When I was accepted into Art School I remember my Dad remarking that I was going to be one of those lucky people who will have a career out of doing something they love. It’s funny how clearly I remember him saying that. He was right; although I hated Art School, when I eventually found myself in front of a classroom of students, I loved teaching Art. I found it such a privilege to unwrap a world of endless challenge, joy and reward for those that found it so. I remember revealing the magic when teaching black and white photography in the darkroom as an image would slowly emerge in a puddle of developer. Unveiling the first etching as the blankets were peeled back on the press bed. Teaching them step by step how to draw a face – every kid wants to be able to draw a face.
As they discovered techniques and learnt the how-to’s they gradually expanded in their ability to produce work that made them proud. When their friends visited the Art Room at lunchtime and told them how ‘cool’ their work was, of course they would nonchalantly shrug off the accolades, but my heart would glow a little for them. What a great job it was to help people feel good about themselves.
Minding the Store
Now, about 1000 years on, I have learnt a heap more about the tools to make Art and to feel good about it. Apart from knowing the elements that make a painting: design, value, colour, texture… I now understand that the most important element we must consider, learn about and practice is Mindset.
4 years ago my Dad died and I decided to get back into my own Art. Apart from doing teaching demos and advising others on their Art I hadn’t done my own work for about 7 years. I was rusty. The work I produced was clumsy and awkward. It was embued in memories of my Dad and was often splattered with tears as I grieved with brush in hand. The only thing in my favour was my determination which was driven by my epiphanous realisation that time was short.
For a year I pushed the paint around, scratched at the surface, and inched my way closer to producing work that I liked. I had little self-belief but occasionally I would see a glimmer of something that promised something better, and this kept me going. It was slow going, but gradually I was improving. Towards the end of the year I plucked up all my courage and took myself and my work to a gallery to get some feedback. You must understand just how vulnerable I was about my work. I think I would have found it easier to walk naked down the main street in town. Everything I wanted was attached to her opinion of my work. This was massive.
I had to pretend to be someone else in order to do this – it’s what I call having an outer-body experience. I was forcing myself to do something that if I stopped and thought about it, I wouldn’t do. But I knew I needed to move forward. This is how I do this kind of stuff: I don’t think – I just DO. And then at some point I’m so committed that I have to keep going and can’t opt out. I forced myself to make the phone call and make an appointment – there I was committed. Then on the day I just did one action after another, not thinking too far ahead – pack the car, don’t think…. , get ready, don’t think…. , drive with music on, don’t think…. park the car, don’t think…. I’m very obedient, rebellion isn’t an option… and after a period of what seems to be life in slow-motion I’m there talking to a lovely woman about my Art.
She liked my work and was encouraging. I was ecstatic, that little sprout of self-belief suddenly inched a little taller and pushed out a leaf.
From there, momentum gradually mounted. The following year I invested in myself, did my 2000 hours, raised the bar and by November I had my first sale. I liked my work and felt reasonably confidant.
A weekly practice
At this time I started to document my progress. I would set out each week a plan of how many hours I would spend painting and the goals I wanted to achieve. At the end of the week I would record the wins for the week. I only focused on the positive. I don’t have a column for losses or disappointments. They get couched in positive terms and become goals for the next week. EG. If I am struggling with a particular painting I don’t write down – ‘Green painting is terrible, I just can’t seem to get it going…” Instead I write, ‘Give Green painting some good time on Monday to move it on’. It is so important not to bring negativity into the studio.
What I have learnt that I didn’t know when I stood in front of school kids is the importance of a positive Mindset. To believe that there is no limit to what you are capable of. When painting, if you don’t believe in abundance you aren’t free to make changes and step into the unknown. That beautiful little corner that has appeared effortlessly in your painting becomes precious because a little voice inside is telling you that this is the best you’ve ever done and you probably won’t be able to produce that again. When you believe there is an endless supply of ‘beautiful corners’ and that having created this once you are capable of creating it again and even better, you can freely make changes to your work without fear of ‘ruining it’.
This belief is more important to the creation of good Art than the best quality paints, substrates or the size of your studio. So how do you manufacture this mindset? Like everything else you want to get good at, you practice. My weekly focussing on positives, has built my belief from the ground up. What is so fulfilling is that momentum builds with mindset and gradually as you begin to feel more free and willing to step into territory unknown, your positive list grows and so it goes.
There are still times when a voice creeps into my head to caste a shadow on my next step, but I know where that voice comes from and I know that I’m driving this bus, that voice can take a back seat. I don’t hate the voice of doubt, I recognize it as my neanderthal watchdog. Poor thing is full of fear. So I comfort it, tell it everything is fine and I can cope.
In order to move forward we have to take scarey steps, act without thinking. As we take them the fear somehow vanishes and we get to a place where we hardly recognize ourselves, or our Art. Only focus on the positive, there are no negatives. There are pointers for next steps and learning, but this is not negative. Be mindful of the words you use to describe your practice and your Art, correct any negativity with positive terms.
As well as honing your practical skills, learning about colour theory and the importance of design and value, practice having a Positive Mindset of Abundance. Your creativity is a bottomless pit, or should I say the sky is the limit, or the ceiling to your success is where you put it. Who needs a ceiling?
This year I have taken a few big steps that have been life-changing. I’ve started a facebook group called THE UPBEAT ARTISTS for Artists to share their work and encourage each other in a positive, safe place. I’ve also launched a course called stARTs where I teach 5 different ways to start an abstract painting. There is a growing vibrant community attached to that course and people are loving the new direction they are finding in their work. If you would like to learn more about this course, visit here.
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