Disclaimer:
I need to tell you, I stopped selling years ago due to how stressful it was for me to deal with discussing finances with people. A huge chunk of it was self worth issues. The ways I did best weren't as direct, but not facing it wasn't really good for me either. I waffle. I never made enough to survive off of art, but I did make enough to buy supplies...sometimes. I did sell some face to face, and was glad to stop. lol! I wont be going into gallery sales as I never sold that way beyond a one time/three painting sale from a general consignment shop, so it helps to have an open mind.
I made enough to pay for my daughter's family's groceries many years back, when W's factory closings meant my son in law lost his job. They did all they could, and my daughter did the customer interaction online and handled the sales. The price and product was set up front, so no pressure to do something out of the Blue for me.
What Worked
I sold what I made. Occassionally, I did a request, but it was within a line of what I was doing easily. I wasn't selling what I loved most. Rather, I looked at what was selling already in the area of what I knew I could do and quickly. At that time, it was Yorkshire Terriers on anything including purses. I did a lot of trinket boxes and I even painted some shoes.
It's Ebay, so some were new and some were used. I went to outlets, but I also went to Salvation Army, Goodwill, found the best which meant sometimes $70 purses were mine for $2. I brought them home, cleaned them, made them look and smell like new, then I did surface prep, a base of White, then I painted rather cartoonish dogs. I did five a day minimum. I was quick, and although initially, I thought the dogs were really adorable, even wanted one, I came to become so sick of looking at them, after about 3 months of morning to night work. They were selling. I got $75 once every few days, otherwise, they were going for $25, and I did some head only paintings on things like wallets. that went for sometimes as little as $5-$10.00.
The reason for the Yorkies was in part that I aimed at a certain demographic...so little was about actually creating a painting. I thought to myself, "Who has extra money enough and loves a bargain enough to be looking on Ebay for art?" The answer was and likely is, women 40-70 who are financially comfortable and in love with their dogs! Ping their heart with a cartoon that looks like, "Fluffy" and make it portable art they can brag to their friends about, resulting in free advertisement for me! I was giving them something beautiful and some joy and a talking point about their pet. They returned the favor with cash for my grandkid's grocery bill.
I had a boutique in South America buying 5 at a time. Sales were going to China, France, England any country out there and all over the States. It was exhilarating....and exhausting, but it fed my kids. Today, if I were going to do that, I'd set up and Etsy shop, and get big online. Think it terms of networking but like an octopus. lol! Make ways to get in touch with your main body of work and sales on every public venue you're on/in both online and in person. Make sure that if they want what you do, you are the one to come to and make it easy for them.
That means joining all the sites, and talking about your work a lot, posting pics of it. Interacting with people who are frankly buying your personality as much as the item. No matter how good your work, they want to see your face too, and that was hard for me, but I'm obviously past it now. People love to be entertained, and they love videos. If you do a simple slide show of your work, put it on youtube, and monetize it, so you might get a few dollars from that video too, then share that video on Facebook, your blog, Twitter, and anywhere else you are online.
If you are really good at creating a certain thing, consider a How-to video or set of CDs, and only post highlights to advertise it online then sell the CD's. Consider in-person classes on what you know or even Pay ahead Face-to-Face video instruction. Be open to ways for your art to reach people. I sold CD sets on portraiture, and I stopped production. As I learned more about making videos, I saw clearly that my video quality wasn't that great, and despite requests for more, I refused to sell them as they weren't up to my new standards and ability due to simply knowing more about lighting. Have boundaries and a firm self respect and you can respect the customers too. Give them your best.
The focus is to create what you know, and what flows, not what you, "Can" do that is still a lot of work. I can lift a 50 lb bag of dog food, but if I do that all day, I'll break me. I had a similar run decades ago with mallards, and I was eyeing the Duck Stamp, but never went there. Others were better than I was at it, but I did sell. That time it was mallards and a string of things that sold in a rural farming community. What art do you see when you go to their houses, more directly when you drive by? Nods, I'm talking mallards for days on mailboxes, saws....I didn't even buy these supports, except for the first few. I painted a few craft ones, sanded and primed a few antique ones, and a local beautician friend suggested I hang a few in her shop to decorate...off they went, and people began bringing me their own saws, flat and circular. They loved contributing to be part of the process of their finished product. I was painting often, "Grandpa's old saw." I did one I think it was a 6 ft'er double handles, two man saw of an eagle, one of bears, many, many deer, but mostly it was mallards. In that case, buyers who were used to paying the beautician for a service, spoke to her first about, "The artist" so they were already in the mindset that this is something you pay for. Because these saw like the yorkies were seen in public, my name was out there, and the saws were a local status symbol and fashion statement....I'm the female form of, "The Dude." I abide. lol! Suddenly, I'm stylish.
...About the videos, I created several art videos that are still on youtube, and they are grouped together, but those tend to attract some rather nasty artists's comments rather than interested people. You're not there to impress them. They could be busy creating their own art, if they were serious instead of harassing others. Block them it's only an extension to your calling card and the truth is some of them are lonely 11 year olds enjoying a shot at a little troll power. Yawn. You have more that is valuable, meaning I think people would sit through ad (which make you revenue) for it. Your life experience talk. It obviously has helped people, even if you don't put ads on it, and only on a few other videos about your art, people will love it, share it, and they come to your videos and see what else you've got going on. You can link to earning videos from an altruistic one too. Every click earns you pennies, and they can add up. I know this because it happened by accident to me. I had some art videos, wasn't selling much, but my heart went out to people who didn't understand that Autistic people grow and learn, so I just told them about me. ...Read. I wasn't trying to sell anything. Do whatever you do, because it's fun and it feels good.
I can't possibly offer and extensive list of what worked in sales for me, in part, because I hardly consider myself, "That" successful, but I did have successes at it, and I learned some of the internet rhythms of getting my work and myself out there. At the moment, I have other goals and responsibilities that require 110% of me, and my main focus is peace of mind.
I hope you find something of inspiration here, and do keep in mind, others will know far more. Welcome their input, take what you can use and leave the rest. Be understanding and patient when you can with the next artist who may one day need your ideas, and realize there are eyes looking up to you long before you sell your first painting. Whatever you choose to do, be it sell, not sell, or occasionally sell, be true to you.
with love,
tinajonesart
tinajonesart blog. Here, you'll find the thoughts of an artist, possibly some artwork, and most definately me.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Wednesday, January 8, 2020
Wednesday, May 8, 2013
Lion Heart in Midnight Flame
Tired in a dark forest of life, he found me, and found something of hope. I had little left, but for him I would. I was going, but I stayed long past life's rent was due. We danced round night fires and such was something of heaven. He bid me, "Come! Play in the sun!" and I can't. I stay cloaked by wood's edge while he goes and waves to me. And I have something of joy to see him do the things I cannot. And I watch him, the sun in me, play in the two o'clock sky as if it were easy.
Sometimes, though I try to stay grateful, I come to self pity. I fall to envy those who can enjoy the sun. I hear them speak of the beauty of day break, and play of summer, but I can't. My skin does not like the sun. The dark side of the Lion Heart is the Destroyer. The giver of life in Spring is the taker in August, and the Wheel spins peaceful complete. What was once play is poison, though my bones at times long for it's warmth. I've had to see the beauty of night, because of because of this. I look at photos streaming rays, and I remember fondly, but now the Moon is my Sun. closed blinds, because the older I grow, the more sensitive my eyes to light, but I remember greens and light so bright it washed even reds from sight.
I have candle beside me, a small bit of sun. We're one. I take to my brushes to create light, and maybe the sun was in me all a long. Maybe I burn enough within, and that's why the night is no longer dark, but full of color and often warm. I am not like all, but I am like many who, brush in hand see through our fingers and feel the sun in people, stars in eyes, light from a breath.
We ecstatically wretched, the vampiric servants, the portraitists, steal or borrow only bits of souls, touches of light, when too much is too hot, and issue eternity through the life's blood of tearful brushstrokes. Free-falling, we descend into wells of such sweet agony, that we would do it again and again, It's all we have, or all I do, and in our own little by death, by little, each time more gone than the time before, we see you breathe, and for a moment together we breathe, and though I may go one day, taking a name with me that is not who I was, simply drawn on your shoulders, I joy in knowing you will live forever in light.
Do not remember me. Leave me the rose amber glow of shadows. Remember you were loved, and give it away as though your life depended on it.
It does.
As for Death, Enough foreplay. Either come and get me, or the get out of my way. ...
Waiting a moment,
My candle still burns. I thought as much.
Dearest Companion, I'll run to you when I'm ready. Step aside, or make yourself useful.
Brushes need washing, there are yet more dances in the night, and I have painting to do.
http://www.youtube.com/watch?v=ClQcUyhoxTg
tina jones
Sometimes, though I try to stay grateful, I come to self pity. I fall to envy those who can enjoy the sun. I hear them speak of the beauty of day break, and play of summer, but I can't. My skin does not like the sun. The dark side of the Lion Heart is the Destroyer. The giver of life in Spring is the taker in August, and the Wheel spins peaceful complete. What was once play is poison, though my bones at times long for it's warmth. I've had to see the beauty of night, because of because of this. I look at photos streaming rays, and I remember fondly, but now the Moon is my Sun. closed blinds, because the older I grow, the more sensitive my eyes to light, but I remember greens and light so bright it washed even reds from sight.
I have candle beside me, a small bit of sun. We're one. I take to my brushes to create light, and maybe the sun was in me all a long. Maybe I burn enough within, and that's why the night is no longer dark, but full of color and often warm. I am not like all, but I am like many who, brush in hand see through our fingers and feel the sun in people, stars in eyes, light from a breath.
We ecstatically wretched, the vampiric servants, the portraitists, steal or borrow only bits of souls, touches of light, when too much is too hot, and issue eternity through the life's blood of tearful brushstrokes. Free-falling, we descend into wells of such sweet agony, that we would do it again and again, It's all we have, or all I do, and in our own little by death, by little, each time more gone than the time before, we see you breathe, and for a moment together we breathe, and though I may go one day, taking a name with me that is not who I was, simply drawn on your shoulders, I joy in knowing you will live forever in light.
Do not remember me. Leave me the rose amber glow of shadows. Remember you were loved, and give it away as though your life depended on it.
It does.
As for Death, Enough foreplay. Either come and get me, or the get out of my way. ...
Waiting a moment,
My candle still burns. I thought as much.
Dearest Companion, I'll run to you when I'm ready. Step aside, or make yourself useful.
