Make Something or Make Something Happen

Sometimes you feel like life has every deck in the world stacked against you.

It doesn’t.

Sometimes you feel like everyone is out to get you.

They aren’t.

Sometimes you feel like you just can’t do anything right.

You can.

It’s about pushing yourself forward. It’s about consistency. It’s about sticking to your guns. It’s about time and it’s about life.

Not everything you do in life is going to be a complete success. You will fail. Get over it and move to the next thing.

What you absolutely don’t want to do is not do anything at all.  You don’t really want to just wake up, go to work, go home, eat dinner, go to bed, rinse and repeat…do you?

Make something or make something happen.  Otherwise you’re just a cog in a wheel.

Do We See What We See?

Do we see what we see?

I’ve been thinking about the photography and the art that I’ve been drawn to lately and I try to break down fundamentally what it is exactly that I like or love about that particular piece. It helps me to create works that I’m more likely to enjoy rather than work that is just good.

As I examine these other art works by various other artists in a myriad of mediums I see many correlations between them all. This isn’t easy because I have to sift through the debris.

Is it the composition?

I do find that I am a fan of thoughtful composition, especially in photographs, but am not convinced that compositional awareness is always key to discovering works that I enjoy. Sure, the composition of the work needs to be solid, or at the very least it can’t really be distracting, but there’s more.

Is it the subject?

When I look at the photographs that I “fave” in flickr I find that I often “fave” many many portraits of young women. But I don’t really feel that it’s the women in the portraits that I’m drawn to. Not in a classical sense or perhaps a sensual way. Sure, most of the time those portraits are of beautiful women but I find that most of those are self portraits. Perhaps it’s a reverse narcissism of sorts. I don’t do many self portraits myself even though I do know that I am a fairly attractive man. There isn’t much to be ashamed of except for an additional inch or two in the belly. Maybe it’s a jealousy I have of the beauty of women that I don’t see in myself? The curves and the softness that I just know I couldn’t pull off in a self portrait.

Perhaps it’s about a vantage point that I don’t have?

I’m talking about various views that we can have as we go through our typical days. I live in a small city and I long for a bigger city so when I see those ultra hip metropolitan lifestyles displayed I throw myself at the image. I find that I do this with various cityscape photographs, landscape paintings, and just about anything else that seems otherworldly to me.

Is this just the typical response of art? Do we view art and enjoy it more if there’s a connection or if there’s a longing?

What am I longing for?

I know I should be happy with where I’m at in life. I have a wonderful wife and two absolutely beautiful children with a job that pays well. We’re finalizing the paperwork on our new house and there is a very comforting feeling that real roots are being planted. I’m excited to find that Heather and I are in such a great place relationship wise, family wise, and financially.

There we go again. I try to analyze myself as an artist and I only see myself as a family man. Should be nothing wrong with that but I find it somewhat frustrating that I can’t seem to separate the two.

Maybe I’m not supposed to.

Ramblings like these really help to sort things out in my head.

I should do this more often.

Creative Genius

Is there a creative “genius” inside of us or does this “genius” reside outside of our minds and bodies waiting for a special moment in time to act with or without our knowledge?

That’s a question that Elizabeth Gilbert puts to her audience at TED.

The idea of “having a genius” and not “being a genius” in the realm of creativity is something I’ve never looked at before.

As artists is it possible to throw away our narcissism and allow for the brilliance to come as it may?

I’m not talking about becoming lazy about our work, and neither is Elizabeth (insofar as I can tell) rather, I’m talking about pushing through those “blocks” that we stumble over as we work to create the things that we cannot keep ourselves from creating.

I’ve seen almost every TED talk and I found this one hit me more personally than any other I’ve seen.  Truly the words and the feelings that Gilbert spoke resonated throughout the creative community. 

I haven’t yet created my masterpiece.  As I look through my work I see improvements in vision, application, technique, and presentation but they don’t improve at a steady rate.  That is to say, that the ebbs and flow of learning and honing a craft can come with great frustrations along the way.

We see our progress but we also see our digress with eyes that would magnify our failures much more easily than they would magnify our success. 

At times it’s almost easier to feel like a failure and give up than to struggle through this creative process and get more work done.  But I can’t stop working.  I’ve tried to “give up” and I sucked at it.

Without the outlet I become unpleasant.  I lose my self.

When I ponder the idea that I can just create, I can just work, I can just move along at the pace that I need to and that “genius” will come and go at it’s leisure I get a sense of relief.

I don’t know if I’ll be able to just let the muse come and go, but I’m gonna try.  For that, I thank Elizabeth Gilbert.

