Sunday, July 12, 2009
How Much Practice?
10,000 hours, apparently.
I enjoy Malcolm Gladwell's books: The Tipping Point, Blink (my favourite) and his latest (which I'm just reading) Outliers - The Story Of Success (which I'm not enjoying so much).
In this latest book, he explores the factors that go into making some people exceptionally successful. It seems to hinge on a few crucial twists of fate, the time and culture they grow up in and the way they spend their time.
Another factor is that most of the successful people he investigates have worked at or practiced their skills for around 10,000 HOURS! On average, that's at least three hours a day for ten years. Practicing.
It seems that's what it takes.
They say that practice makes perfect.
But perfect at what?
I've been thinking about this since I wrote a few days ago about practicing the piano.
If I'd practiced for half an hour each day - as I was supposed to - I have no doubt that I would have been a better pianist. If I'd practiced for 10,000 hours, I daresay I would have been a very competent pianist. But would I ever have been great? Or successful? And is that what it was about?
With art, I like to go out sketching and if I do it often enough, I get better at it. I know this.
I could draw for 3 hours a day for a decade.
I could go to life classes and take lessons.
And I might do.
In the end I might be very competent at drawing - technically very accomplished. I could look at something or someone and produce an accurate likeness, probably in a variety of media and variety of styles. And I'm sure that would be impressive.
But would that make me an artist?
I enjoy Malcolm Gladwell's books: The Tipping Point, Blink (my favourite) and his latest (which I'm just reading) Outliers - The Story Of Success (which I'm not enjoying so much).
In this latest book, he explores the factors that go into making some people exceptionally successful. It seems to hinge on a few crucial twists of fate, the time and culture they grow up in and the way they spend their time.
Another factor is that most of the successful people he investigates have worked at or practiced their skills for around 10,000 HOURS! On average, that's at least three hours a day for ten years. Practicing.
It seems that's what it takes.
They say that practice makes perfect.
But perfect at what?
I've been thinking about this since I wrote a few days ago about practicing the piano.
If I'd practiced for half an hour each day - as I was supposed to - I have no doubt that I would have been a better pianist. If I'd practiced for 10,000 hours, I daresay I would have been a very competent pianist. But would I ever have been great? Or successful? And is that what it was about?
With art, I like to go out sketching and if I do it often enough, I get better at it. I know this.
I could draw for 3 hours a day for a decade.
I could go to life classes and take lessons.
And I might do.
In the end I might be very competent at drawing - technically very accomplished. I could look at something or someone and produce an accurate likeness, probably in a variety of media and variety of styles. And I'm sure that would be impressive.
But would that make me an artist?
Wednesday, July 08, 2009
Reflections on the art market
I've just realised how bad the art scene is in Cardiff. I was planning to visit a few galleries and as I went through them in my mind, I realised how many of them are not there any more!
One of the longer-established galleries has laid off its only full-time employee and cut its opening hours to just 3 days a week. Another gallery in the city centre opened for a few months and then closed. Another in the Bay - that was only open for about a year - has recently closed, though they are planning to relocate and reopen. We'll see.
I'm sure there are lots of reasons for these closures, but the bottom-line has to be that the bottom-line isn't adding up. Each of them seemed to have no shortage of artists wanting to show in them, but a severe shortage of people going to view the exhibitions and buy works of art. The 'credit crunch' has abviously exacerbated the situation, but it was a trend long before that.
I've been looking at some research carried out by the Arts Council, regarding the visual arts and crafts. It dates back to 2005 / 2006 and it indicates that the trends were already there.
The key findings were:
Those who engage with the visual arts are typically white, well educated and of high social status;
One of the longer-established galleries has laid off its only full-time employee and cut its opening hours to just 3 days a week. Another gallery in the city centre opened for a few months and then closed. Another in the Bay - that was only open for about a year - has recently closed, though they are planning to relocate and reopen. We'll see.
I'm sure there are lots of reasons for these closures, but the bottom-line has to be that the bottom-line isn't adding up. Each of them seemed to have no shortage of artists wanting to show in them, but a severe shortage of people going to view the exhibitions and buy works of art. The 'credit crunch' has abviously exacerbated the situation, but it was a trend long before that.
I've been looking at some research carried out by the Arts Council, regarding the visual arts and crafts. It dates back to 2005 / 2006 and it indicates that the trends were already there.
The key findings were:
Those who engage with the visual arts are typically white, well educated and of high social status;
There is a strong regional effect in the case of art exhibitions, museums, galleries etc. - those living outside London are a lot less likely to attend.