Brushes need washing, there are yet more dances in the night, and I have painting to do.
http://www.youtube.com/watch?v=ClQcUyhoxTg
tina jones
Monday, October 8, 2012
My Bed is Too Tired: "The Listener"
 |
| "The Listener" 24x36 Oil on Canvas |
and my pillow is dry
My blankets are cold
and my light is weak
My face is too wet
and I cannot sleep
my stomach is broken
that's where pain weeps
Bruises, too many
inside out
and I scarcely speak
if I could I'd shout
no words to say
the puzzle's not mine
I can't fix this one
there is no time
I'm by myself
and I don't mind
It's warmer here
in cold sublime
The Listener talks
and I can see
she smiles now
here with me
In red cloak
and golden rings
hands folded
softly sing
Sleep, dear one
time will pass
and hurt will end
return again
to seasons new
here or there
Life or beyond
without despair
No Vincent!
I will not give up!
Damn you
for leaving.
Stood us all up,
Then used once gone
for a story
that never ends
and grows of your
despicable end.
Shall I go?
No, not today.
My pillow is too dry
and my blankets need me.
Tomorrow is another try
willing even
if I must cry.
and this is strength,
I'm told.
to crumble to hold
to one more hope
in nothing but
breath, and
the desire to
see what's next.
(Written earlier, this was composed mid-meltdown. I didn't completely lose my words this time. They came a few at a time, simplistic, and I hope not too confusing. I'm better now. I usually write when I'm at my best, but I think sometimes it may be good for others to see that I fall apart sometimes. My painting comforts me. It is like my, "spirit" to me, as if I'm reaching to that part of me that is always ok., and knows feelings pass, and peace returns. Thanks for reading.)
tina jones
Sunday, October 23, 2011
Healing From Divorce
A few weeks ago, I had the strangest experience. I suppose it's a marker for growth in many ways. A site I visit suggests friends, and an ex-family member showed up, I'm sure unaware to her. She looked beautiful and pleasant memories of her went through my mind. I was pleased. Her photos also contained some of my ex-husband. I discovered then that he had remarried....a year and nine months ago.
Here is the strange part. I didn't see my exhusband. I saw someone I used to call, "friend." He looked content, and the lady with him glowed of happiness too. I found myself smiling at his happiness, and I said a prayer to wish them well. Now, here's the really strange part: I meant it.
One knows these things will happen, but it isn't possible to predict reactions. Somehow, it was good for me. I felt weights fall off of me. I never had to, but the notion that I had to keep thinking of him to somehow be there to take care of him fell off of me like so many scales. I believed all along that the Universe would look after him, but seeing this lady, made me trust it more. I'm glad she's there. I know he'd have been ok anyway, but I feel more at peace.
Now, lest this sound too wierd, I've never been one to be able to muster jealousy. I never wanted to waste my time or the other person's. If they could be happier elsewhere, then I probably would too. Such is the case, infact. The relief is in while he never was *my* problem, my worry or mine to care for, I somehow let that notion go only seeing a few photos. Small miracle, to me.
Ofcourse, I didn't friend the ex-family member. Best to walk in peace, no strings.
It's been a journey this healing from divorce. It's been near three years now. I painted during the last months of the marriage of my own internal censorship falling away. I'd blamed him, but it was mine.
Directly following the separation, I painted headlong into the feelings. Embracing them helped me walk through them.
It seemed fitting to close this chapter with another painting, so I took to my solace of canvas, and found freedom there. What came was more than the butterfly with delicate wings of those three years ago. The heart that bled was left behind. I felt myself opening, unafraid. I showed it to a friend, and interestingly to me, they thought the wings looked more like those of a locust. Fitting, I thought, how they come every seven years, appear to die off, and reemerge stronger and more whole. I don't know what's ahead. For now I'm letting the sun warm my wings, and forgive a little self admiration, but I've grown, and I think they are glorious.
Here is the strange part. I didn't see my exhusband. I saw someone I used to call, "friend." He looked content, and the lady with him glowed of happiness too. I found myself smiling at his happiness, and I said a prayer to wish them well. Now, here's the really strange part: I meant it.
One knows these things will happen, but it isn't possible to predict reactions. Somehow, it was good for me. I felt weights fall off of me. I never had to, but the notion that I had to keep thinking of him to somehow be there to take care of him fell off of me like so many scales. I believed all along that the Universe would look after him, but seeing this lady, made me trust it more. I'm glad she's there. I know he'd have been ok anyway, but I feel more at peace.
Now, lest this sound too wierd, I've never been one to be able to muster jealousy. I never wanted to waste my time or the other person's. If they could be happier elsewhere, then I probably would too. Such is the case, infact. The relief is in while he never was *my* problem, my worry or mine to care for, I somehow let that notion go only seeing a few photos. Small miracle, to me.
Ofcourse, I didn't friend the ex-family member. Best to walk in peace, no strings.
It's been a journey this healing from divorce. It's been near three years now. I painted during the last months of the marriage of my own internal censorship falling away. I'd blamed him, but it was mine.
"Emancipation of Corpus Stradivarius"
24x36"
Oil on Canvas
" Disconnected"
11x14"
Oil on Canvas
"The Unfurling"
11x14"
Acrylic on Canvas
Tuesday, October 11, 2011
72 Questions I've Been Asked (Humor and Other)
I'm amazed by the questions I get asked.
Some interesting inquiries and comments have come up privately, and sometimes they come up publicly. Often these come up in everyday talk of art, so they may be useful to others.
Some are about Art. Some are about Autism/Aspergers, and some are about at the end of my limits! It seems more time conserving to write the answers here, rather than answer individually.
Quickly, this should cover most of them:
tina jones
Some interesting inquiries and comments have come up privately, and sometimes they come up publicly. Often these come up in everyday talk of art, so they may be useful to others.
Some are about Art. Some are about Autism/Aspergers, and some are about at the end of my limits! It seems more time conserving to write the answers here, rather than answer individually.
Quickly, this should cover most of them:
- How big are they? Think of your mother, your aunt and your grandmother, put them all together along with any vision you may have, subtract the b.s., and you'll be there.
- How long are your legs? They keep my butt from dragging the ground.
- You have no ass! You have no hobbies, obviously. Look up any picture of "The Three Graces," and get over it.
- How do you grow your fingernails? I don't gnaw them off. I also eat a good amount of protein, and can't stand snags. Those are filed as soon as possible. They don't get a chance to catch on anything and break. I'm sure genetics are involved as well.
- How do you get away with charging $900. for an oil portrait? When you charge $100, people tell you what to paint. When you charge $900, they're just glad you're painting. I average about 3 commissoins a year for several years now.
- Why aren't you married? I tried three times. It's not one of my talents.
- Where were you educated/who taught you to paint? I have no formal education, and I didn't take lay classes. I have a neurological disorder (Asperger's Syndrome) that cripples me when around many people, and it also sets me in the 98th percentile intellectually when it comes to memorizational skills. (Yes it was tested.) I was born memorizing faces. Practice for decades followed by reading some books rather than chewing the backs off of them, led me to understanding and learning things like how to mix mediums. I was not born knowing what turpentine was. I also asked a lot of questions of other artists. Some of them will even tell you the truth.
- How do you memorize faces when people with Autism have face blindness/forget faces? Many times I know a face, but have no idea who they are. I forget people, but I rarely forget a wrinkle, a freckle or the hair growth pattern of their eyebrows. Names, unfortunately don't stick.
- Why don't you know about html, nuclear physics, and why can't you memorize the phone book like Rain Man? I have no interest in phone books. I don't like to talk on the phone, and I've no interest in being anyone's side show act. Physics of any kind, however does interest me, though I know little about it.
- What kind of shampoo do you use? I switch between different kinds and brands, but I do have a liking for green bottles. No idea why... I don't shampoo more than once every few days unless I've done sweaty work, and I don't use a lot of gooey products in my hair.
- Do you work out? Do I look like someone who likes to sweat?!
- I still don't get it? How in the world is someone born knowing how to draw or paint?! Think of it this way. Let's say you were born somehow knowing on some level about your sexuality. Small examples appeared as soon as you were able to express and demonstrate liking for certain toys or people. Later, you instinctively knew you were supposed to do something with this inborn ability. Eventually, you figured it out, and with dedicated practice even at times obsession, you got good at it. Now, the rest of the world had to go to college for six years to figure out what goes where and why or to even begin to play with toys and like minded people, but you just had it in you from birth. By golly, You're a natural! That is how I know how to paint.
- Sexuality? You're a sex maniac like all artists! Ok let me try again. Let's say your grandmother was born with a flair for food flavors. She didn't know the names, but she knew what tastes went well together. Through passion and desire, she tried an idea or two, and at the age of five made one hell of a good cake. It looked like a miracle to everyone around. Dedicated, even obsesively at times, she practiced and became an excellent cook. Now, I was not born knowing any of this. I only ate one flavor at a time. I can, however follow your grandmother's recipe and make a pretty good cake. She was born with it, I had to learn it. She knows cooking like I know painting.
- Do you think measles vaccines cause Autism? I don't know. I never had them. Scarey, huh? grins I had both Rubella and Rubiola in the first three weeks of my life, before the vaccines were scheduled, so there was no need for them. Can they cause Autism? I don't know. Did they cause mine? Obviously not.
- Why don't you know everything about painting if you were born with it? I've not needed or been exposed to everything. I'm only 46, and I'm still learning. When I need something, I learn it, just like you do. I just learn better on my own than from books or others. It's neurological.
- If you're so smart, then why can't you fix my car? I don't know anything about cars.
- What were your favorite subjects in high school: Math of any kind and Science. Both break down the small parts of things, and are tidy precise works. I like that, and the same applies to my way of doing art.
- Why don't you eat sugar and grains? When I did, I got horrendously fat. When I quit, my appetite went down, and I lost the extra pounds.
- But the FDA Food Pyramid says.....: They also approve drugs that get class action law suits for dammages roughly three years after each drug is approved. My body says, "Don't eat it."
- What the hell is that hum in your voice?: It's stim. Many people with Autism have them. That hum is a vocal stim. I also flick my fingers against the palm of my hand, hand flap if very excited, rock to and fro, and have a go at tongue chewing when it hits me. Try it. It may calm you down too.
- Did you ever try to stop stimming? Yes, I was punished for it as a child. For example, I used to thump my head on the floor gently and rhymically to calm myself. I was told by the person who "helped" me with that, "I just took the back of your head and slammed your face into the floor like a basket ball." They are quite proud of their achievement, and laugh about it. I don't find it funny, I find it abusive. As a teen and young adult, I tried to hide the stims and tone them down, but I was never totally successful. Aging, life experience and resetting my priorities, helped me let go of what other's thought, relax and just be myself. If stimming bothers them, they have a problem, and I can't help them with that. It works better to be true to myself.
- Can you cook? Only if I'm hungry, and even then it's not pretty.
