08 February 2009

The Time It Takes

Sometime last week, I accepted something that has always been difficult for me to accept. I accepted the fact that creating things takes time. Creating objects. Creating ideas. Creating skills. Creating mastery. Creating style, substance, philosophy, all that. Takes. Time.

I'm not one of those incredibly impatient people who starts spitting fire because the clerk is taking too long to say, "Good morning" or the elevator doesn't show up in 15 seconds. I'm just a victim of my own very active mind: I'm lazy. Even knowing how common that is, even knowing how I've been this way for ages, it's still taken me a long damn time to acknowledge that being lazy isn't actually the recipe for creating things.

Unless memory fails, it was Woody Allen who said, "Eighty percent of success is showing up." This strikes me as a bit more relevant then Edison's glib, "Genius is one percent inspiration, ninety nine percent perspiration."

Let me be blunt here: My brain is FILLED with brilliant ideas. I've had several ideas that would've made me rich if I had acted on them in a timely fashion, or indeed, at all. But I didn't. One problem is that I'm not motivated by money. I like recognition, although probably wouldn't want fame. Shit, I've had two nifty ideas since I sat down to write this post out.

Another problem is that I've allowed my social anxiety issues totally override my creative efforts. At times, it got to the point where I'd refuse to create anything, for fear of having to interact with people about that. Sometimes even acquiring materials for a project is stressful enough (in my imagination) to cause me to abandon the project. It's not exactly uncommon for creative people to be reclusive and weird about social interaction, but in my case, I've failed to be accidentally discovered, so either I need to push myself about this, or I'm going to continue not being recognized, and whatever I make will pile up in my house until I throw it out or am divorced. Making physical objects as art is much like breeding dogs... they're wonderful, but you can't keep all of them. You just can't. Either you let some go, or you have to stop making new ones.

This blog is actually a big step in the direction of connecting what I make with people who aren't me or living with me. Knowing people look at this kind of freaks me out, and it's almost exclusively people I know. Someday a stranger will look in here, and that will really be a new thing for me.

At the moment, I seem to be adequately medicated about my depression and social anxiety issues, and I'm hoping to get my brain rewired, so I will eventually be functional without the medications. And part of the chemically induced equilibrium is that I've become more productive and less fearful of what that could mean. For instance, although I'm still apprehensive, the notion of showing some of my art publicly isn't terrifying right now. And I've taken some very small, hesitant steps in that direction.

And, I can finally accept that being creatively productive leads to ... well. Being creatively productive. Yeah, it's couple of mirrors at an angle to each other. The more I do, the better I well become at getting stuff done. The more ideas I have, the more ideas I will have. The more projects I finish, the more projects I will finish.

This all seems very obvious, and I've certainly observed some of these things in the past, but knowing a thing and accepting a thing are really not much alike. These thoughts are lending me a new patience, and a new motivation. In the past, I have gotten so frustrated and annoyed that I didn't have the skills to execute the brilliant ideas. I hated the fact that my work has often fallen far short of my vision.

Currently, I can see how not only are those disappointments and frustrations not a problem, they're actually a necessary part of the process of mastering what I do. They're something I need to look for, and do on purpose, instead of trying to avoid. The idea of deliberately seeking out annoyances to engage with is pretty goddamn foreign to me, but there it is.

Anyway, if you made it this far through all my poppsychobabble, here's a little reward for your patience.

(What?! They can't go around naked!!)

06 February 2009

Placate The Joc! Pt. 2


I like the white better, but I already said I wouldn't buy these.

Silly Shoe Parade Continues


I would never wear shoes like this myself, but I sure do like 'em!

03 February 2009

Placate The Joc!


It's a little warpy, and maybe faded. It's almost 2 years old, and probably not handled well.

Today's Eyeful


This is the current in-progress painting. It's about 1'x3' or so, acrylic. I don't think it is anywhere near done, but this is the general idea. There will be a lot of detail in the spheres, if all goes according to plan.

28 January 2009

SSDD


Here's another one. I'm so, so conflicted about this. On one hand, I love the idea of getting some of my designs out there. On the other, it feels kind of cheap. Not to mention my profit margin is crap. But it would be nice to get paid for my stuff, even if it's peanuts. But I'm not ready for the kind of mass production that means better margins. And I'm not really sure if I like the idea of going into mass production anyway. But, a creator getting paid for their work is pretty much my definition of a good thing.

Here is the link to the place where you can buy this postage. It comes in different denominations and sizes. This is real custom-printed USPS postage!

27 January 2009

Again with the print on demand


squidmug
Originally uploaded by oferchrissake
You could have one these, too. You know you want one. It's what you've always been missing.

(get it here)

26 January 2009

If the shoe fits....


Want some shoes I drew? $60 and they're yours!

Souvenirs of a Gallery Visit

I might be making this up, but I think I saw all three of these pieces in the Leopold Museum in Vienna, in November. In any case, I was sufficiently impressed to write their names down, and I found that piece of paper today, and looked up their art, and still dig it.

