as an Air Force wife, she was transplanted around the world with much frequency and made the most of it. For the next 30 years, she traveled throughout the US, Canada, and Europe, leading workshops that were eventually so sought-after, they were booked out 2 to 3 years in advance. Carla would sometimes work for multiple weeks with artists in this capacity, a true teacher at heart. Carla’s layered color and complicated patterns became her signature style. She has worked in oil, acrylics, watercolor, and gouache, never afraid to come back to a piece weeks or months later until it decides it is done.
Donna Zagotta Carla, what do you think makes a great painting?
Carla O’Connor It is the ability of the artist to convey a message or communicate a unique and personal vision. Regardless of perfect technical skill or mastery of style, a great painting must invoke an emotional, visceral response in the viewer that leaps into the imagination and stirs the heart.
DZ Are your paintings mainly based on direct observation, photography, memories, or imagination? In other words, how do you find ideas and inspiration for your paintings?
CO’ I use all – observation, photography, memories and imagination – for inspiration. Some new ideas come out of the blue when I am least expecting it and others are possibly related to an event such as a visit to a museum or travel to distant lands. More personal experiences are also an important source of inspiration – a major move, birth, death, loss and joy- all can contribute to the content of the work. I feel that most pure non- objective paintings are inspired by pure emotion.
DZ What is your working process? Why do you prefer gouache as an opaque medium rather than oils or acrylics?
CO’ I am a direct painter, very old school. Many years of training in oils taught: thin to thick, light to dark, big to small. I do not draw with a pencil first but with a brush directly on the surface. I do very quick, small thumbnail studies for composition only. I have never been one for visualizing the finished painting before hand. With only a very rough idea to start, I prefer to be surprised, hopefully a number of times, and frequently challenged through the entire process.
I consider gouache to be my mature medium because of its similar handling to oils. It is as if I have come full circle (oil to acrylic to watercolor to gouache) and found the medium that conveys my vision the best.
Carla O’Connor, The Gift
DZ Are you a slow or fast painter?
CO’ I start by blocking in the big simple shapes of the composition using a round brush. Then, I work big, loose, thin color and repeated textural effects. I try to get something happening on the surface to play with. With each layer I begin to slow down and become more selective and controlled. I allow the painting to rest on an easel in different light and conditions in order to study it in its entirety. The refining, additions and deletions come at the end stage. All tiny details are saved till the very last.
DZ What are some of your most important composition and design considerations?
CO’ Over years of experience I have come to the conclusion that composition is the most important factor of a painting. All the finest skill and technique in the world will not save a poorly composed painting. Knowledge of the purpose and the use of deliberate and thoughtful formats is real power to an artist. It can pull the viewer in and hold their attention. Knowing what to take out or what to add is critical.
DZ The color palettes in your paintings have a sophisticated and quiet elegance. How do you choose the colors for your paintings?
Carla O’Connor, Men of the House
CO’ I do not consider myself a “colorist” and have never taught color theory. I prefer soft warm greys and save the pure color as a punch or accent in the composition. Color seems to be ever more brilliant when surrounded by greys. The chemical properties of gouache require that you must mix thoroughly to avoid streaking. I never worry about the wrong color choice since gouache is sitting on the surface and can easily be lifted and changed. Also gouache dries darker as opposed to transparent w/c which dries lighter. I am often surprised, and sometimes disappointed, at the final tone. But there lies the challenge!
DZYou have been painting the figure for many years and your paintings have a decidedly contemporary point of view. What fascinates you about the figure and how do you achieve that contemporary slant?
CO’ All my training in college and post-graduate study has been life drawing and figure based. It is the “thing” I know best from the inside out. As with any subject, you must be able to draw it realistically in order to then abstract it convincingly. My aim is to depict the three-dimensional human form on a two-dimensional surface. By flattening shapes in and around the figure I hope to be successful. This combination of real and abstract gives the work a contemporary look and encourages the viewer to participate in the process.
DZ How did you develop your own voice and your own way of looking at things?