Being Safe, Being Extraordinary, Being Both

As creative professionals we tend to want to do everything our own way.  It’s in our nature really.  We’ve struggled and struggled with creatively becoming individuals that are extraordinary in every effort to stand out from the crowd.

Our work is important.  It is original, and deserves attention.

These traits are embedded in artists either through nature or nurture.  It’s why we’re so “weird”.  I hate it when people say that.

Often times these traits are what makes artists stand out from the crowd.  That tends to make us a little proud whether we admit it or not.

Here’s the thing.  Your marketing of artwork shouldn’t be left to chance.  This is something you shouldn’t go 100% against the grain.  That doesn’t mean you shouldn’t experiment.  By all means please put your creative brains to use and work on innovative marketing and advertising for your artwork.  But trust some of it to a more stable form.

The question is this.  Do you want to be safe or extraordinary?  Can you do both?

Use what works for others as you try to establish your foothold as an artist in this crazy web 2.0 world.  Try a percentage split you’d be happy with.  Maybe put 50% of your effort into something tried and true while leaving the remaining to split amongst various other methods.  Keep in mind you may be leaving money on the table in pursuit of a big payoff so channel the inner gambler and go what is most comfortable with you.

Defining Fine Art Photography: Introverted

Photographers can fall into many arrays of category as their hobby or profession would designate. As I work my way into the realm of Fine Art Photography it seems there is a buzz around the photo-blogosphere asking What is Fine Art Photography?

Defining myself as a Fine Art Photographer came with a deep look into many different aspects of this same question.

Was it the process?

The process of producing images takes on a whole different meaning than say “taking pictures”. Conceptualizing an image from the moment of capture to print should, perhaps, maintain an integrity consistent with evoking feeling. The particular feelings produced by an image, possibly deemed “Fine Art”, don’t themselves define the print as art. The photographer deems works of art as art, but who agrees?

Is it the viewer?

I think there could be an argument that the viewer of the print, or image as it were, might in fact be the best judge of what should or shouldn’t be deemed Fine Art Photography. So what if the viewer isn’t classically trained in the aspects of aesthetics, design, or composition? Shouldn’t the general public define what is Fine Art in general? Hasn’t it always been so?

Not necessarily. In the past there has always been a small group of people that have pushed the artist before the general public. Before the vast expanses of the Internet we, as a society, were told who was an artist and who was a hack. Now, anyone with an Internet connection and some insight into social media marketing could potentially label themselves a Fine Artist. And if they successfully sell enough of their work to the general mass would that qualify them as a Fine Art Photographer?

Is there a need for validation?

I tend to think there is. But I come from a classically trained background in the world of art itself. While I have found many wonderful photographers with great skill and stunning vision I don’t necessarily think of them as Fine Art Photographers (at times I struggle to label myself in such a way). I still believe in a consensus of validation from those in the industry of Fine Art.

I believe, however, that you can label yourself as a Fine Art Photographer or produce work that is Fine Art Photography if you are placing yourself at the mercy of those who may be more qualified to validate your work (call it Fine Art Photographer in practice if you must). As I am in the process of getting together all of my prints into portfolios (you know, the real tangible and physical portfolios that you can hold) and making contacts in the industry, I will be submitting my work to panels, reviews, critics…

Does that make me a Fine Art Photographer in practice?

I think it does. One of the hardest parts of truly studying art as a profession is placing your soul on the table and letting the critics do their worst. It truly takes thick skin, an appreciation for the practice, and the ability to actually learn from an art critic. They truly do hold power in this industry and, while you will never please them all, your goal should in fact be to gain both their praise and acceptance. It truly can be an archaic process, but the tormented soul of an artist should be able to overcome all obstacles.

The upper echelon of the Fine Art World is no less competitive than any other industry. It should be held, in fact, to higher standards than most any other profession, for it can not be taught, it can only be honed. It has to be in you from the beginning.

But these are just my thoughts and questions.

Some might argue that these are tired ways and the modern view would change the Art World, turning it on its head (nose in the air and all). Maybe it will. I think the age of the Internet will in fact bring us a whole new slew of artists (some Fine Artists some not) and the world will be better for it. For right now though, you still have to get your physical portfolio into the hands of those few who can truly “put you on the map”.

The funny thing is that after you have successfully been deemed, by those in the industry, as a tried and true “Fine Artist” every work you have done prior to the acclaimed label is now acceptable as “Fine Art”.

If you’re lucky you won’t already be dead when this happens.