- Are all artist really sex fiends? You do paint naked people.: No, but many non artists have a very rich fantasy life that extends beyond the bounds of logic. It is exceeding difficult to do anything else while painting, let alone consider having sex. Paint is a lot of hard work, inborn or not. It takes focus, and at the very least the other person would be cheated of my attention. I'm not someone who can read a book during sex either, by the way. I tend to get involved. Also, reading takes a lot of focus. I'm very slow at it.
- But you look at a naked person for hours and don't get turned on? I know your musculature and your bones. I also know the inner workings of your kidneys. That doesn't turn me on either. What I'm basically looking at is your particular dispersion of fat. That will determine how light plays differently on you than the next nude.
- I can't draw/paint, because I wasn't born with talent like you: More than anything, I was born with desire. If you have that, anything is possible. I also practice a lot. If you do that, you'll get better. Further, I've seen many from simple Bob Ross type painting through portraiture without them knowing how I "learned" it. Talent or in my case a neurological bend doesn't mean anything without hard work.
- But I'll never paint like you! No, and I'll never paint like you. The world needs all of us, and all of our art. Don't short change it, by not doing your very important part. And don't shortchange me. I may learn something from you.
- Would you marry me? :Would you like to be slapped? What have I done to you?
- Do you ever donate paintings? Yes, I do two charity works a year, but that is my limit, and I'm backed up until next year. I choose who I do them for based on how helpful I think they'll be.
- So you're a self taught artist: No, again. It's built in. Are you a self taught breather? You knew it, not intellectually, but instinctually. Later, you may have learned controlled breathing exercises, later I learned how to mix mediums, colors and what not.
- Will you meet me at..? Not a chance in hell or earth.
- Why don't you charge for telling people how to paint? I wasn't charged for it. I'm sure given time, you could do it on your own, and I get joy from helping and seeing others get it. You don't need me to learn, I'm just here to remind you of that. The online stuff is free. What I have charged for is when people want to meet me to paint. The lessons are free, me being around people costs.
- You can paint anything! No. I have trouble with multi-layered flowers. It's more an annoyance than a disability, especially if the flowers are pink. The color irritates me.
- Are you into bondage? If you cannot sit still and pose while I paint you without the use of ropes, then I simply will not paint you.
- Why aren't you in all of the competitions?: How does competition add to my desire to help others learn how to paint? I get as much joy if not more from seeing them succeed. Competing against them is counterproductive to my desire. I'd rather challenge myself, my last painting, than worry about outdoing someone else. I find it a waste of time. That said, I do enter one competition a year just to see if I can outdo myself. So far, they've not let me in, so no one is in any danger. grins.
- Why won't you meet me? It's not personal. I just don't like you.
- But I don't have any money to paint: Use food coloring or coffee, and a shoe string on a piece of news paper. Show me your results, and together, we'll make it better.
- How did you learn to paint skin?: That one was harder. I had the misfortune of having bruises regularly as a child, and I had access to some old makeup. The 70's had a lot of different colors. I used them on my own skin to try to cover marks. I found that yellow for instance will cover a purple bruise, green eye shadow would tone down a red mark, etc. I got pretty good at it. The same works on a canvas. If the subject is too yellow, add purple, too red, add green, etc.
- Oh sorry: Stuff happens. I learned, moving on.
- Aren't you angry about this? I was for years, but anger is exhausting. They did the best they could. It was a crappy job. To remain angry is to remain enslaved. I'm free, safe, I've let go, I wish them well, I can't help them, and I'm content. Blame is a useless endeavor, and a good way to keep from being responsible for one's own choices. I'm a big girl now. I choose happiness.
- I think you're a Light Seeker, Angel, an Indigo Child, my Soul Mate! Sucking up about meeting is not going to make it happen. I think you're nuts, and suggest getting help, but not from me.
- But don't you want recognition?! For what?
- For teaching people how to paint? I haven't taught them anything. I show some techniques. The rest is up to them. I just remind them that they can do it. They always could. Something about life makes people forget, I think.
- Fine! If you're an artist who's not a sex maniac, then how many people have you slept with?! Fewer than I've had sex with.
- So I've read people like you have no empathy, are you mean? No, infact I feel so deeply that it incapacitates me at times. Other times, the way I feel empathy and act on it, is very useful. Picture a fight between two very rough boys. One is getting hurt bad. Normal empathy is displayed in a group watching. Some empathize with the winner, yelling to cheer him on, and others empathize with eachother at the horror by holding onto eachother in fear and perhaps crying. I do not have these kinds of empathy. What I feel is for the person being hurt. I do not join the crowd. My empathetic action is to run straight in and stop the fight. This makes me the odd one out to the group, therefore they do not see my empathy, but it is of little matter, if I stopped the harm.
- So, do you think normal people are stupid by the way they empathize? No, I think different ways of feeling and reaction are useful in different situations. I wouldn't be of much use at a group comiserating over the loss of a hair product, and that need in society is met by those who can empathize with it. I just put my hair in a bun, but many are debilitated by what others think. They need the empathy of those who can relate better than I. People like this are much better at creating bonds than I am, and it's an inherent to them matter of survival, so I'm not trivializing by mentioning hair products. It's just an example I've seen.
- Don't you care what others think about you? Ofcourse I do, but not much. I care more what I think.
- Why aren't you medicated for your symptoms of Autism like anxiety? Along with Autism, I am also a recovering alcoholic/drug addict. Medications act in a way that is unpredictable in all of these. Basically, if the insert says, "Rare side effects" you might as well put my name beside them. In some of us, they do more harm than good. In others, they are life savers.
- Why won't you come enter our show? If I did that, I fear, and have been even warned, press might be involved, and I do not want to choke anyone on camera! I do not like crowds or spotlights. Best to let paintings enjoy lights. I do not find myself nearly as fascinating as your paintings. Further, I am not a press opportunity. I am a person.
- Do you paint naked? Do you do your dishes naked? Wait, I don't want to know. Pigments in paint that are toxic like Cadmiums, Titanium and Cobalts among others can be absorbed through the skin. It's wise to cover oneself. Further, don't eat while painting.
- Why do you do glazing? Your paint is not thick enough! Thick paint was invented by the Impressionists. I'm not that impressed with it. Oh it's fine and even beautiful, but it doesn't offer the glow of glazing that I want. It's just a personal preferrence.
- What kind of music do you listen to when painting? I often paint in silence, but I do love Andrea Bocelli, and if I'm painting for sheer silliness, I'll listen to Pop music.
- Why the loose black and white paintings when I've seen your realistic oil portraits? When I had cancer, I was very limited to how much time I could sit up. Setting up with two colors, a medium and a canvas was quicker than the range of oils I needed, and Acrylics meant I could get a lot done in the short time I had. I set a goal of fifty, aware that I might not live that long. I've surpassed the goal by several. I've lost count. Now, they are just fun for me.
- So...the cancer. Are you ok now? Yes, thankyou. I'm cancer free.
- Can you still have children? I'm a grandmother! Back off junior!
- How do you make time for painting? How do you make time for hugging, dancing, yard work, cooking. My time is spent on what I love, just like yours is.
- Will you paint my deceased Grandmother? No. I no longer paint dead people. It's hard to get them to pose (humor). Seriously, I found that the emotional reactions of those I painted for were too overwhelming for me.
- Do you paint from photos? Yes. I take as many as 20 photos, and choose what ones work best. Something will show in one that does not in another. I also often do sketching from life along with the photos. Photography can be blurred, enhanced or otherwise enough off that I need life to see what I'm doing. The photos are there for reference, not for copying.
- Do you ever use a projector? I have, but it's been years. Personally, I love sketching. It's my first love, and I enjoy practicing it. Not everyone does. I don't see a thing wrong with projectors, grids or what have you. They can certainly expediate the process, but why get something over with that you enjoy? Also, there will come a time in each painting where initial lines are lost, and an artist's ability to draw will save that painting. So, no matter the initial method, I do encourage continued drawing practice.
- Are you rich? No, coupon cutting is an art form, and thrift shops love me.
- How do you dress as an artist? I just cover it up.
- Why are you playing with that wad of clay? It's called a "kneaded eraser." It can be formed to erase either broadly or precisely. It feels good to play with. Get your own!
- Do you stand or sit painting? It depends on how high the work is, and if I can reach it. Also, for me, standing aides in looser work, while sitting gets me more precision, and is easier on my back.
- Who is your favorite artist? It changes daily. Any beginner that I see trying stands out as magnificent to me.
- Why do you paint people? I've not found anything more beautiful or fascinating by spirit or visage.
- Can you paint in black and white, color, in oils, acrylics, water color, guache, egg tempera, spit and dirt, lasagne, etc.? If it makes a mark, yes I can paint with it. (so can you)
- Where do you get your patience for painting? Again, it's built in, like many people's love for chocolate. Do you need patience to eat a candy bar? Same thing. You're hardwired to love what you love. So am I.
- How long does it take you to finish a painting? Until I'm done. Glazing in oils, anywhere from a few weeks to about 6 weeks. Looser acrylics, a day or two. The rest are somewhere in between.
- If not marriage, are you interested in being a concubine? I'm perfectly capable of painting anyone with horns and a tail, naming it, "!#*##(#*$##!" and displaying it publicly.
- Where do you get your strength to paint? I meditate.
- How do you meditate? I paint.
- Can I paint you naked? I have no idea. Let me see your portfolio.
- Will you let me paint you naked? No.
tina jones
Saturday, September 3, 2011
Artists on the Autism Spectrum: Improving Gallery Accessibility
I was very impressed recently when my state of Kentucky published an article for improving the accessibility to galleries for people with disabilities. Autistic viewers were mentioned, and I welled up with pride at living in a state that shows active awareness for it's people!
http://creativecommonwealth.ky.gov/
I had to write to tell them, and I asked if they had ideas for people on the Autism Spectrum who were Artists themselves, as well as offering to collaborate on some ideas I had. They said "The Arts council would love to have your insights."
I took ideas I had and went to the people who know best. I went to other artists with Autism, and asked what problems they'd encountered, and what ideas they had that might help. I also went to my daughter who came up with some great insights, as well as numerous people who are not Autistic, yet have some of the same issues with sensory problems. I was amazed at how willing people were to help each other!
To begin, the two main inhibitors to artists with Autism are Sensory Issues and difficulty in socializing. Galleries need to entertain patrons, and it's beneficial to them that artists and patrons socialize. Galleries are a business, and socializing means sales. As Temple Grandin has indicated, we on the Spectrum are not good at "selling ourselves." We must sell our work, our talents, expertise and our portfolios. This is the problem I hope to build a bridge of understanding over, and hopefully help to facilitate compromise that will be beneficial to artists on the Autism Spectrum, Patrons of the arts, and Galleries.