CO’ An artist’s personal ‘voice’ is the unique and recognizable style that is distinctly their own. It is imperative if one wants to teach, publish, sell, or exhibit, especially internationally in today’s world. It is to be known for something particular. I believe we are a culmination of all we have ever heard, read, seen or been exposed to. Finding your voice is a process of filtering, editing those influences and fully understanding yourself and what you want to say.
Carla O’Connor, Bellisimia
DZ Your new work is on claybord and is also on a much larger scale than traditional watercolor paintings. How have those modifications changed your work and/or your working process?
CO’ Working large is not new to me. I enjoy the physical aspect and the scale. When the format is small, I find I tighten up my grip on the brush and the resulting image shows tension.
Claybord is so smooth it is like painting on porcelain, which only enhances the lifting properties of gouache. The treated panels are rigid and strong and will stand on an easel as opposed to a flat painting surface. That can be particularly helpful when working with the figure for accuracy and avoiding any distortion.
DZ How do you deal with the distractions and disruptions inherent in everyday life? How do you balance everyday life with your painting life?
CO’ It has been my habit for years to attend to all domestic issues of everyday life first thing in the morning. When all is done I feel free to go to the studio for the remainder of the day.
Lately, I find it is not so much how many hours are spent but the quality of the time. Two or three hours of very focused work can be more productive than six hours of messing around cleaning the studio. Our lives are multifaceted and complicated, sometimes messy and often unpredictable. That is what makes art interesting.
DZ Can you describe an ideal day in the studio for us?
CO’ Years ago I wished there was a slot under my studio door where I could slide finished paintings out and someone on the other side would slide a dinner tray back to me. All I wanted to do was paint! Needless to say, that didn’t happen and I no longer wish for it. Every season of our lives has a tempo – a beginning song and a finale- I have learned that any time in the studio is precious whether 20 minutes or 20 hours. Make the most of it!
Carla O’Connor, Still Water
DZ How do you refill the well when it’s empty?
CO’ Occasionally the well will be empty. No ideas, no inspiration, no nothing! It happens! Many books and articles and studies have been written about the ‘Artist Block’. Everything from laziness, health issues, fear, guilt, distractions to talking too much have been blamed. I imagine that every artist experiences a block at some time or other.I have recently had a major change in my career path that has had an impact on my creative energy. It has been the inevitable ending of one cycle and the transition into a new state of circumstances. I am learning to accept the necessity of these “endings” and looking forward to the change and renewal of purpose. I have no idea where this new cycle will lead in my art journey but have faith in what the future has in store.
DZ What advice would you give to someone who really wants to become a serious watercolor artist?
CO’ Paint as much as possible! Enter every chow starting with local then regional moving to national and eventually international. Each step builds your name, your reputation and your “voice”. Expect rejection at every level. Get mad and then get back to work. Stay focused and hold on to your passion. Remember to breathe!
I want to thank Carla again for taking time out of her busy schedule to do this interview with me. You can see more of Carla’s work at Carlaoconnor.com and at the Art Spirit Gallery in Coeur d’Alene, Idaho.
I guess you could say that serendipity and synchronicity played a big part in what my daughter and I now affectionately call our “Artist Retreats.” It all started in March when the electrical power went out at my daughter and son-in-law’s house during an early spring storm. They live in a town close to ours, and although the power outage was widespread, miraculously our home was spared. My son-in-law was at work at the time and as the hours ticked away, it became increasingly obvious to Tracy that the lights and heat wouldn’t be back any time soon. As evening approached, she phoned me and said she was in the process of packing for an overnight stay at our house, and that her husband would be staying with his mom because she lives close to where he works. What we all thought was going to be a one night event turned into a grand three day art adventure for Tracy and me!
My daughter Tracy is also an artist and she was working on a painting when the power went out. Almost as an afterthought, she decided to grab some art supplies and a few paintings to bring with her to our house. After having dinner here that evening, we gravitated towards my studio, each with a glass of wine in hand. We started talking about our current work and the challenges each of us were dealing with. The hours flew by, and we ended the night at 1 am with a plan to paint together the next day and to experiment with some new ideas that excited us both.