The visual arts venues are not seen to be relevant or accessible to a majority of the population. This is backed up by findings which showed that a large number of people believe that the arts are ‘not for people like me’.
The conclusion is that:
"A range of different strategies are therefore required if we are to overcome both the practical and psychological barriers to engagement with the visual arts."
My aim is to make a living as an artist. I've identified a number of ways of doing this and I'm in the process of developing strategies and frameworks for making these work in practice and on a sustainable basis. This means developing new models and methods - which I hope will be useful to me and to other artists that I want to help and support.
The old way of doing things - particularly the gallery system - is no longer working so it's futile to continue putting time and energy into it. A lot of creative thinking, energy and effort needs to go into developing new ways of doing things that are better suited to the current zetgeist ("the spirit of the time; the taste and outlook characteristic of a period or generation").
This is some of what's bubbling away in the background as I wait for a number of things to click into place.
Monday, July 06, 2009
I Have No Style
When I was young (primary school age) I took piano lessons. I was pretty good, too ... passed exams, got grades and all that. My Dad wanted to send me round the pubs, to make some money off me. Better than going up the chimneys or down the mines, I suppose. Fortunately, we moved and had to sell the piano.
My piano teacher was Hirioth Davies and she lived up "The Pitching" (an old, cobbled street up the side of a steep hill) in Llantrisant. She had a long pencil (about a foot long) that she used to annotate the music, to keep time, and to rap me over the knuckles with when I made a mistake.
That happened a lot because I didn't practice as much as I should have.
I was supposed to do half an hour's practice every day. Yeah right.
First I had to do scales. Up and down the keyboard practicing fingering and developing what I now know as 'muscle memory'. Eventually I would instinctively know where the notes were, how to get to them, how to combine them , how to transpose from one key to another.
This led on to practicing specific pieces of music. Usually classical. Starting out clunky and cacophonous, eventually I would get the hang of it and then be able to play with greater fluidity and expression.
As I developed my abilities, I was able to tackle a new piece of music more easily and get the hang of it more quickly. In the later stages, in exams, I was able to sight read pieces of music I had never seen before.
Pretty cool, huh? Imagine how good I would have been if I'd actually put in the practice!
My piano teacher was Hirioth Davies and she lived up "The Pitching" (an old, cobbled street up the side of a steep hill) in Llantrisant. She had a long pencil (about a foot long) that she used to annotate the music, to keep time, and to rap me over the knuckles with when I made a mistake.
That happened a lot because I didn't practice as much as I should have.
I was supposed to do half an hour's practice every day. Yeah right.
First I had to do scales. Up and down the keyboard practicing fingering and developing what I now know as 'muscle memory'. Eventually I would instinctively know where the notes were, how to get to them, how to combine them , how to transpose from one key to another.
This led on to practicing specific pieces of music. Usually classical. Starting out clunky and cacophonous, eventually I would get the hang of it and then be able to play with greater fluidity and expression.
As I developed my abilities, I was able to tackle a new piece of music more easily and get the hang of it more quickly. In the later stages, in exams, I was able to sight read pieces of music I had never seen before.
Pretty cool, huh? Imagine how good I would have been if I'd actually put in the practice!
Now I'm learning to make art instead of music.
I go out sketching most days and, to me, that's like practicing my scales. I usually sketch the same things over and over again - landscapes and tree trunks mainly.
But I've been worrying that I don't sketch in a defined style. Or rather, that I do for a while and then it changes.
Lately, my landscape sketches have been much more fluid and colourful - using ink and coloured pencils, rather than pens or charcoal. My tree trunks are more linear and I'm using ink and wash rather than pencil.
But now I'm thinking that this is all part of the process and that it's OK ... necessary, even.
When I learned to play scales, I learned different, more complicated ones as I progressed. This enabled me to tackle more difficult compositions. That's what it's like with my sketching. I'm developing a broader range of skills that will enable me to tackle different pieces of work.
Perhaps it's not so much that I don't have any style ... it's that I have many styles ... depending on what I want to do.
I go out sketching most days and, to me, that's like practicing my scales. I usually sketch the same things over and over again - landscapes and tree trunks mainly.
But I've been worrying that I don't sketch in a defined style. Or rather, that I do for a while and then it changes.
Lately, my landscape sketches have been much more fluid and colourful - using ink and coloured pencils, rather than pens or charcoal. My tree trunks are more linear and I'm using ink and wash rather than pencil.
But now I'm thinking that this is all part of the process and that it's OK ... necessary, even.
When I learned to play scales, I learned different, more complicated ones as I progressed. This enabled me to tackle more difficult compositions. That's what it's like with my sketching. I'm developing a broader range of skills that will enable me to tackle different pieces of work.