Following are two lists. One is ideas that galleries might be able to do to improve accessibility, facilitate interaction between artists with Autism/Asperger's and Patrons. The second is some things artist's with Autism may be able to do themselves to make the experience simpler and more enjoyable, beneficial. These are only ideas. What works for one may need adjusting for another, but it's a place to begin.
To Galleries:
Sensory Issues: Things like a lot of noise can be enough to cause a person with Autism to lose their ability to communicate, and communication means sales. It can cause us to have to leave to regain our composure. What happens with me, personally is that when music is loud, I cannot focus on what you or Patrons are saying. I physically feel the loudness, and it's overwhelming. At the very least, I'd have to walk out. I might be shaken to tears. Those who are more sensitive than I could run, cover their ears, and scream. We are more sensitive to sound than the average person. For comparison, it might be like you standing by a 6ft speaker at a rock concert while trying to have a gentle conversation. It's not possible.
1-Consider asking the artist what music they might prefer (I realize this is there for the Patrons, so giving the artist some choice in input might help. I, for instance, would be much more comfortable with a soft string quartet or a gentle classical CD than a rock band or country music band.)
2- Consider having no music
Social Issues: Most often, it's been suggested that I mingle and talk to Patrons. This is exceedingly difficult for me and impossible for some others. I and others have trouble conversing, knowing when to speak or where we belong. We can get lost if we don't know exactly what to do. Some things you might do to make this easier:
1- A designated place for the artist with Autism. (We can leave this, but have it to return to.)Think in terms of a book signing. I need to know where I'm supposed to be/ have a place to belong. If a table and chair were set up, where others could approach me one at a time, I'd be much more comfortable and have an easier time talking to Patrons. I'd suggest this be set at the furthest possible distance from the loudest area if there is music as possible.
2- Consider using our written materials to aid in communication. The artist may only be able to make "appearances." If the gathering is 2 hours long, some of us may only be able to be there for 10 minutes, leave then return for 10 more. We may be able to provide you with written information about our work. Consider that a worker might field some questions for us. We may also have an assistant with us that can help with this. (see 3)
3- We may be unable to speak. Some of us cannot at all, others like me can go mute during very stressful situations. Consider that we may have to bring a person to speak on our behalf, or at least aid us in conversation with Patrons.
4- Short speeches or our writing read by another: Where mingling isn't possible for some of us, some may be able to do a short monologue about our work. We may even be able to answer a few questions from the crowd. While we can be as nervous as anyone in a *speech* situation, it is far easier than mingling. (The Lexington Art League at the Loudon House has an "Gallery Talk" once a month that would be a great model for this. There, the artist talks to a group of artists. This could be used for the artist to also talk to a group of Patrons at the beginning of a show, or at some point during. A quiet area would need be extablished for this.)
5- We could benefit greatly from a private "cool down" area, as mentioned in the article (link above)that inspired me. If given this, we could take a break, relax and come back fresh to interact.
6- Online communication: You may work with artist who simply cannot be present for shows. Often, non verbal artists can type and communicate beautifully in online "chat" situations. Consider that one or even a few computers might be set up at a show, so that Patrons could interact with the artist. (Patrons love an eccentric artist, and a good story to tell of the artwork they purchased and how they got to know the artist! They'll eat it up!)
7-Video and photos might be provided by the artist where possible. If the situation is such that the artist is verbal, but cannot attend a public show, consider that the artist might make a short video discussing their work and provide it to you. It might be shown to patrons as part of the display.
To my fellow Artists with Autism Spectrum Disorder:
As you've read above, I've only covered a few things. Other sensory problems like various smells from perfumes, foods that may be served, people that may bump into us, talk too loud...all of these things are causes for potential melt-downs or shutdowns. Here are some of the ideas I've gathered from my experience and from others on what we can do to make the experience more pleasant. (Those who may be going to assist the artist, can help be sure these or some of these are available.)
Sensory Issues:
1- Eat about an hour before the show. Nervousness can do terrible things to our stomachs, and many of us have food allergies. Best to leave the snack table to the Patrons.
2-Bring or get water. A dry mouth is not good for talking. Bring lip moisturizer as well. Anxiety can rob the mouth of much needed moisture.
3- Keep a comfort object with you. Mine is a kneaded eraser that I can roll and squeeze. Anything that gives you comfort and a sense of familiarity will do. (I never worry about what others think. They expect artists to be a little "eccentric" anyway, and I can even have some fun with it. The point is to take care of me first, then I can be there for them.)
4- Never wear new clothes, rather wear what is clean, and comfortable to you. Look nice, but don't over do with things that are going to cause discomfort. Itching, tugging at uncomfortable fabric or wrestling new shoes is going to make it all more stressful. Be true to you, and don't try to look or act whatever you may think "normal" is. Just wear what you like, and feel good in.
5- Consider long sleeves or a jacket/sweater that you can remove if need be. Like many I have touch sensory issues. NT's love to touch my arm when talking. Long sleeves help buffer this, so I don't feel imposed on or invaded suddenly. I'd also suggest a pair of light gloves if hand shaking is a problem. Remember, you can opt not to shake hands too. Have something in your hands like a bottle of water in one hand and painting in the other, and no one is going to try to shake your hand.
6- Lights: Gallery lights are often low key, and fortunately aimed at paintings rather than us. Still, if they are an issue of pain or discomfort, consider wearing light sunglasses. It's a small buffer, but it often helps me in stores.
7- If you're someone who wears hats, these may help buffer some of the noise and sensations around you to help you focus on the patrons.
8- Be realistic about how much time you can tolerate being around people. Never say to yourself, "Well I know I can do ten minutes, but I'm sure I can push it to twenty or an hour." Do your ten, take a break and do ten more. If this is repeated, you may be able to stay much longer than you think. If you are only able to do a few minutes, then you have succeeded. If all you can do is send the work, you have succeeded. Be realistic about the expectations you put on yourself, and do not push. Consider what you'd ask an Autistic friend to try, and only go that far. Be as good to you as you naturally are to others.
Social Issues/Communication:
1- Have someone who knows you and your work go with you. This person can help with questions, give out information, and help you in a panic situation.
2- Go to the gallery before the show, even days before. Note where exits are, and where you might go to get away from the crowd for a time if need be. Spot the restrooms and the water. Ask questions. Consider going to a show at this gallery before your show. See how things go, watch and listen to what the artist says and does. See if you might implement some of these ideas.
3- Make a list of all of your works, and write a little bit about each one, size, price, what medium you used. Write a short paragraph, even two or three sentences about each work. These might be posted beside the work. Also, when a Patron asks you about that work, you can speak a little, then hand them a copy of this note just for them to keep and hold. This can make the experience personal to them. (and they like that) Have business cards: Simply having your contact information written down to hand your Patron can help.
4- Write or get help writing a paragraph or two, but keep it to a page, about your art. If there is a theme in your show, write it down, and make sure the gallery has a copy of it well before the show. It will help them in promotions. I'll include a list of questions commonly asked of me by Patrons, and my own answers. This may help you form a *script* of what to say in these often awkward situations.
5- Consider an Artistic Autistic duo. Think of times when you had someone to look after. I've felt more confident in those times, so having shows with an other person with Autism my be highly beneficial. Consider group shows as well.
6- It's easier to cheer on another artist. Many of us feel very uncomfortable chatting up our own work (it feels fake, and the work should stand for itself, right?), but we can be champion's for one another, often speaking with much more ease.
7- Consider making attainable goals for communication. If you are verbal, a goal might be to say, "Hi." to three people. You can say, 'Hi" to more, but make a goal plan. This way, we know what to do from the time we walk in the door. ie. I belong at this table. I can go anywhere, but that's my anchor/safe spot, I need to say, "Hi" to three people. These will be small goals for others, but they can be big for us.
8- Establish a panic signal for the person you have assisting you. It can be a simple word or a tug on your own ear. Anything that you and they establish means, "Get me out of here!" or "I need help." Make sure both of you understand this. This person may need to play "linebacker" to get you through the crowd and out to a place to decompress.
9- keep a note pad with you to write down any ideas you may have for a better experience at the next show, questions that you got asked that weren't on your list, etc.
10- Provide the gallery some photos. Photos are hard. Consider taking a few yourself, and providing those to the gallery for their promotions. If the concept of even taking a photo yourself is too much, say so. If you are unable to attend a show and can speak, consider making a short video of yourself talking about your work. Offer this to the gallery to show Patrons.
11- Eye Contact: It's up to you, but Patrons do like it in small bits, no staring. Here is what I do. Eye contact has always been extremely hard for me, but I can use what I have. I'm an artist! I mentally *paint* people while they talk to me. I look at their eyes, then their forehead, their hair, then their chin, nose, back to the eyes. It's my nature to focus if anything on their mouths to try to lip read what doesn't get through to my ears, but I try to move all over the face. I think in terms of colors I might use, or shadows and light. People are really quite beautiful, and I find they warm up to the attention. If they catch me, I simply tell them the truth. "I think the light on your hair is beautiful." or "I was noticing how the shadow lies against your jaw." or simply, "I was mentally painting you." They can be very flattered by this. Be ready to hand them a business card. I've gotten several commissions by accident this way.
12- Listen: The world is full of people who have never had anyone truly listen. Patrons will often ask you a question, get an answer, then they want to talk a while. This is great news for someone like me who can go mute! I can give them a listening ear. No pressure on me to talk, and I can learn things like what kind of art appeals, what about my work touched them, and what I may need to do more of next time. You can even ask them questions: "What kind of art do you usually like?" "Have you ever tried drawing/painting?" Patrons often want a personal connection with us, and nothing makes this easier than simply listening. If there is a break in their words, nod, say, "oh," "wow," "that's interesting," etc.
I offer a heartfelt , Thank you to my daughter, Eve Kotter who helps me keep things simple, and to the wonderful people at "Artists and Autism" They put a lot into helping me gather ideas to help us All. Their Facebook page is here. They are of immense support to many artists of all ages on the Autism Spectrum,
http://www.facebook.com/ArtistsandAutism
Lastly, here is a list of common questions I'm asked. You may want to keep them, and write your own answers down for when Patrons ask.
1-How long have you been painting? Many of us, have always. You can state your age if you like. It will be true, but they'll think it's humor, and a smile from them is good business. You can also say how long you've been painting/drawing/sculpting, etc. in this particular way. If you started a year ago, say so. They'll be impressed.)
2-What medium do you use? Oil, Acrylic, Watercolor, Ink, Clay, Fabric, etc,,
Are you self taught or did you take lessons? (It may be for some of us that it's built in. We just do this, no lessons, no self taught, but "self taught" is clear and understandable to others.)
