Posts Tagged ‘creativity’

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On the Rock: Merging Art and Ecology – a new exhibition!

Monday, February 17th, 2014
THE OUTCROPPING 2014 24X48 copy

THE OUTCROPPING 2014 24X48

Hello everyone,

Thought I would post a short note while I wait for my very cold studio to warm up. For weeks, it’s been in the minus tens here in Southwestern Ontario. The hot summer and cozy fall feel like distant memories and we are all longing for a touch of spring. The snow on either side of our drive is neck deep.

Perfect time to give you the scoop on an upcoming group show, soon to open at our local Carnegie Gallery in Dundas.

Just in the past year, I’ve had the great pleasure of learning about an international Christian organization called A Rocha. Their mandate is to engage in scientific research, environmental education and community-based conservation projects, and they are open to all faiths and cultures. A new A Rocha centre is becoming established in Ontario, with a 95-acre rural property in Flamborough, just south of Freelton (a pleasant 20 minute drive from my home). Cedar Haven Farm has both wild and cultivated acreages, as well as a historic house, a pond, a few barns, and animal enclosures.

FENCEROW 1 2014 24X24 copy

FENCEROW 1 2014 24X24

What better way to promote this organization than with art? We decided to approach ten artists, all working in different mediums, with an invitation: to visit the property and create unique visual responses to the land, with the results to be shown in an exhibition. The artists were delighted with the idea, and Carnegie Gallery accepted our proposal with great enthusiasm. The exhibition runs from March 7 to 30, with an opening reception at 7:30 on March 7.

Of course, I am fully involved with the project, and so is my photographer husband. I will tell you more about the other artists in a future post, but for now I wanted to share my resulting work. On my many visits in three seasons, I was most taken with the way wild areas and fencerows contrasted with the cultivated fields. Bedrock and swampland prevented full use of all the property for agriculture, but a system of trails made all the land accessible. The photos in this post are of the three works I made for the exhibition. I am looking forward to seeing it all come together on March 7!

WILD APPLE 2014 24X36 copy
WILD APPLE 2014 24X36

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Posted in Art making, Available work, Native Trees of Canada | 2 Comments »

The Charity Fundraiser: A good idea for artists?

Sunday, February 9th, 2014

Hello everyone,

I was asked by the Canadian Artists Representation of Ontario (CARFAC) to write about my experience in donating artwork for Charity Fundraisers. There has been considerable discussion about this topic over the past many years, pro and con, and I was very happy to throw my own opinions into the mix. You may have seen this article which has been circulating on Social Media. While I agree with many of the points in the article, I continue to donate in a way that is working for me. I would love to know what your experience is, and how you are dealing with the issues. Let’s have some discussion!

Here is the interview:

– What was your experience with fundraisers over the years?

I have donated work to all kinds of organizations with all kinds of setups for auctioning, from silent to live to online. Results varied wildly from my work being withdrawn for not reaching the starting bid, to selling way over its estimated value. I was getting up to a dozen requests per year (often still do). Over time, it became evident that saying Yes to each one was spreading my generosity a bit too thin.

I now participate in three kinds of fundraisers:

  1. One event  for which I make a special piece each year, because I believe in the organization and want to support it to my utmost
  2. Two to four yearly auctions that give back up to 50% of sales, for which I donate older works
  3. Timeraiser, that pays the full requested value of accepted works

I prefer donating my work to giving money – it’s a more personal way to give back to my community. Plus, I enjoy attending the auctions – when they are well done, they are a lot of fun.

St Ignatius Bean was made specially for the Ignatius Jesuit Centre Silent Auction in 2013

– Have you noticed any negative or positive effects of fundraisers on the sale and value of your artwork (outside of fundraisers)?

I am unconvinced that exposure via fundraisers is beneficial for my career, but by the same token I am equally unconvinced that by participating, I significantly reduce the value of my work. I do believe the public and collectors admire and value artists for their generosity, as they should.

