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STREET PREY

A synthwave horror romance.

Currently on hiatus! See blog for updates!


 

Latest Posts

Creating a marketable body of work (part 2)

Notes on a talk by fine artists and art coaches Meagan and Michael Blessing, interviewed by art director Grant Roberts, 15.01. 2022 on the Art Work House Discord

Their socials:

https://www.meaganabrablessing.com/

https://www.michaelblessingart.com/

https://www.artstation.com/grantroberts

Disclaimer:

These notes are filtered through my perspective and interpretation, what I personally took away as a listener. I do not claim to cover the complete talk. Also, my views are not necessarily the views of the speakers.

(continuation of part 1)

Square Two

Later, you start curating your work yourself, picking and choosing what you want to show to the world.

Don’t cut and engineer too much too early.

At first your only goal of curation is to choose the pieces that have the strongest aesthetic value to you. Also don’t just put them out there. Ask yourself: why do you like them, why do others like them? What can you learn for future pieces?

Keep creating!

Square Three

When your body of work has flourished further, you can afford a stricter curation: Now you are looking for consistency in themes and techniques in the works you want to show to the world.

The ultimate goal of all curation is that someone understands what you are doing within 3 seconds of looking at your works. This does NOT mean to dumb your works down or fit a pre-existing mold perfectly.

You are also allowed, even required to keep experimenting with art that doesn’t fit what you’re curating. Any of your training is research and development work for your main works though.

But this stage is not where and how the curation ends.

(to be continued in part 3)

Creating a marketable body of work (part 1)

Notes on a talk by fine artists and art coaches Meagan and Michael Blessing, interviewed by art director Grant Roberts, 15.01.2022 on the Art Work House Discord.

Their socials:

https://www.meaganabrablessing.com/

https://www.michaelblessingart.com/

https://www.artstation.com/grantroberts

Disclaimer:

These notes are filtered through my perspective and interpretation, what I personally took away as a listener. I do not claim to cover the complete talk. Also, my views are not necessarily the views of the speakers.

Square Zero

Start with this premise:

You have everything that you need already, a story, a personality, strengths, interests, anything else you might need. If it is invisible to you, it is still there, but in seed form and wants to be discovered. So if you run into problems later, know that you can’t fall to or below zero. There is something in you.

Square One

If you don’t have a body of work yet, this is the first thing that you do. Create create create.

At first, for the fun of it and for the exploration of you as an artist.

(To be continued in part 2)

Being fearless

I was tempted to not write this down, but I’m afraid my future deliberations don’t make much sense if I omit this.

I struggle with identity. I don’t have enough of it or at least I don’t understand enough of my own inner workings to make something of me. My art and storytelling suffers from this, too. But today I have actually learned something that might help me to get ahead.

There is another reason why I don’t like rereading books or repetitions of any kind. Everything is emotional labor, coping with it, and when the work is too good and moves me too much, that causes a lot of emotion, especially pain. I would like to avoid this. I have a hard time enjoying new things, as I can’t know how much pain they will cause me. And I surely don’t like returning to things I’ve worked through already to relive the pain or possibly have some new one. This also explains why I like to stick to „safe“ genres like horror and action. Those usually do not challenge you emotionally. And of course, if everything is pain, there’s also a big need for comfort, such as food.

I haven’t seen it like this before but this is totally what it is. Also, it is not only about literature, everything promises pain. But I can’t not live to avoid the pain. Also, if I avoid emotion altogether, I am cutting myself off from the very thing I’m supposed to work with and create for others. I can even trace back when I decided to not feel to one single day in elementary school when an older boy intimidated me for fun on the school yard and made me drop my lunch sandwich on the concrete. I decided I’m going to be strong and not feel anymore. Understandable why a child would come to such a conclusion, but not the healthiest way to deal with problems in the long run. And my emotional development might be stunted since then. The social development was stunted too but caught up by now, for the other one I hope I still have time to get it right. Am I still mad about it? No. Nothing compares to the horrors of being a child and becoming aware of not being and not being treated as a „full“ human being.

When I’m at my best, I’m fearless. This doesn’t mean I don’t experience fear, but that I confront it. I’m not Kandinsky, so my art doesn’t have an abstract conceptual mission (yet). But how about this one: Read my art as me tackling what I’m afraid of most, because this is what I promise myself to tackle. I have some emotional development to make. This doesn’t contradict my rule about my art being made with love and coming from love. I love myself, so I want myself to heal and improve. I want to be brave, courageous, in my native language: mutig.

Literature Notes #007

The time has come. I am ripe to write the first edition of my personal artist statement.

An artist statement provides a general overview of an artist’s work, the personality behind it as well as keys to understanding the art and what to look out for in it. As one changes over a lifetime, the artist statement is destined to change, too, so it’s a living document.

But I must spend a note or two preparing the arrival of mine.

For this note-

My notes as a reader on:

My artist influence Wassily Kandinsky

A great example for a strong artist statement is Wassily Kandinsky, who wasn’t content with just giving you a list. He wrote the great essay „Concerning the Spiritual in Art“, laying down how he kept trying to translate music and the progression of time onto canvas. Art cannot do that…or can it? Knowing this, you are looking at his works with different eyes and maybe even with a different intent. The artworks aren’t just visually pleasing anymore, you will look at them and wonder what sounds he tried to catch and how much of a song or symphony you are seeing there, translated, compressed, spoken out on a 2D plane. And you must not forget, you see it interpreted through him and how he is. Can you read the music and hear it in your head? Would you dare to try?

Also, do you see that Kandinsky’s statement is both grandiose but still simple to understand? Drawing music hard! So I guess if the statement is too complex, it is fake again, and you lose yourself. Also note that Kandinsky didn’t pour all of himself into it. The mission he gave his art surely took up a good chunk of his life and later years, yet we don’t hear about who Kandinksy is and how he is. The art and what it does is the focus of the statement, not him as a person. We can deduct some from what he is doing, yet he does not insist that he is his art and that there are no private spaces left for the private person Kandinsky as well as spaces that are only the work, not the artist.

Literature Notes #006

My notes as a reader on:

Rereading books

As I’ve said in the literature note before, good ideas can find you from everywhere (and vice versa).

I’m a subscriber of the Daily Stoic newsletter. Mind my stance from last note, nothing is ever flawless. Yet, practising thinking in a stoic way reliably calms me down, every single time. And that in turn helps me to solve problems. So it is understandable that I appreciate this school of thought and want to have it in my life.

I was especially lucky with one of the recent e-mails I got:„No man ever reads the same book twice“. It dealt with the experience of reading and rereading the greatest books you meet in your life. You read a book, it changes your perspective on life for the better, you therefore make different decisions, act differently and you and your life change. Or you just drift off and live life, make new experiences. Then you come back later and rediscover the book, but find more or a different meaning in it or even find that by now you completely misremembered it’s content and have to reread everything. This happens to me all the time. And the Daily Stoic wants you to keep going back to your personal lifechanging books and keep rereading them. That’s a notion worth following. I wasn’t ever considering I could be changing and then learning different things from the same sources as a different reader. But it makes a lot of sense. I wonder what hidden treasures await me amongst the books I already have.