3-What inspires/influences you? (mom, dad, Picasso, nature, etc?)
4-What are you trying to say/communicate with this work?( Tough one for me. I'm usually communicating some technique, but some may want to communicate a feeling, a stance on an issue, love, etc.)
5-Is there a book or site on art that you'd recommend? Any that you like will do. If there are none, ask what they like.
6-Do you paint ____(fill in the blank), Many may be interested in your style of painting say, Landscapes, but would like a painting of their dog by you. Be realistic about your abilities, and be prepared to hand them a business card.
7-What would you charge for_____? Answer: "I have my price list here." Hand them a price list or a business card where they can find a price list. You might also direct them to the Gallerist who can assist with this, or the person who is assisting you.
Remember, listening is key. If they ask about you painting their dog, then ask about their dog. I've heard many wonderful stories this way, and it's a chance to enjoy their company. Lastly, take breaks from the crowd before you think you need them. Schedule them if it helps. If you plan 10 minutes in the crowd and ten out, then stick to it. Again, don't push yourself. This is work, but it doesn't have to be mountain climbing. Be gentle with you, and that will transmit to your Patrons.
Feel free to add to this list in the comments. You know best what works for you.
Best wishes and happy exhibits to All,
tina jones.
http://creativecommonwealth.ky.gov/
I had to write to tell them, and I asked if they had ideas for people on the Autism Spectrum who were Artists themselves, as well as offering to collaborate on some ideas I had. They said "The Arts council would love to have your insights."
I took ideas I had and went to the people who know best. I went to other artists with Autism, and asked what problems they'd encountered, and what ideas they had that might help. I also went to my daughter who came up with some great insights, as well as numerous people who are not Autistic, yet have some of the same issues with sensory problems. I was amazed at how willing people were to help each other!
To begin, the two main inhibitors to artists with Autism are Sensory Issues and difficulty in socializing. Galleries need to entertain patrons, and it's beneficial to them that artists and patrons socialize. Galleries are a business, and socializing means sales. As Temple Grandin has indicated, we on the Spectrum are not good at "selling ourselves." We must sell our work, our talents, expertise and our portfolios. This is the problem I hope to build a bridge of understanding over, and hopefully help to facilitate compromise that will be beneficial to artists on the Autism Spectrum, Patrons of the arts, and Galleries.
Following are two lists. One is ideas that galleries might be able to do to improve accessibility, facilitate interaction between artists with Autism/Asperger's and Patrons. The second is some things artist's with Autism may be able to do themselves to make the experience simpler and more enjoyable, beneficial. These are only ideas. What works for one may need adjusting for another, but it's a place to begin.
To Galleries:
Sensory Issues: Things like a lot of noise can be enough to cause a person with Autism to lose their ability to communicate, and communication means sales. It can cause us to have to leave to regain our composure. What happens with me, personally is that when music is loud, I cannot focus on what you or Patrons are saying. I physically feel the loudness, and it's overwhelming. At the very least, I'd have to walk out. I might be shaken to tears. Those who are more sensitive than I could run, cover their ears, and scream. We are more sensitive to sound than the average person. For comparison, it might be like you standing by a 6ft speaker at a rock concert while trying to have a gentle conversation. It's not possible.
1-Consider asking the artist what music they might prefer (I realize this is there for the Patrons, so giving the artist some choice in input might help. I, for instance, would be much more comfortable with a soft string quartet or a gentle classical CD than a rock band or country music band.)
2- Consider having no music
Social Issues: Most often, it's been suggested that I mingle and talk to Patrons. This is exceedingly difficult for me and impossible for some others. I and others have trouble conversing, knowing when to speak or where we belong. We can get lost if we don't know exactly what to do. Some things you might do to make this easier:
1- A designated place for the artist with Autism. (We can leave this, but have it to return to.)Think in terms of a book signing. I need to know where I'm supposed to be/ have a place to belong. If a table and chair were set up, where others could approach me one at a time, I'd be much more comfortable and have an easier time talking to Patrons. I'd suggest this be set at the furthest possible distance from the loudest area if there is music as possible.
2- Consider using our written materials to aid in communication. The artist may only be able to make "appearances." If the gathering is 2 hours long, some of us may only be able to be there for 10 minutes, leave then return for 10 more. We may be able to provide you with written information about our work. Consider that a worker might field some questions for us. We may also have an assistant with us that can help with this. (see 3)
3- We may be unable to speak. Some of us cannot at all, others like me can go mute during very stressful situations. Consider that we may have to bring a person to speak on our behalf, or at least aid us in conversation with Patrons.
4- Short speeches or our writing read by another: Where mingling isn't possible for some of us, some may be able to do a short monologue about our work. We may even be able to answer a few questions from the crowd. While we can be as nervous as anyone in a *speech* situation, it is far easier than mingling. (The Lexington Art League at the Loudon House has an "Gallery Talk" once a month that would be a great model for this. There, the artist talks to a group of artists. This could be used for the artist to also talk to a group of Patrons at the beginning of a show, or at some point during. A quiet area would need be extablished for this.)
5- We could benefit greatly from a private "cool down" area, as mentioned in the article (link above)that inspired me. If given this, we could take a break, relax and come back fresh to interact.
6- Online communication: You may work with artist who simply cannot be present for shows. Often, non verbal artists can type and communicate beautifully in online "chat" situations. Consider that one or even a few computers might be set up at a show, so that Patrons could interact with the artist. (Patrons love an eccentric artist, and a good story to tell of the artwork they purchased and how they got to know the artist! They'll eat it up!)
7-Video and photos might be provided by the artist where possible. If the situation is such that the artist is verbal, but cannot attend a public show, consider that the artist might make a short video discussing their work and provide it to you. It might be shown to patrons as part of the display.
To my fellow Artists with Autism Spectrum Disorder:
As you've read above, I've only covered a few things. Other sensory problems like various smells from perfumes, foods that may be served, people that may bump into us, talk too loud...all of these things are causes for potential melt-downs or shutdowns. Here are some of the ideas I've gathered from my experience and from others on what we can do to make the experience more pleasant. (Those who may be going to assist the artist, can help be sure these or some of these are available.)
Sensory Issues:
1- Eat about an hour before the show. Nervousness can do terrible things to our stomachs, and many of us have food allergies. Best to leave the snack table to the Patrons.
2-Bring or get water. A dry mouth is not good for talking. Bring lip moisturizer as well. Anxiety can rob the mouth of much needed moisture.
3- Keep a comfort object with you. Mine is a kneaded eraser that I can roll and squeeze. Anything that gives you comfort and a sense of familiarity will do. (I never worry about what others think. They expect artists to be a little "eccentric" anyway, and I can even have some fun with it. The point is to take care of me first, then I can be there for them.)
4- Never wear new clothes, rather wear what is clean, and comfortable to you. Look nice, but don't over do with things that are going to cause discomfort. Itching, tugging at uncomfortable fabric or wrestling new shoes is going to make it all more stressful. Be true to you, and don't try to look or act whatever you may think "normal" is. Just wear what you like, and feel good in.
5- Consider long sleeves or a jacket/sweater that you can remove if need be. Like many I have touch sensory issues. NT's love to touch my arm when talking. Long sleeves help buffer this, so I don't feel imposed on or invaded suddenly. I'd also suggest a pair of light gloves if hand shaking is a problem. Remember, you can opt not to shake hands too. Have something in your hands like a bottle of water in one hand and painting in the other, and no one is going to try to shake your hand.
6- Lights: Gallery lights are often low key, and fortunately aimed at paintings rather than us. Still, if they are an issue of pain or discomfort, consider wearing light sunglasses. It's a small buffer, but it often helps me in stores.
7- If you're someone who wears hats, these may help buffer some of the noise and sensations around you to help you focus on the patrons.
8- Be realistic about how much time you can tolerate being around people. Never say to yourself, "Well I know I can do ten minutes, but I'm sure I can push it to twenty or an hour." Do your ten, take a break and do ten more. If this is repeated, you may be able to stay much longer than you think. If you are only able to do a few minutes, then you have succeeded. If all you can do is send the work, you have succeeded. Be realistic about the expectations you put on yourself, and do not push. Consider what you'd ask an Autistic friend to try, and only go that far. Be as good to you as you naturally are to others.
Social Issues/Communication:
1- Have someone who knows you and your work go with you. This person can help with questions, give out information, and help you in a panic situation.
2- Go to the gallery before the show, even days before. Note where exits are, and where you might go to get away from the crowd for a time if need be. Spot the restrooms and the water. Ask questions. Consider going to a show at this gallery before your show. See how things go, watch and listen to what the artist says and does. See if you might implement some of these ideas.
3- Make a list of all of your works, and write a little bit about each one, size, price, what medium you used. Write a short paragraph, even two or three sentences about each work. These might be posted beside the work. Also, when a Patron asks you about that work, you can speak a little, then hand them a copy of this note just for them to keep and hold. This can make the experience personal to them. (and they like that) Have business cards: Simply having your contact information written down to hand your Patron can help.
4- Write or get help writing a paragraph or two, but keep it to a page, about your art. If there is a theme in your show, write it down, and make sure the gallery has a copy of it well before the show. It will help them in promotions. I'll include a list of questions commonly asked of me by Patrons, and my own answers. This may help you form a *script* of what to say in these often awkward situations.
5- Consider an Artistic Autistic duo. Think of times when you had someone to look after. I've felt more confident in those times, so having shows with an other person with Autism my be highly beneficial. Consider group shows as well.
6- It's easier to cheer on another artist. Many of us feel very uncomfortable chatting up our own work (it feels fake, and the work should stand for itself, right?), but we can be champion's for one another, often speaking with much more ease.
7- Consider making attainable goals for communication. If you are verbal, a goal might be to say, "Hi." to three people. You can say, 'Hi" to more, but make a goal plan. This way, we know what to do from the time we walk in the door. ie. I belong at this table. I can go anywhere, but that's my anchor/safe spot, I need to say, "Hi" to three people. These will be small goals for others, but they can be big for us.
8- Establish a panic signal for the person you have assisting you. It can be a simple word or a tug on your own ear. Anything that you and they establish means, "Get me out of here!" or "I need help." Make sure both of you understand this. This person may need to play "linebacker" to get you through the crowd and out to a place to decompress.
9- keep a note pad with you to write down any ideas you may have for a better experience at the next show, questions that you got asked that weren't on your list, etc.
10- Provide the gallery some photos. Photos are hard. Consider taking a few yourself, and providing those to the gallery for their promotions. If the concept of even taking a photo yourself is too much, say so. If you are unable to attend a show and can speak, consider making a short video of yourself talking about your work. Offer this to the gallery to show Patrons.