I make a living from my work so I have a vested interest in maintaining its value. I have not noticed any effect from participating in fundraisers one way or the other. I’m secure in the value of my work, and I’m glad there are ways for people to possibly acquire a piece of mine if they can’t afford the full price. I make sure all parties know that I NEVER donate new work, except for the special event mentioned above. Many people have contacted me after auctions, filled with joy, which makes me happy too. Older work would otherwise go into storage, and what use is that to anyone?

Courage was in the Burlington Art Centre Live Auction 2014

– Over the years, did you notice any trends in fundraiser standards? 

Some organizations are aware they depend on a sector of society that can ill afford a constant flow of donations, so they are reimbursing framing costs, or offering a percentage of the proceeds. Of course, this raises their chances to acquire good work, so it’s a great incentive for them.

– Do you have suggestions about how to deal with organizations that are not considerate when it comes to fundraisers?  

It’s important to remember that organizers always have the best of intentions, and most are volunteers: they are passionate about their own cause but perhaps ill-informed about what happens from the artists’ side. When I explain that artists must submit the value of the piece as income, making the charitable receipt useless in most cases, they are astonished. So all I can say is, please remain polite and calm, give them the information needed to make their own decisions, and then say NO until you are comfortable with the situation.

– What advice can you give other artists considering donating artwork?

1. You can say NO whenever you want, guilt free.

2. Never donate new work. If the organization doesn’t like it, then they may quit asking. So be it. Are you embarrassed to donate old pieces? Think about it: if your new piece gets poor results, it will be even more awkward!

3. Be choosy. You don’t have to say YES to every request, even if it’s a good cause. They are all good causes! Get informed about their audience and promotion: what is the quality of the usual offerings? Are they sensitive to good display or will they simply prop your piece up amongst the fridge magnets in a dark corner? Will they include your contact information with their publicity?

4. Decide on your favourites and stick to them. If there’s any financial benefit to be had, it’s by repeating your presence so the audience looks forward to seeing your work each year. Repetition can pay off, with people remembering and contacting you later. Also, this makes it easier to turn down all the other requests.

5. Don’t donate expensive works to organizations that are auctioning off small items. In other words, find out the most common price point and choose your work accordingly. That way, both you and the organization will get the most out of your donation.

Fissure #4 was purchased by Timeraiser for Auction in 2013

Fissure #4 was purchased by Timeraiser for Auction in 2013

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Posted in Charity Art Auctions, Uncategorized | No Comments »

Terra Silva: A Return to the Roots

Friday, February 7th, 2014

Hello all,

Last month, after a four month wait since applying, I was awarded a generous grant to pursue a project very dear to my heart. The grant is the Ontario Arts Council Franco-Ontarian Arts Grant for Established Artists, and it is meant to help artists set aside time and resources to creating a body of work.

snoopy

SNOOPY DOING LORRAINE’S HAPPY DANCE

For my project, I propose to create an exhibition inspired by the world beneath the earth’s surface, where roots meet the soil. Most of us are completely unaware of the millions of organisms that work the soil. In fact, soil life accounts for a much larger living mass than that which exists above ground, just as roots can outweigh and outsize the visible part of the tree. I have always been fascinated by the science of soil, and it has been the subject of much of my latest work.

In my search for inspiration, I recently became aware of the work of Prof Suzanne Simard of UBC. Dr Simard is studying how microscopic fungi act as a communication interface between one set of roots and another, creating bridges between various tree species to share resources. The network works much like the neural networks of our own brain. Through her work, we are learning that trees in a forest do not compete, but in fact cooperate with each other and share resources. This gives a forest more resilience and stability against adversity like disease or climate change. In every forest ecosystem, there are certain Mother trees – older, larger specimens – that serve as anchors for a large grouping of younger trees around them. When Mother trees die, they slowly release their stored nutrients and resources to all the trees in the network. Click on the image below for a wonderful video of Prof Simard, talking about Mother Trees.

simard photoProfessor Suzanne Simard explaining her research: click on image to see short video

This research is a rich source of inspiration, both visually and conceptually. Also, it will be relevant to all who love trees and nature, and who care about the environment. I have been in touch with Dr Simard – she is eager to share more information and is excited about the exhibition. In fact, she invites me to come and see first-hand what she and her students are up to in the lab and in the field. Of course, I am saying YES!