Perhaps it's not so much that I don't have any style ... it's that I have many styles ... depending on what I want to do.
Monday, June 29, 2009
These days are slow, work-wise. Things are humming quietly but I'm not feeling as driven as I was a few weeks ago.
Several things are about to click into place.
In a month or two I won't have much free time, perhaps for quite a while.
Well, that's the way I like it.
Different times, different rhythms.
Several things are about to click into place.
In a month or two I won't have much free time, perhaps for quite a while.
Well, that's the way I like it.
Different times, different rhythms.
Saturday, June 20, 2009
Further thoughts on the UCA Farnham Summer Show
At the Summer Show I was keen to see what was happening in the Fine Art department. Overall, I was disappointed.A few things struck me: one was the lack of painting - there were only 2 paintings in the whole Fine Art exhibition. The second was the conceptual nature of much of the rest of the work, with no obvious point of access into it. The third was that the artists were nowhere to be seen so there could be no dialogue with them.
In the Textiles department, the preparatory work and research was an integral part of the display, with the result that you could get a handle on what was being represented. Also, the designers generally hung around the exhibition and were willing to talk about their work. Perhaps the difference is that their work is more commercial and part of their development is learning how to explain ... and sell ... what they are doing.
If that's true, then I can only guess that the fine artists are not interested in personally presenting and selling their work.
It's not easy to read a picture. Or any piece of art. There's a visual language, set in a personal and cultural context, that needs to be understood - at least to some degree - if the work is to be appreciated. I know there's a school of thought that says a picture should be allowed to speak for itself, but I don't agree with that and it's not the approach I'm taking.
All this has made me think about what I'm doing.
For me, as I've mentioned before, it's about getting some ideas 'out there' to debate and test them - and hopefully improve them. My primary medium is the visual arts - though I won't be restricted to that.
I want there to be a conversation and a connection about those ideas. This may or may not result in a sale (though often it does).
I'm not sure a passive gallery display will ever achieve that.
I want to have conversations about my art in the studio, in a coffee shop, around the table ... preferably with lots of food and wine.
I'm figuring out how best to do that.
At one of my exhibitions, I complained that no -one asked me any questions or made any comments. Someone told me that they didn't think they were allowed to talk to the artist. I understand that - and the gallery environment can add to that sense of intimidation and unease. That's another reason I think it's important to find different ways of presenting art - at least in my case.
When I post my pictures on my blog, I don't do it like you're supposed to. The photos are pretty poor quality (though I want them to be better); I don't give any details of size, media, price or how to purchase should anyone wish to. I'm just giving a glimpse of what I'm doing and what I'm producing. I don't want my art to be reduced to a high-res image and a set of dimensions. I don't aim to sell art from this blog. I just use it to tell stories and give a bit of background and context.
I want to create environments and opportunities for people to see my pictures 'in the flesh'; to hold them, to touch them, to feel free to ask questions and make comments.
At one of my exhibitions, I complained that no -one asked me any questions or made any comments. Someone told me that they didn't think they were allowed to talk to the artist. I understand that - and the gallery environment can add to that sense of intimidation and unease. That's another reason I think it's important to find different ways of presenting art - at least in my case.
When I post my pictures on my blog, I don't do it like you're supposed to. The photos are pretty poor quality (though I want them to be better); I don't give any details of size, media, price or how to purchase should anyone wish to. I'm just giving a glimpse of what I'm doing and what I'm producing. I don't want my art to be reduced to a high-res image and a set of dimensions. I don't aim to sell art from this blog. I just use it to tell stories and give a bit of background and context.
I want to create environments and opportunities for people to see my pictures 'in the flesh'; to hold them, to touch them, to feel free to ask questions and make comments.
No pressure to buy ... just bear in mind that I'll die of hunger if you don't.
Tuesday, June 16, 2009
University for the Creative Arts Farnham Summer Show 2009
I went to view this annual exhibition at the University for the Creative Arts at Farnham. Work was being shown from all the 3rd year BA students, and included Fine Art, Interior Architecture & Design, Ceramics, Glass & Metalwork & Jewellery, and Textiles for Fashion & Interiors. It was the last category that I was particularly interested in because my daughter, Jo, was on that course and was exhibiting her work.
The Textile Design course combines print and weave. Textiles are designed for fashion, interiors, fine art and architectural contexts. It's a very innovative course that develops practical design and production skills with a strong business orientation.
It has been interesting to see how Jo's thinking, experience and skill have developed and improved over the three years. She's also enjoyed the course and has often talked enthusiastically about the other students. I was looking forward to meeting them and seeing some of their work. According to the tutors, they were a particularly good group.