11- Eye Contact: It's up to you, but Patrons do like it in small bits, no staring. Here is what I do. Eye contact has always been extremely hard for me, but I can use what I have. I'm an artist! I mentally *paint* people while they talk to me. I look at their eyes, then their forehead, their hair, then their chin, nose, back to the eyes. It's my nature to focus if anything on their mouths to try to lip read what doesn't get through to my ears, but I try to move all over the face. I think in terms of colors I might use, or shadows and light. People are really quite beautiful, and I find they warm up to the attention. If they catch me, I simply tell them the truth. "I think the light on your hair is beautiful." or "I was noticing how the shadow lies against your jaw." or simply, "I was mentally painting you." They can be very flattered by this. Be ready to hand them a business card. I've gotten several commissions by accident this way.
12- Listen: The world is full of people who have never had anyone truly listen. Patrons will often ask you a question, get an answer, then they want to talk a while. This is great news for someone like me who can go mute! I can give them a listening ear. No pressure on me to talk, and I can learn things like what kind of art appeals, what about my work touched them, and what I may need to do more of next time. You can even ask them questions: "What kind of art do you usually like?" "Have you ever tried drawing/painting?" Patrons often want a personal connection with us, and nothing makes this easier than simply listening. If there is a break in their words, nod, say, "oh," "wow," "that's interesting," etc.
I offer a heartfelt , Thank you to my daughter, Eve Kotter who helps me keep things simple, and to the wonderful people at "Artists and Autism" They put a lot into helping me gather ideas to help us All. Their Facebook page is here. They are of immense support to many artists of all ages on the Autism Spectrum,
http://www.facebook.com/ArtistsandAutism
Lastly, here is a list of common questions I'm asked. You may want to keep them, and write your own answers down for when Patrons ask.
1-How long have you been painting? Many of us, have always. You can state your age if you like. It will be true, but they'll think it's humor, and a smile from them is good business. You can also say how long you've been painting/drawing/sculpting, etc. in this particular way. If you started a year ago, say so. They'll be impressed.)
2-What medium do you use? Oil, Acrylic, Watercolor, Ink, Clay, Fabric, etc,,
Are you self taught or did you take lessons? (It may be for some of us that it's built in. We just do this, no lessons, no self taught, but "self taught" is clear and understandable to others.)
3-What inspires/influences you? (mom, dad, Picasso, nature, etc?)
4-What are you trying to say/communicate with this work?( Tough one for me. I'm usually communicating some technique, but some may want to communicate a feeling, a stance on an issue, love, etc.)
5-Is there a book or site on art that you'd recommend? Any that you like will do. If there are none, ask what they like.
6-Do you paint ____(fill in the blank), Many may be interested in your style of painting say, Landscapes, but would like a painting of their dog by you. Be realistic about your abilities, and be prepared to hand them a business card.
7-What would you charge for_____? Answer: "I have my price list here." Hand them a price list or a business card where they can find a price list. You might also direct them to the Gallerist who can assist with this, or the person who is assisting you.
Remember, listening is key. If they ask about you painting their dog, then ask about their dog. I've heard many wonderful stories this way, and it's a chance to enjoy their company. Lastly, take breaks from the crowd before you think you need them. Schedule them if it helps. If you plan 10 minutes in the crowd and ten out, then stick to it. Again, don't push yourself. This is work, but it doesn't have to be mountain climbing. Be gentle with you, and that will transmit to your Patrons.
Feel free to add to this list in the comments. You know best what works for you.
Best wishes and happy exhibits to All,
tina jones.
Tuesday, August 16, 2011
The Decision to Be Who I Am
If at first you don't succeed, it's likely the Universe had a better plan for you. At least that's my experience. I'm grateful for the ideas that didn't turn out, the dreams that didn't come true. These made way for other things that my imagination is simply not big enough to have thought up.
Very early in school, the class was asked, "What do you want to be when you grow up?" It must have been around 1970 or 71. My family was, perhaps a little further (or a lot) behind, because it had not occured ot me, given what I saw, that I would "be" anything other than a wife and a mom one day. That was my basic training. Though school taught me there were other options, home life contiued to raise a bride, a mom and a servant/leader/protector/entertainer of family. I still consider it a dignified and difficult job, one that I didn't always fare well at, infact.
The question shook my foundation. I was born or raised somewhere in the cultural flip between "Lib" of The Waltons and Mary Tyler Moore's office antics. I thought Lib was tougher, so I liked her better, but Mary was funny. Scanning my personal knowledge of what women "did," outside of my family, there were things like the electrician's wife, and the preacher's wife, both positions of which seemed to require the wearing of light blue. I never could take to baby blue, so those were out. There were teachers, but they always wore seasonal vests it seemed with leaves on them for autumn and snowmen later or bunnies. It seemed too fluffy and bulky. Red! I liked red! I liked alot of colors, but red was the end-all in color. I mean if you want to be a color, you can try, but until you make it to red, you're just practicing. That was the thinking anyway. I came up with the answer!
"I want to be a fireman!"
The entire class burst into a roar of laughter, and while I was trying to figure out what I did that was funny (I wasn't smart enough to be embarassed.) the teacher looked at me with an, "Isn't that adorable?" pitiful sort of look. In short order, I was informed that my choices were, "Teacher, Nurse or Stay at home Mom." I'm not sure if anyone told me, or if that was the limit of my imagination.That narrowed things down some.
I became a bar tender. I became many things. I tried the nurse part, the somebody's wife part, and none of those panned out, despite my early training as boo boo kisser and egg salad enchantress. The only vocation I ever stuck to was the Mom part, and I'm still enjoying that. Retirement doesn't happen, but the dividends keep rolling in. grins.
After a very long time, and all of this *being* different things, I found out that I was something. Decades of playing with crayons, pencils and paint, doing portraits, scenes and animals, while trying to figure out what I wanted to "be," sorted itself out. I didn't have to "become" an artist when I grew up. I already was one. Again, "Retirement doesn't happen, but the dividends keep rolling in."
My two best jobs in life are Mom and Artist, and with a life like that, who'd want to retire, anyway? I've got it pretty good.
I never did make it to "fireman," but I still like red.
tina jones
Very early in school, the class was asked, "What do you want to be when you grow up?" It must have been around 1970 or 71. My family was, perhaps a little further (or a lot) behind, because it had not occured ot me, given what I saw, that I would "be" anything other than a wife and a mom one day. That was my basic training. Though school taught me there were other options, home life contiued to raise a bride, a mom and a servant/leader/protector/entertainer of family. I still consider it a dignified and difficult job, one that I didn't always fare well at, infact.
The question shook my foundation. I was born or raised somewhere in the cultural flip between "Lib" of The Waltons and Mary Tyler Moore's office antics. I thought Lib was tougher, so I liked her better, but Mary was funny. Scanning my personal knowledge of what women "did," outside of my family, there were things like the electrician's wife, and the preacher's wife, both positions of which seemed to require the wearing of light blue. I never could take to baby blue, so those were out. There were teachers, but they always wore seasonal vests it seemed with leaves on them for autumn and snowmen later or bunnies. It seemed too fluffy and bulky. Red! I liked red! I liked alot of colors, but red was the end-all in color. I mean if you want to be a color, you can try, but until you make it to red, you're just practicing. That was the thinking anyway. I came up with the answer!
"I want to be a fireman!"
The entire class burst into a roar of laughter, and while I was trying to figure out what I did that was funny (I wasn't smart enough to be embarassed.) the teacher looked at me with an, "Isn't that adorable?" pitiful sort of look. In short order, I was informed that my choices were, "Teacher, Nurse or Stay at home Mom." I'm not sure if anyone told me, or if that was the limit of my imagination.That narrowed things down some.
I became a bar tender. I became many things. I tried the nurse part, the somebody's wife part, and none of those panned out, despite my early training as boo boo kisser and egg salad enchantress. The only vocation I ever stuck to was the Mom part, and I'm still enjoying that. Retirement doesn't happen, but the dividends keep rolling in. grins.
After a very long time, and all of this *being* different things, I found out that I was something. Decades of playing with crayons, pencils and paint, doing portraits, scenes and animals, while trying to figure out what I wanted to "be," sorted itself out. I didn't have to "become" an artist when I grew up. I already was one. Again, "Retirement doesn't happen, but the dividends keep rolling in."
My two best jobs in life are Mom and Artist, and with a life like that, who'd want to retire, anyway? I've got it pretty good.
I never did make it to "fireman," but I still like red.
tina jones
 |
| Photo by me, of me, being me. I may paint this some day. I may make more egg salad with paprika, but either way.... Red will be involved. |
Wednesday, June 29, 2011
Art and Your Sofa: Rant to an Anonymous Socialite
Art and Your Sofa
A Guide for Non-artists, Socialites and Other "Poor Misunderstood" People to Art and Artists
Art is never created to match your sofa*
*Sofa, for the purposes of this document shall refer to your sofa, any and all of your belongings from your wall paper to your welcome mat, and from your tie collection to your dentures, from your other art works to your life in general, and from your tastes to your opinions. It was not created to amuse you, to aid in your social activities or for you to understand, incorporate into your being or speak of in any way. Doing so incidentally may result in your coming across as a pseudo-intellectual bore to artists in general, but an ill-informed, pompous prick to those whom you may aim to impress. Art, by the way was not meant to impress or to help you impress. This is not limited to the list so far stated, and the artist reserves the right to amend at will.
With utmost respect to your sofa,* art was created for some reasons that have nothing to do with you. ( No, really. It was.)
Art was created for the pleasure of the artist, be it to express, to have fun, to indulge in senses or to let off some steam, be it to practice, to hone, to learn, creation is a selfish process, and it is quite likely that the artist did not think of you in the least when it was created. Occasionally, much like masturbation, the artist may think of another person, still the act is entirely self pleasuring.
What you can do: You may ask the artist questions about the art like where to hang it. Do not ask if you don't want to know. Having received their thoughts, it’s best to lay the conversation to rest, reserving debate for others who know as little as you do. The artist has given their knowledge and opinion. You are in their area of expertise; you are conversing with (albeit, often overworked) alchemists, and not in a place where you stand a chance. Save face. Take the high road, and let it go. You may of course, hang where you like. (Double entendre intended.) While most artists are more than willing to toss pearls before swine, they are not likely to defend their point of view, in effect, doing it twice. Pushing this, will likely result in the phenomenon known as “the artistic temperament.” You’ll have better luck checking with your mailman, house keeper, pedicurist or pet shampooer for debate. Art by the way, was not created for debate. If we wanted to yak endlessly about it, we wouldn't bother painting it.
What you need to know about art:
You need to know if you like it and if you don’t. Take your time with that one.