So, here I am right at the beginning. Dr Simard sent me half a dozen papers and articles to read up on, and I’ve acquired a textbook for which she is a contributor. Happy to share this journey with you, along with all the digressions and distractions along the way.

OAC 2014

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Posted in Art making, Exhibitions and shows, Native Trees of Canada, Philosophy | 4 Comments »

The value of working in Series

Wednesday, December 12th, 2012
Escarpment #13 2009 24x24"

Escarpment #13 2009 24×24″

“The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature.”
Joseph Campbell

Way at the start of my art life, all my passions were directed at exploring techniques and trying out new materials. I wondered how any artist could deliberately limit herself to one particular subject for two consecutive pieces, let alone an entire series! The infinite possibilities were too exciting. How could I possibly choose one over another? What if I missed out on something even better? And truly, the textile industry marketing machine is built on distraction, with new materials, techniques and equipment introduced every day. Overwhelmed and scattered, I began to realize there were fewer and fewer satisfying and tangible results for my constant industry. It was time to rethink the value of limits.

For me, this realization preceded a beautiful turning point. Now, I rarely do one-offs. Nearly all my new work somehow, either formally or loosely, fits into some kind of series. I want to write here about the value of working in series, not from a curator’s or collector’s point of view (because this is well covered in many excellent articles already), but from my own experience as an artist. How does it work, with respect to my creative path?

Perhaps I am predisposed to working in repetitive mode. At our family cottage, my favourite activity is to walk the very same 45 minute trail from our property to a rocky shore on the opposite side of the point. I do this at least once a day, at different times and in all weathers and seasons. While walking, I might mull over whatever is foremost in my mind, or just watch for butterflies. Each step is a rhythmic motion, a heartbeat, that carries me from one thought to the next. Invariably, by the time I reach the end of the point and back, some insight reveals itself that would not have come otherwise. For me, this trail provides a consistent platform from which to frame and recalibrate my inner world. Over and over, on the very same trail, I never fail to find something new.

As in life, so with art. A subject chooses me, and so the trail is set. When I first moved to the Niagara Escarpment area eight years ago, I found myself observing how the layers of unyielding rock supported certain vegetation and trees. What a rich vein of imagery and ideas to draw on! And so my Escarpment series was born:

Escarpment #1 2008 23x32"

Escarpment #1 2008 23×32″

The first pieces I produced really primed the pump. I loved working on the rock imagery in collage and appliqué, and I loved the results. Fresh ideas began to suggest themselves. With each new step, my thoughts turned to the metaphoric value of these images, like Triumph over Adversity:

Triumph 2011 30x40"

Triumph 2011 30×40″

No single piece in a series can possibly tell the whole story, and why should it? In this piece, I can tell the story of Courage:

Courage 2010 24x24"

Courage 2010 24×24″

In this one, I can talk about time and memory:

Between Now and Then 2009 36x48"

Between Now and Then 2009 36×48″

Or I can simply have some fun with colour and materials:

Escarpment #16 2009 24x24"

Escarpment #16 2009 24×24″

The possibilities are endless, series within series, and all kinds of spinoffs. Each piece is a step, like a sentence in a paragraph. It leads to the next, and so on, until the thought is complete. Sometimes it takes only two or three pieces. Other times, as with my ongoing Hawthorn series, the conversation continues intermittently for years and years.

Like all good things in life, the Escarpment series led to another, my Fertile Ground series. And I trust that eventually, by keeping to my trail, new ideas for series will grow, either building on the ones before, or shooting off on other tangents entirely. Working in series is a rhythmic, organic process that resonates with the pulse of nature. I feel the music of the Universe within me, with every step.