This first one on the left is by Albert Birkle, 1900-1986. (There is a Wiki entry for him, but it's only in German. Let me know if you want more info from that.) An image search on his name will get you plenty of hits, but this is the one that really worked for me, Mann mit Pelzmütze (Mein Bruder Tier) -- Man with Fur Hat (My Brother Animal). I think I spent about 10 minutes staring at it. Not in the staring contest way, but just digging it. This is the kind of portraiture I like. Technically, it's probably cariacature, but for all I know, this guy really looks this way. I kinda hope so.


If you look out the right side of the aircraft, you'll see a still image from a performance by Lisa Bufano, photographed by Gerhard Aba. The work was entitled Charme des Makels (the Appeal of Imperfection). Bufano makes good use of aethetic movement (like dance, or swimming) and prosthetics to create fascinating work. Her web site has lots of good stuff, including some videos.

I know some people are going to be transfixed by this image by the "wait, is she an amputee??" factor. Personally, I'm transfixed by it because it is so elegant. The juxtaposition of body and furniture strikes me as full of grace, even though furniture and human bodies are completely in the realm of mundane everyday-ness. If her artist statement is anything to go on, Bufano herself may be somewhat struck by the freak factor, so it probably all works out in the end.

This last image is a collage from Rudolf Wacker, 1893-1939. It didn't stand out for me because of the aesthetics, but because it's so harsh. It's hard edged and very critical-seeming.

From my scribbled museum notes, I gather this is a portrait of someone the artist actually knew. It's not flattering, but I think it probably reflects very much on what the artist thought of this woman, and not so much on what she actually looked like.

The overall impression I get is, this is a woman he was afraid of, but also fascinated by. It's almost symbolic, as if he just free-associated a list of things he connected with Mrs. Klimesch, and then glued them all down on the page together.

Now, if you'll excuse me, I have to get back to staring at the man with the fur hat. I think he wants to tell me something...

17 January 2009

Nowhere Near Done


This is the thing the other thing was a sketch for. This is about 1' x 3'.

Yes, really.

The cat is helping me with this one, as you can see. She's doing the red bits that don't actually go on the canvas.

I'm not totally sure I like the water-mixable oil paints. In theory they're easier to clean up than the traditional kind, but I find the fumes surprisingly irritating. I guess that's the trade-off? Irritating paint vs. irritating clean up? But... I spend so much more time painting than cleaning!

Nearly Done


Yeah, I know, what's the point of posting pictures that aren't done? Especially as I'm the kind of slacker who is unlikely to actually post the finished thing. But at least I'm getting SOMETHING posted.

I thought I'd try acrylic paints on acrylic paper (instead of canvas, since I find my preferred acrylic consistency is somewhat too soft for canvas, as are the brushes I like to use), but after I started using the paper, I discovered that I'd picked up the only pad of oil paint paper from a stack of what was *supposed* to be acrylic paper. I'm still using it for acrylic, mostly out of spite.

Believe it or not...


This is actually a sketch for a painting I'm working on. Doesn't look look much, does it?

My first panoramic composition.


This painting is 8" x 20" ish. Yes, I am too lazy to go look at the pad of paper it came from. Sue me.

08 January 2009

New Desk!


Sometimes painting or drawing at the household's only table doesn't cut it. So, I decided to get my own table, with hookers, and black jack. And, here it is: My very own custom tailored studio desk with side cars and a tracing window. It's not 100% finished, and I have not yet decided whether to attach the pencil tray to the near edge, where and how many lighting fixtures to put on it, or whether I should install a power strip directly & permanently in one of the side cars. However! Here's what I have done:


17 December 2008

completed piece


I have done other stuff since my last post, but this is the first one I remembered to photograph and upload. So.... there you have it.

14 October 2008

The Heartbreak of Post Modernism

Last Saturday, I went to the local museum of contemporary art here in town, for a show on biomorphic forms in sculpture. This is right up my alley, if I had to choose one tidy phrase to describe my own sculpture, it could be that. As far as I can tell, the Kunsthaus Graz is generally regarded as a fine example of contemporary art exhibition - lots of group shows on interesting themes, a center just for Austrian photography, emphasis on mixed media and integration of electronic arts exhibits, and so on. Well curated, well documented (pamphlets and artist statements and all that). Presumably this means they are experts in their field, and when I go there I am visiting a shrine to St. Luke, holy ground, consecrated to the higher realms of capital-A-Art.

So.... why is it that every goddamn time I go to an exhibit of contemporary art, I come out angry? Am I not achieving the necessary enlightenment? Am I really so ignorant of what makes art good, in the sense of being worthy of my regard?

There's an argument that suggests that modern art is egalitarian. It's there for everyone, and so by extension, we can see that it's not there for ME (that would be elitism, you see). But I don't buy that. I am part of everyone, and if I am continually repelled by what's selected as an example of Art... there may be something amiss in the selection criteria.

One thing that really baffles me is that I can't for the life of me figure out what the selection criteria are. The selection isn't necessarily about quality of craftsmanship. It's not obviously about Concept. They have themes, so there's a vague sense of unity, but surely they don't simple accept the first 30 artists who have a good story about how their work connects to the appointed theme? Or maybe that IS the case.

Maybe I should just start submitting things to museums when they open calls for shows. I am persistently plagued by the belief that this is more about who you know than what you've got to show, but I could be fooling myself. Maybe I should sew breasts on a bath towel and start shopping it around to contemporary galleries, as Louise Bourgeous has apparently done.