What you don’t need to know about art:
Everything else. You can study the best of the best of writers, and use large art words, but God created buckshot for just this purpose. Please do not annoy the artist with any gathered information. We know, and while it’s heart warming that you’ve read a book, we could basically care less. We’d rather be making art. Guests, who you’d hope to dazzle with artistic word savvy, would likely rather be eating the main course. You also don't need to know about our "deep inner angst." Most of us don't have any, and I personally am not going to make any up to please you. We don't have time for angst. We're working.
What artists are: We are people who like to create and do so.
What artists are not: We are not your pets. We are not to be put on display at social gatherings as a new addition to your collection. We don't need to be "discovered" by you. We already know we're here. We will not dress to match your sofa,* and we are not decorative accessories. Most of us do not enjoy being poked, petted or otherwise molested by strangers, be it in the name of showing our art or for the purpose of raising your social status. That's the stuff of personal adds, not art. However, should you fancy posing, I'll be happy to paint you poised for recognition on and of your sofa*. It'll make your interior decorator go all a-flutter, I'm sure.
We appreciate you:
It’s nice that you like art, as many of our galleries are full and we could use the storage space. We appreciate it. We are not, however hanging art at your place in infantile ideas that it will get us anywhere socially or financially. Social and financial issues are for socialites and accountants. Again, we are artists. Hanging our art out of our site is always a risk, and one that is not taken lightly. Hours, months and years have sometimes gone into the making, and we do not relish the idea of uninvited fingering of our creations. As all museums know, acid of the hand will in the long run damage art, besides someone might sneeze on it.
Why Artists take the risk: There is a good reason that we hang our art in other places. In all likelihood, we are hanging our art at your place, because we like you. Most of us have no need to be shown, so that argument is mute. One artist (myself), has been creating art for 35 years, painting for 24 years, is known worldwide and has sold hundreds of works to many more countries than I can presently count. Basically, the favor you present is being done for you.
Any and all opinions, yeah buts, whys or other noises will be respectfully heard and promptly dismissed, unless I tire, then they’ll be dismissed before hearing, and you’ll be asked to refer to your dog shampooer.
At Your Service,
Tina Jones
(Who at times, "shares the love" while toting a cat of nine tails.) |
| "Don't Look Back" 16x20 Acrylic on Canvas (sold with attendant rant which they tell at social gatherings, including their audacity to rename the work. My title, which stands, wasn't provocative enough to make for chit chat, so the painting is also known as *Electric Nude.* Sighs...so the story grows....so I nap.) |
Saturday, May 14, 2011
Mad Marker Sniffing: Study of Social Skills
You know the feeling. You think someone is watching, but that's just silly. They have better things to do. You pick up the non-toxic, washable children's markers, take three out, just to see if they respond, and wonder if they have a smell. Ofcourse, you don't sniff them lest you're labelled a "marker sniffer," then again it might get a reaction if indeed they are looking. Have a sniff you do, be it discreetly, and they instantly respond, "Do they have a smell?!" like excitable people do. "Nah," You might say, "Not much, but a slight one." They appear to return to their work, then you think of licking the marker just to see if they're still watching.....grins.
Ofcourse, you don't do that. Everyone knows that is socially unacceptable, still...
tomorrow is another day.
Yeah, I thought you'd understand.
(hehe)
tina jones
Ofcourse, you don't do that. Everyone knows that is socially unacceptable, still...
tomorrow is another day.
Yeah, I thought you'd understand.
(hehe)
tina jones
Thursday, April 28, 2011
Art as Codependancy? Rant
I have what some have kindly called a chilled view of my art. It's paint, an anything else seen is merely incidental.
Nothing has so much incited "Harumphff's" from other artists as this fact. I don't have a meaning or wish to communicate anything. I paint what I see. I don't express my inner self or want the world to *understand* me. I'm not a particularly needy person, and why should they? They've got their own things going on, and frankly I don't find myself so intriguing as to think they'd spend a moment on it....still.
I find it curious and often amusing what others think my art means. For the purposes of this blog, I write something, then go find a piece of art that may or may not fit. The art was "paint." Most of the time it's not deep or complex. I'm far too lazy for that. Seriously, I just paint.With the exception of a scarce few, my paintings were not about emotion. Further, I find painting while being overly emotional as successful as balancing my checkbook during an emotional outburst. In other words, for me, the two are a disasterous combination. Emotional housekeeping, however I do pretty well.
I find the effort to communicate something with paint to be far more confusing than simply saying it, so I write instead.
Sometimes I've had people get indignant that I must have meant to *say* something in paint, because that was what they felt. I'm not powerful enough to force someone to feel something. If paintings were powerful enough to *make* people feel certain things, we'd all just sit and look at something beautiful and feel good all of the time. Sure, it helps, but please!
No, I'm not buying it. If a viewer feels something, it's their feelings to be responsible for. The same goes when I feel something. No one forced it on me. I have and am responsible for my own feelings, my own sight. I cannot feel your feelings, and you cannot feel mine.
But "What did the artist want to *communicate?*" Many of them do want to do that, and that's wonderful. Most do these days, but it wasn't always so.
Artists used to be skilled craftsmen like cabinet builders, brick layers and masonry workers, and they used to get paid like these do. Relatively recent in history (last century), was the advent of wanting to express oneself in paint. Imagine a bridge builder insisting that he be understood. Personally, I'd not drive over that bridge.
Technique has taken second or third place to emotion, and I don't see why they can't work together. With a solid ground of know-how, any direction might be taken, but so few even want to learn to draw. They aim to be *understood,* and it saddens me that they don't seem to have self acceptance. The idea of Van Gogh lobbing off an ear is not romantic to me. It's sad.
Still, there are those who will not own their own feelings when looking at art. Blame seems to be the route to happiness for these. Again, "The artist must have intended it, because I felt it." Ok, let's take that to some well known artwork.
May I introduce the classic "Ink Blot Test?" These were created by artists, yet they are used to find out what the viewer is all about. The artist smashed two pages together with ink, no intent, just ink....."just paint." These tests reveal the viewer.
If the viewer insisted that "No! That's what they really are! That's what the artist intended!" They might get an interesting diagnosis.
This is not to say that occasionally I might not experience an emotion during a painting, or that another might not have that same emotion on viewing it. It's fine when it happens, but I learn more about others when it doesn't. Most often what I paint and what people see are two different, if not opposing things, and this is cause for delight, because I am learning.
I've painted the wealthy who were *seen* as impoverished. I've painted the serene who were *read* as insecure, I've painted the sad who others insisted were *sexy.* ad infinitum.
I don't see any value in trying to get others to understand me, and I'm not so sadistic that I'd want you to experience some feelings. Alternately, some are so good, I'd rather keep them to myself. hehe! Besides, it's much more fun for me to try to understand others.
Admittedly, I like the puzzles in paint of emotion that others make. I get to guess what they felt, and every once in a while, I get close.
In compassion, for the emotional voyeurs among us: In any painting I've done, most often what I felt while painting was peace, a quiet mind without thought. Sometimes, I've felt a little paint get on my fingers too. Maybe that's "sad, sexy, insecure and impoverished," It could represent the deep inner meaning of, or the social impications of.......(not a chance) but I doubt it. winks!
A quote from James McNeill Whistler,
"As to what the picture represents, that depends upon who looks at it." Art quote source: Pot of Paint by Linda Merrill, p151. Quoted in Like Breath on Glass p32.a'
Read other Quotes from Whistler here:
http://painting.about.com/od/artandartistquotes/a/art-quotes-Whistler.htm
tina jones
Nothing has so much incited "Harumphff's" from other artists as this fact. I don't have a meaning or wish to communicate anything. I paint what I see. I don't express my inner self or want the world to *understand* me. I'm not a particularly needy person, and why should they? They've got their own things going on, and frankly I don't find myself so intriguing as to think they'd spend a moment on it....still.
I find it curious and often amusing what others think my art means. For the purposes of this blog, I write something, then go find a piece of art that may or may not fit. The art was "paint." Most of the time it's not deep or complex. I'm far too lazy for that. Seriously, I just paint.With the exception of a scarce few, my paintings were not about emotion. Further, I find painting while being overly emotional as successful as balancing my checkbook during an emotional outburst. In other words, for me, the two are a disasterous combination. Emotional housekeeping, however I do pretty well.
I find the effort to communicate something with paint to be far more confusing than simply saying it, so I write instead.
Sometimes I've had people get indignant that I must have meant to *say* something in paint, because that was what they felt. I'm not powerful enough to force someone to feel something. If paintings were powerful enough to *make* people feel certain things, we'd all just sit and look at something beautiful and feel good all of the time. Sure, it helps, but please!
No, I'm not buying it. If a viewer feels something, it's their feelings to be responsible for. The same goes when I feel something. No one forced it on me. I have and am responsible for my own feelings, my own sight. I cannot feel your feelings, and you cannot feel mine.
But "What did the artist want to *communicate?*" Many of them do want to do that, and that's wonderful. Most do these days, but it wasn't always so.
Artists used to be skilled craftsmen like cabinet builders, brick layers and masonry workers, and they used to get paid like these do. Relatively recent in history (last century), was the advent of wanting to express oneself in paint. Imagine a bridge builder insisting that he be understood. Personally, I'd not drive over that bridge.
Technique has taken second or third place to emotion, and I don't see why they can't work together. With a solid ground of know-how, any direction might be taken, but so few even want to learn to draw. They aim to be *understood,* and it saddens me that they don't seem to have self acceptance. The idea of Van Gogh lobbing off an ear is not romantic to me. It's sad.
Still, there are those who will not own their own feelings when looking at art. Blame seems to be the route to happiness for these. Again, "The artist must have intended it, because I felt it." Ok, let's take that to some well known artwork.
May I introduce the classic "Ink Blot Test?" These were created by artists, yet they are used to find out what the viewer is all about. The artist smashed two pages together with ink, no intent, just ink....."just paint." These tests reveal the viewer.
If the viewer insisted that "No! That's what they really are! That's what the artist intended!" They might get an interesting diagnosis.
This is not to say that occasionally I might not experience an emotion during a painting, or that another might not have that same emotion on viewing it. It's fine when it happens, but I learn more about others when it doesn't. Most often what I paint and what people see are two different, if not opposing things, and this is cause for delight, because I am learning.
I've painted the wealthy who were *seen* as impoverished. I've painted the serene who were *read* as insecure, I've painted the sad who others insisted were *sexy.* ad infinitum.
I don't see any value in trying to get others to understand me, and I'm not so sadistic that I'd want you to experience some feelings. Alternately, some are so good, I'd rather keep them to myself. hehe! Besides, it's much more fun for me to try to understand others.
Admittedly, I like the puzzles in paint of emotion that others make. I get to guess what they felt, and every once in a while, I get close.