Do you like working in series? How did you start, and what are you working on now?

Fissure #5 2011 24x24" - another tangent!

Fissure #5 2011 24×24″ – another tangent!

 

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Posted in Art making, Exhibitions and shows, Philosophy | 5 Comments »

Window on the world

Monday, April 30th, 2012

You may know I make a living from my art. Have been now, for a good 20 years, with the odd few years between, working at ‘real jobs’.

It’s not always easy, as you can already imagine. NOT knowing when and where the next cheque is coming from is not for the faint of heart. My husband makes his living from fine art photography, so he’s in the same boat. The period between February to May is particularly slow for art sales.

Stop waiting for nothing - Sopiko Cherkezishvili

So I do other things. I teach, I do some public speaking, and I sit at this computer dreaming up creative ways to make sure I am not forgotten in the huge and competitive art market. It’s a balancing act. How to ‘keep it real’, and not fall into the commercial maelstrom that eventually sucks our creativity and will to live?

In this way I feel very lucky. I happen to love social media. If they could find a way to insert a chip to keep me eternally connected, I would probably go for it. This obsession for connection probably comes from my lifetime of moving around… most of my dearest friends live in other towns, some of them far away, and email and facebook are perfect for keeping in touch. But now it’s gone deeper – I have decided that it will be an extension of my creativity – so now, it’s not only a necessity… it’s actually fun. And it helps me put food on my table and gas in my car.

Outreach in all its forms is very important for a successful art career. I prefer to call it outreach, rather than promotion, because for me, it’s an extension of the communication that begins with my art. If art making was only about making money, I could think of 1,000 better ways to do it. Outreach is a way to make my art communicate to a larger audience. Reaching an audience – moving them, delighting them, helping make their lives more beautiful, more special, more meaningful – is the prime goal. It provides the most important currency for a true artist.

So a few months ago, my husband, after encountering arrogance and misrepresentation by Art Sales and Rental at Art Gallery of Hamilton (resulting in his asking to remove his exhibition from the community gallery), learned about the possibility of renting a large corner window. This enormous space just happens to be right across the driveway from the main AGH entrance. May was the perfect month to rent it, coinciding with the big Spring Art Gallery of Hamilton Sale, to which neither of us was invited this year. We felt this would be the right opportunity to make a statement about the AGH Art Sales and Rental’s current lack of support and respect for local artists.

Window at King St and Sunset in Hamilton, ON

Janusz set it all up… every inch of space was carefully and lovingly planned. Our contact information is there, including QR codes for the Smartphone set.   The photo on Facebook has so far generated nearly 40 likes and a dozen comments. We consider it our ‘outreach gallery’. Let’s see how it all plays out, around the AGH Art Sales and Rental Spring Sale. Our work will be there until the end of May.

So – for us – this is how we are ‘keeping it real’. Trying to accomplish a lot with a little, while not drifting into the dead zone of commercialism. It keeps us engaged and having some fun. And it plays in nicely with my firebrand husband’s political side… in a subtle and quiet way.

So what do YOU think? Sometimes I wonder if anyone reads these posts. Your comments will be much appreciated!

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Posted in Art making, Available work, Exhibitions and shows | 4 Comments »

Don’t judge a book….

Sunday, April 29th, 2012

Well I’m back from a hectic 48 hours of teaching two one-day workshops and presenting one trunk show in St Marys. Yes, tired. Yes, happy. Hoping I accomplished all I set out to do, to the best advantage for everyone in spite of a rocky start.

Now, I have significantly altered this posting since I first wrote it. It was suggested it might be misinterpreted by residents of St Marys and for this I profoundly apologize. My intention was to find humour in a stressful situation, but this was NOT the way to do it! I would love nothing more than to spend more time in this jewel of a town. My dream is to book 3 nights at a B&B and just walk the entire village, along the river, around the train station and that beautiful park, and try out every restaurant.