We painted the entire next day, and the entire day after that. We also painted in the evenings after dinner and then spent hours talking about our work and art in general. The second night of our retreat we were up until 3 am talking! We’d get on a roll and feel totally inspired. It was such a gift to be so completely removed from worldly and life concerns and have lots of time to focus on our paintings and each other. And the sleepover aspect added a “girl’s night out” vibe to it all.
Last week we had our third Artist Retreat. We have a ritual of sorts now where we begin with a late afternoon “welcome get together” (complete with gift bags!) in the studio. Then we have dinner (we do invite her dad to join us for lunches and dinners), and after dinner Tracy and I have wine in the studio and stay up late talking (we’ve been known to stay up as late as 3am!) and spontaneously come up with a plan for what we’ll focus on the following day. Over coffee the next morning there’s more art talk and bouncing ideas back and forth. We paint all day and stop only for meals and an occasional break to put our up paintings and talk about the progress – or lack of progress – that we made. Sometimes there’s a lot of talking going on while we’re painting, and at other times it’s so quiet in the studio you could hear a pin drop!
Tracy and Her Wall of Paintings
Our retreats have been such wonderfully nurturing experiences for both of us that we now feel it’s important that we schedule them regularly. It is amazing how energizing it is to be away from the distractions and interruptions of everyday life and experience what can happen when there’s nothing else to focus on except painting and each other. And being able to follow long thoughts and threads of ideas during our long and deep conversations is also a rare luxury these days. Because of the intense focus on our work, along with being able to talk with another artist in depth about current painting challenges, I have found that our retreats often allow ideas that are still not fully formulated yet to bubble up to the surface. And discussing those ideas with another artist who happens to be your daughter………..it doesn’t get any better that that!
Deciding if I Should Crop my Painting
In last week’s retreat, we experimented with stamps, stencils, and personal mark making – something I have been wanting to play with forever but never seemed to find the time for – how fun to finally have that time!
This is the painting I started in last week’s Artist Retreat and finished a few days after it ended.
I have also been experimenting lately with planning Artist Retreats of my own. If there happens to be a string of days in a row where nothing is scheduled in my planner, I free up those days and try to do nothing else but paint. I schedule those days in my planner and plan easy meals in advance or enlist Mr. Z to cook for a night. I don’t have the same kind of energy to stay up late at night painting or thinking about painting that I have when Tracy’s here, but it does feel like I’m on a mental holiday from life’s distractions and disruptions. And that’s the whole point of being on a retreat, isn’t it?
I hope you’ve been inspired to begin planning an Artist Retreat of your own!
I want to share some happy news with you! I have been invited to join the C2C Gallery, a beautiful gallery featuring unique handmade art including ceramics, handblown glass, jewelry, painting, photography, sculpture, and textiles.
Inspired by her love of art and motivated by her desire to encourage others to make art a part of their everyday life, Cyndi Casemier opened the warm, welcoming gallery in downtown Grand Haven, Michigan in 2011.
“Color should be a sensuous experience.”Charles Sovek
Color is an element that speaks directly to our emotions. We can feel the warmth of sunny yellows and oranges, the cool breeziness of blues and violets, the excitement generated by bright colors, the peacefulness of soft, muted, analogous harmonies, and the moodiness of darks and neutralized greys.
However, my interest in color is purely visual! I love seeing what happens when colors are placed next to each other in a painting. The results, while not always predictable, are very often magical.
With the goal of developing a deeper sensitivity to color and fresh new color ideas for my paintings, I have begun an intensive investigation into color and color theory that I affectionately call my “color project.”
In the six paintings featured in today’s post, I chose one subject and explored six different color schemes derived from the three color wheel primaries and the three color wheel secondaries. On the top shelf and moving from left to right, each painting exhibits a dominance of one of the primaries – red, yellow, and blue. On the second shelf, again moving from left to right, each painting has a dominance of one of the secondaries – orange, green, and violet. In all six paintings, I began with the umbrella, painting it a pre-chosen primary or secondary to establish each painting’s color dominance.
Two major things I’ve learned from my color project explorations are that I’ve only just begun to scratch the surface in terms of all there is to learn about color and various color theories, and that there will be no endpoint in uncovering the secrets of good color. I love that!