And it showed in the exhibition. It was amazing. There was so much variety, so much creativity. Different types of printed and woven fabrics displayed in many different ways and intended for many different uses. There were final samples together with many of the research elements. Some of this was in sketch books, photos, and videos. So many stories were being told and ideas being explored. Two that stood out to me were the girl who designed her whole project around smoking and cancer ... producing fabrics that were beautiful but that held a powerful message ... and the girl who printed onto dissolvable fabric and then threw it into the sea. The material dissolved leaving the design on the water and the rocks until that too washed away. She captured all of this in photos and on video.
All the students were artists, who had chosen to work with textiles as their medium.
The other thing that struck me was how much mutual support, encouragment, challenge and praise there was amongst the Textiles students. Although they were all highly individual - as people and in the work they produced - they'd created a real studio environment. I was envious!
Jo's Project Aim was:
"To produce a collection of textile samples which will be used for menswear - playing on the contradictions between traditional and contemporary menswear and printed and constructed textiles; keeping an element of humour and surprise in my prints and fabrics.My collections demonstrate my varied influences such as tailoring, sportswear and streetwear. They fill a gap in men's everyday wardrobes for fashion forward clothes that are wearable in terms of design and also functional - protective, reversible, warm and comfortable."
(see some of her work at http://www.joanne-aguilar.blogspot.com)
I'm not at all biased, but her work was the best in the whole show. Obviously.
Much of the work from the Summer Show will be shown at New Designers in The Business Design Centre, Islington on 9th - 12th July. This is a commercial show where the best young designers from across the country exhibit their work and connect with industry professionals. For more info visit http://www.newdesigners.com/page.cfm/Link=1/t=m/goSection=1
The Textile Design course combines print and weave. Textiles are designed for fashion, interiors, fine art and architectural contexts. It's a very innovative course that develops practical design and production skills with a strong business orientation.
It has been interesting to see how Jo's thinking, experience and skill have developed and improved over the three years. She's also enjoyed the course and has often talked enthusiastically about the other students. I was looking forward to meeting them and seeing some of their work. According to the tutors, they were a particularly good group.
And it showed in the exhibition. It was amazing. There was so much variety, so much creativity. Different types of printed and woven fabrics displayed in many different ways and intended for many different uses. There were final samples together with many of the research elements. Some of this was in sketch books, photos, and videos. So many stories were being told and ideas being explored. Two that stood out to me were the girl who designed her whole project around smoking and cancer ... producing fabrics that were beautiful but that held a powerful message ... and the girl who printed onto dissolvable fabric and then threw it into the sea. The material dissolved leaving the design on the water and the rocks until that too washed away. She captured all of this in photos and on video.
All the students were artists, who had chosen to work with textiles as their medium.
The other thing that struck me was how much mutual support, encouragment, challenge and praise there was amongst the Textiles students. Although they were all highly individual - as people and in the work they produced - they'd created a real studio environment. I was envious!
Jo's Project Aim was:
"To produce a collection of textile samples which will be used for menswear - playing on the contradictions between traditional and contemporary menswear and printed and constructed textiles; keeping an element of humour and surprise in my prints and fabrics.My collections demonstrate my varied influences such as tailoring, sportswear and streetwear. They fill a gap in men's everyday wardrobes for fashion forward clothes that are wearable in terms of design and also functional - protective, reversible, warm and comfortable."
(see some of her work at http://www.joanne-aguilar.blogspot.com)
I'm not at all biased, but her work was the best in the whole show. Obviously.
Much of the work from the Summer Show will be shown at New Designers in The Business Design Centre, Islington on 9th - 12th July. This is a commercial show where the best young designers from across the country exhibit their work and connect with industry professionals. For more info visit http://www.newdesigners.com/page.cfm/Link=1/t=m/goSection=1
Saturday, June 13, 2009
Another 2 pictures
I'm still producing "Images of Earth and Spirit" pictures. I'm working with my visual language, with small variations each time as my vocabulary grows.
I have too many ill-defined thoughts to put into words, so I'm making art to find out what I think. My thoughts are visual, not verbal, though there is a constant commentary running through my mind.
I'm 'seeing' new (for me) concepts and constructs. I hope they will translate into some kind of reality in terms of how I see myself and what I do.
I know exactly what I want but, as yet, don't know how to do it. Actually, that's not true. I know how to do it, I just don't have the resources to do it at the moment.
When I go out sketching I'm working in a much looser style and using colour. That's how I see things. But there are still fences to get over.
I'm working on it.