Queen Street, St Marys

On to my story:

Thursday morning, I decided to check at which door I should unload Friday morning at the Pyramid Centre, where the Quilt show was also being held, a huge complex with many entrances. This is when I first learned my workshops were not at the Pyramid Centre, but at the Masonic Hall. This shook my composure: what if I hadn’t asked? Showing up at the wrong address before a workshop is my idea of a nightmare.

from sandykumskov.com

So, rattled, new map in hand, I decided to head out to St Marys that very afternoon instead of the next morning as I had planned. Quickly booked a B&B on Google. My intention was to check out the Quilt show, find the Masonic Hall, and have dinner then a quiet evening at the B&B.

Hathaway House B&B

It takes around one and half hours to get from Dundas to St Marys and I took a new-to-me country route to get there, a beautiful drive. The Piecemakers Quilt show at the Pyramid Centre in St Marys was in full force, and I ran into lots of friends. The display was huge! On to the Masonic Hall, which at first appeared an unpromising structure… Peeking in, I wondered: will it be big enough? will those small tables accommodate sewing machines, cutting boards, and the ever expanding materials of my participants?

As I have learned so many times in the past, things are rarely as dire as I imagine they will be. I arrived promptly next morning, and the custodian unlocked the door to an immaculate interior. It was one of the best-lit spaces I’ve ever seen. There were extra tables available from storage and we quickly had the place ready for the class. The first group of 9 were easily accommodated, and the second group of 15 were tight but not inconveniently so. Both groups were eager, creative and productive:

View from my station

A froth of netting

Sandra, the workshop organizer, was a whizz at helping with sewing machine issues, and we had great fat sandwiches from a local Cheese shop for lunch. One of the highlights was the presence of some good friends, one of whom had registered her 14-year-old son, Chris, who dazzled everyone with his innovative use of colour and sense of design.

So – happy campers all around. My Trunk Show on Friday evening, despite dark warnings that ticket sales were slow, was very well attended, with around 70 visitors. It was an alert, engaged audience and I enjoyed every minute.

I’m in recovery at the moment, having unloaded the car and rehung my work in the Studio. I’m looking forward to a long walk on this gorgeous day.

What’s next? Not sure yet… got a few irons in the fire, and some ideas… but for now, I’ll be kicking back, checking in with friends… and watching the birds at the feeder.

(By the way, if you plan a visit to St Marys, may I recommend: Hathaway House B&B, and the Black Angus Restaurant.)

 

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Posted in My workshops, Public speaking | 3 Comments »

Getting ready

Wednesday, April 25th, 2012

For the past few days, I’ve been preparing workshop materials for my two one-day classes in St Marys (for the Piecemakers Quilt Show) coming up on Friday and Saturday. I like to have fresh demonstrations ready for every workshop I teach… it keeps me challenged and allows me to try out new teaching techniques. My workshops have changed a lot over the years as a result of constant experimentation. I always tell the participants they are guinea pigs for all my crazy ideas.

For each workshop, there at least three hours of preparation, even if I’ve taught the subject dozens of times. I always have new samples to show and lots of finished work for people to see. I’m working on expanding my subject matter as well… more workshop options are coming up!

I have no idea what the facilities will be like at the Centre in St Marys… it’s always a creative challenge, setting up in new spaces…. let’s hope the lighting is great and the coffee is flowing!

This coming weekend I will also present a slide talk and trunk show, “The Sylvan Spirit: Trees as inspiration for textile art”. It will take place at the Pyramid Recreation Centre in St Marys at 7pm on Friday, April 27. The entry fee is $5, and everyone is welcome! I hope to see you there!

Workshop at Royal Botanical Gardens, 2010

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WORKSHOPS AND BREAKING NEWS!

Saturday, February 18th, 2012

Hello there,

Been a long time since my last post. Good reasons for that, including the fact that at this very moment I am working on a new website, soon to be launched. From that moment on, I will be able to do all the updates, all by myself! Welcome to the New Age!