In compassion, for the emotional voyeurs among us: In any painting I've done, most often what I felt while painting was peace, a quiet mind without thought. Sometimes, I've felt a little paint get on my fingers too. Maybe that's "sad, sexy, insecure and impoverished," It could represent the deep inner meaning of, or the social impications of.......(not a chance) but I doubt it. winks!
A quote from James McNeill Whistler,
"As to what the picture represents, that depends upon who looks at it." Art quote source: Pot of Paint by Linda Merrill, p151. Quoted in Like Breath on Glass p32.a'
Read other Quotes from Whistler here:
http://painting.about.com/od/artandartistquotes/a/art-quotes-Whistler.htm
tina jones
Sunday, April 3, 2011
Reference Photos: A Second Look
Photos are my shopping list of what I want to include in a painting. Even when getting close to photo realism, I'm free to edit out or add to the photo. In the following example. I've nearly copied the lower half of the photo.
I found the reflection of myself, the chair and the closet door uninteresting, so I created a fantasy within the reflection. I've been careful to follow the general distortion of my own figure in the photo in creating the dancing figures. In other words, anything can go in this space as long as I follow the original distortion created by the curve of the sphere. This sphere is actually a Christmas ornament, and I've chosen to omit the small bit of ornament that shines to the lower right, making it only a sphere.
We can improve on photos in many ways. My personal priority is to make more vivid the shapes of light and dark that I see, so that they are clear to the viewer. This will be apparent in the shapes of light on the walls and ceiling of this piece. They are greatly exaggerated. Other ways are to change colors, further soften and hide these shapes or add something of the artist's dreams or fantasies to a piece. It could even be a symbol that means something to the artist.
For me, piano music and slow dancing go together, and the view from the shiny ball gives the viewer a peek at an intimate moment, made more vivid in size and by contrast.
Left is the photo, and right is my finished work.
I found the reflection of myself, the chair and the closet door uninteresting, so I created a fantasy within the reflection. I've been careful to follow the general distortion of my own figure in the photo in creating the dancing figures. In other words, anything can go in this space as long as I follow the original distortion created by the curve of the sphere. This sphere is actually a Christmas ornament, and I've chosen to omit the small bit of ornament that shines to the lower right, making it only a sphere.
We can improve on photos in many ways. My personal priority is to make more vivid the shapes of light and dark that I see, so that they are clear to the viewer. This will be apparent in the shapes of light on the walls and ceiling of this piece. They are greatly exaggerated. Other ways are to change colors, further soften and hide these shapes or add something of the artist's dreams or fantasies to a piece. It could even be a symbol that means something to the artist.
For me, piano music and slow dancing go together, and the view from the shiny ball gives the viewer a peek at an intimate moment, made more vivid in size and by contrast.
Left is the photo, and right is my finished work.
I hope you'll take a second look at reference photos that may not have been your idea of what they should be. They just might make for a good reference as an inspiration for fantasy.
 |
| "Dance of the Piano" 11x14" Acrylic on Canvas Happy seeing and painting! tina jones |
Sunday, February 6, 2011
Censorship and the Artist
Fine painting you have here! GENIUS, SIR!
Thank you, I was a little concerned about the light in.....
Well, You're the artist, Sir.
Yes. Do you suppose your gallery would consider...?
Hmm.What have you titled this work?
"Nude on Canvas"
Fine name it is, at that!
Uh huh....
Well, Sir we have an array of decorative paint swatches. Might I suggest, white, or something in eggshell?
White will do.
Very Good Sir!
Ok, Do you think your.....
It's just that... I don't like mentioning these things, but well...nipples.
Say again?
Nipples, Sir. They are showing in your painting.
It's a man.
Still, Sir. Our clientele is of the utmost sensitive tastes.
You're kidding, right?
No, Sir. If you could just....?
More paint swatches on the painting?
Brilliant, Sir! Yes!
Sighs, ok. That's three cardboard swatches. Now....
I should mention, Sir that we've had people complain about ummm (sshhh) Fingers.
Fingers?
Sir, If you could refrain from cursing...
Of course, yes. I'll just put these swatches here and here.
And Sir if it wouldn't be too much trouble, the mouth?
Don't even say it! I'm covering it now! Are these people medicated?
Our clientele, Dear Sir is always right.
Yeah, I should probably calm down. I mean I do want to show my work, after all.
Precisely, Sir.
So, Now, the genitalia, fingers, nipples and mouth are covered. Do you think...
I don't mean to nit-pic, Sir, but there is an awful lot of skin showing.
. It's a NUDE!
Sir, This is a dignified establishment! Keep your voice down.
Sighs, so.......swatches?
If you don't mind, Sir.
Do have another box of them?
Right here, Sir.
Ok Fine. Everything is covered but the hair.
Sir?
FINE, The HAIR is covered too. It's nothing but a white canvas.
Ah, now THIS is art! Expressive, original ...but
WHAT?
The title, Sir. "Nude on Canvas?"
What about it?!
It's the word Nude, Sir. Our clientele find it to be overtly suggestive.
Sighs, "ON CANVAS?!!!" How's that?!!!!
It raises an eyebrow, Sir. The word "ON" is obviously perverse.
WHAT THE?!
Sir, Please don't make me sing "Let's get it *ON" by Marvin Gaye. What do you think he meant by "ON?"
So, "Canvas?!"
Thank you, I was a little concerned about the light in.....
Well, You're the artist, Sir.
Yes. Do you suppose your gallery would consider...?
Hmm.What have you titled this work?
"Nude on Canvas"
Fine name it is, at that!
So do you think..?
Well Sir, it's just that some of our clientele are, well...sensitive...Uh huh....
And well, Sir..You have genitalia showing in your painting.
I see.
If, perhaps you might..somehow..just cover the area?
With?Well, Sir we have an array of decorative paint swatches. Might I suggest, white, or something in eggshell?
White will do.
Very Good Sir!
Ok, Do you think your.....
It's just that... I don't like mentioning these things, but well...nipples.
Say again?
Nipples, Sir. They are showing in your painting.
It's a man.
Still, Sir. Our clientele is of the utmost sensitive tastes.
You're kidding, right?
No, Sir. If you could just....?
More paint swatches on the painting?
Brilliant, Sir! Yes!
Sighs, ok. That's three cardboard swatches. Now....
I should mention, Sir that we've had people complain about ummm (sshhh) Fingers.
Fingers?
You see, Sir. Some of our clientele have mentioned that some people ..umm..do sexual things with their fingers, so they think it only wise to not show fingers in a painting.
Fingers huh? I'll be damned.Sir, If you could refrain from cursing...
Of course, yes. I'll just put these swatches here and here.
And Sir if it wouldn't be too much trouble, the mouth?
Don't even say it! I'm covering it now! Are these people medicated?
Our clientele, Dear Sir is always right.
Yeah, I should probably calm down. I mean I do want to show my work, after all.
Precisely, Sir.
So, Now, the genitalia, fingers, nipples and mouth are covered. Do you think...
I don't mean to nit-pic, Sir, but there is an awful lot of skin showing.
. It's a NUDE!
Sir, This is a dignified establishment! Keep your voice down.
Sighs, so.......swatches?
If you don't mind, Sir.
Do have another box of them?
Right here, Sir.
Thank you.
As always, of course. We tend to our artists, Sir.Ok Fine. Everything is covered but the hair.
Sir?
FINE, The HAIR is covered too. It's nothing but a white canvas.
Ah, now THIS is art! Expressive, original ...but
WHAT?
The title, Sir. "Nude on Canvas?"
What about it?!
It's the word Nude, Sir. Our clientele find it to be overtly suggestive.
Sighs, "ON CANVAS?!!!" How's that?!!!!
It raises an eyebrow, Sir. The word "ON" is obviously perverse.
WHAT THE?!
Sir, Please don't make me sing "Let's get it *ON" by Marvin Gaye. What do you think he meant by "ON?"
You're a nutcase, you know.
Sir, It's only for our clients and in your best interest.So, "Canvas?!"
 |
| "Nude 7" 11x14 Acrylic on Canvas |
Wednesday, January 26, 2011
Passion
 |
| "Nude 10" 11x14 Acrylic on Canvas |
“Hot” he says so innocently without notion.
Careful where you stand. Guard the seething cauldron.
Flames lick, and stretch, caressing in soothing stings
“Feels good” he says warming by embers that softly sing
With ferocity temporarily tame kinetic tombs.
“I love you” he says. Don’t let it consume
Unless you want it, Lest your tempted to open the gate,
Be forwarned. You tread the territory of fate.
Then there’s no return to cavernous space.
Be forwarned. You tread the territory of fate.
Then there’s no return to cavernous space.
Watch your heart and guard your face,
Yet I can tell you, it will not harm in it’s throes
It protects, feeds on its own and grows,
And you are the flames as much as I.
Dive if you’re brave. I rise dripping, meet heart to eye.
Flames lick wet whips in unquenchable screams.
Tongues in heat froth erotic creams.
Breath burns on skin, sweet acidic warm
Touches dissolve towers built from harm.
And walls fall like so much silk
In a gentle kiss, one another’s milk
Be us both lost or found by the liquid sun in me
Who only asks for all, whose All is all of me.
All of me, and all of you melted, to one that began two.
Unchain, reveal me. I beg, unleash me to you.
Unchain, reveal me. I beg, unleash me to you.
I am more than a storm of raining fire
I am more than me, reborn of simple desire.
A third is made, an Us created that is more powerful
Than any singular beginning or awakening hour, full
And mercilessly loving. The monster gloriously untethered
Viciously entangled and ferociously surrendered.
I don’t know that I can survive this, and I cannot find a spark of care.
Stay with me close, Let me become this. Come with me trembling there.
Let me be more than what you see
And only who I am when I am free.
Sweet insanity, this longing without mistake,
No cold threatens, no isolation and no ache.
Arms hurt for now to hold. Sweet kindness cools and soothes
Through bitter nails and hungry bites with will-weakening moves.
Sweet hunger starved for satiation,
Primal mind, writhing contemplation
Of single kisses and madly thrashing waves
Of willing partners, each others drenched slaves
It wakes, and cries, walls torn apart,
Dare you look, the cost... is but your heart,
For this passion no eyes yet see,
The win is love, and the prize is me.
For this passion no eyes yet see,
The win is love, and the prize is me.
Still I understand eyes that in fear cannot bear, .
I’ve seen the hidden places that souls cannot share,
I know fear, and I have compassion
For existence long since in silenced passion.
I know fear, and I have compassion
For existence long since in silenced passion.
I know the heat within, and I know the door.
I know how to close it, and I know that I want more.
The sadness of it is, I know how much I have to share
and crux remains, How much can you bear
Of love?
Tina Jones
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