So, for now, below are my latest upcoming events. On my new website I will also be able to provide links to the Application forms and supply lists for my workshops… but for now, just email me and I will send them to you as attachments.

Thanks, and see you soon on the ‘other side’!!!

Lorraine

Lectures and Presentations
“The Embroidered Tree: My Journey with Science and Art”
for the Plant Agriculture Lecture Series offered by the University of Guelph, Guelph, ON
Friday, April 13, 2012 at 3:00 pm
This free event will take place at the Arboretum Centre. This is the first time a textile artist has been asked to do this kind of presentation!
“Stitching the Sylvan Spirit”
Lecture and trunk show, as part of The Piecemakers’ Quilt Show
St Mary’s, ON
Friday, April 27, evening Time to be announced.
Workshops
Basic Net Collage – Two one-day Workshops
April 27 and April 28, 2012
Location: St Mary’s, ON
Please click on the link for more information or to register.
BASIC NET COLLAGE WORKSHOP – A Two-day workshop
Saturday, May 26 and Sunday, May 27, 2012 9:30-4:30
Location: Dundas, ON
Please reserve early to avoid disappointment!
Contact me for more information.
Upcoming Workshops in Edmonton, AB and Vancouver Island, BC …. October 2012….. details coming up soon!

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February 2011

Thursday, February 3rd, 2011

First, here’s a link to a nice interview with me on the World of Threads Festival website. This International festival is a bi-yearly event that happens in Oakville, a town not far from where I live. I’ve been participating in it for years as an exhibitor, speaker, and juror. Each year it gets better. I am getting harder and harder to please with textiles, and yet last year’s showing just blew me away!!! So if you are a textile artist I strongly recommend that you visit the event if you can, enter your work in Common Thread exhibition or keep an eye on what’s happening there (even if you’re from VERY far away)…. I have a strong feeling that this year’s festival is going to be a knockout.

Also, I will be teaching a 3-day workshop in London, Ontario this coming May, as part of the Gathering Threads conference organized by the Canadian Embroiderers’ Guild. I suggest booking early for any of their events and workshops – they are filling up fast!

OK! Down to the day’s discussion.

The Gathering Thread interview stirred up some great topics and got them buzzing around in my head. This is why I rarely turn down interviews, especially those that go beneath surface. First of all, it’s flattering that someone, anyone, might be interested in what I’ve got to say. Heck, how often does THAT happen? And the other thing is, especially with the written ones, they cause me to really think about the reasons why I feel as I feel. Most of the time, space constraints don’t allow me to put it all in the interview, so I’m going to make a list and do it here in my blog.

Why I love my technique

The most important quest for any artist is to find a medium that resonates with her vision, her abilities and her personality. I love my technique. I do.

And after a lot of thought, I believe this is why: from start to finish, there is a lot that ‘just happens’. That is to say, chance plays an important role in the finished product. For example, although I have a huge, and I mean huge, collection of fabrics, I rarely have ‘exactly’ the right colour envisioned for the piece. Or it’s there and can’t be found, in spite of the relative order of my storage system.

So what’s a girl to do? Go out and buy new materials each time? Not an option… the nearest fabric shop is a good 20 minutes’ drive and in the heat of the creative moment I am not a good risk behind the wheel. SO – I make do. Yes, I make do with what I have. And this just happens to be the most important and salient and exciting part for me: the medium itself, the fabrics I have now, become part of a ‘conversation’. I am no longer the dictator.

This way, my process begins to record where and how I am at the moment, with the materials I have, with the machines, studio and life that I’ve got. Me, and my life, not ‘just me’. By pushing it just a bit further, by using scraps that are just lying around, cutting them in a random way, throwing them on instead of carefully placing them, sewing over them in unplanned patterns and lines, letting the raw edges fray, going for BOLD rather than FUSSY… I live in the moment, turn the ego off and experience a direct connection with the muse, no longer getting in my own way.

Letting go is exhilarating. It means accepting the risk of failure. It means overcoming obstacles in new ways. It means learning to live with and embracing imperfection. It’s the ONLY way to exceed my own entrenched ideas. Plus, no problem worrying about running out of this or that. I KNOW nothing is going to impede my creative energy.

I think all life should be like that … as in art, so in life. Or so I hope. As I explore this idea in my art practice, every day, I hope snippets of ‘letting go’ will drift into my daily life. In that way, art is definitely my teacher.

I know there are all kinds of great new products out there, glues and sprays and sparkly things, tools and machines and threads and storage options… There are all kinds of ways I might be able to ‘improve’ how I work, do it better, faster, quieter, bigger…. but I resist, for all the reasons above: those ‘things’ will find their way to me if they are meant to. Otherwise, I am fine, content and free of want.

That’s all for now… It’s winter, the most beautiful of seasons. Stay warm and we’ll talk again soon.

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Posted in Art making, Exhibitions and shows, My workshops, Philosophy | No Comments »

JANUARY 2011

Sunday, January 16th, 2011

    Just lately I’ve been reading plenty of blogs, many of which are, at least to me, beyond inspiring. and beautifully written. They put me to shame! AND they are filled with all kinds of fascinating details. So where do I fit in? So far I’m not even updating by the month, let alone every day, and what to write about? My list of resolutions for this year was so long, I simply couldn’t face adding “To blog, every single day, or at least often enough to keep on radar.” Sadly, all I can do is my best, which is going to fall short of all expectations, including mine.

    Well, at least I can tell you a bit about what I’ve been up to for the last few weeks. Back in November a tall, beautiful couple approached me, having noted a photo of my work in the local newspaper a few years ago. (This happens a lot! The three year wait period is a standard joke around here lately.) They knew exactly what they wanted and where, and today my husband and I installed a triptych in their master suite. And I must say, it is gorgeous! Very few things are more satisfying than fulfilling a commission that ends up looking even better than anticipated.

     People often ask how it feels to do commissioned work. Many believe, sometimes rightly, that it must be uncomfortable and limiting for an artist to create on demand – particularly in cases where clients might wish to match their decor, or force her to deviate from her usual work. Well I’m here to say that in most cases, I’ve found the process fascinating and empowering. It’s all in how you look at it. It’s an opportunity to allow another person who may never have had the chance, to enjoy the power and joy of creation. My clients become active participants in the process, co-creators and collaborists. It’s a different way of working but not one bit less satisfying. One of the side benefits is that, more often than not, I get to stretch my own limits and try out ideas I may never have explored before. Maybe because of this attitude, I am starting to draw new clients who want customized art – I have had more commissions in the past year than ever before.

Having said that, I can empathize with horror stories I’ve heard from artists who were required to bend over (ahem) way too much. I was once asked if I would make speaker covers featuring Marilyn Monroe and Elvis… true story! Never mind… it gave me something to write in this blog, so, not a complete loss after all, eh? 
Or, there are artists whose vision is entirely focused on a particular path that will not accommodate other views. Perfectly understandable… most of the artists I know don’t like working on commission. As sensitive as artists can be, it is impossible to get inside a client’s head and ‘see’ what they want to see. Mistakes are made all the time. One of the ways I deal with this fear is that I don’t require clients to purchase the piece if it doesn’t suit them. Now I KNOW that’s something no one and I mean no one would ever recommend. But, doing it this way gives me peace of mind. I am then free to work on the piece to the best of my abilities, and finish it with my own aesthetic values at the fore. At least at that point I have satisfied myself. And although no client of mine has ever exercised that option, I am prepared to face the possibility with a calm spirit. For sure, if I love the work, it will eventually find a good home.

Well, there isn’t much else happening around Hillcrest Studio but Studio work. So far, my next registered event is a 3-day workshop that I will teach in London in May. You can get more details by checking Upcoming Events on this website.

So… till next time, hopefully sooner than later!

Lorraine

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