Everyone can be a collector

Art warms a home or office space. It engages people, draws them in, as an element of comfort or of interest. It energizes an otherwise drab space, provides a sense of peace, or provokes conversation. Original art is not boring, and art collecting is not something only the 1% can participate in.

Jennifer Perlmutter Gallery May Exhibition. www.jenniferperlmuttergallery.com for more info.

Jennifer Perlmutter Gallery May Exhibition. www.jenniferperlmuttergallery.com for more info.

In a world where the latest smart phone or device is obsolete within a few months, art has staying power. It lasts, possibly generations. It creates a tradition.

Art collecting is for everyone. Whether a big painting, a dynamic photograph, or a small print, art gives light and enjoyment to one's life.

This month, Jennifer Perlmutter Gallery is featuring work at all price points for the emerging collector to start their art collecting journey. Please take a look! You won't regret it (or the art you'll buy). I have a large number of pieces available: big and small, framed, works on paper, prints, paintings, and works on canvas. Stop by! The artist reception is on May 12th from 7 to 9 pm.

Covalent, mixed media on paper, 12" x 12" framed.

Covalent, mixed media on paper, 12" x 12" framed.

How does your Ikea poster make you feel?

Recently a friend of mine asked if I ever made large paintings. She had been staring at the same IKEA poster on her wall for a few years and had suddenly realized she hated it. It had a picture of the Eiffel Tower, but she couldn’t relate. It meant nothing to her, she realized, and she was starting to figure out that maybe she wanted something she actually liked on the wall.

A few weeks later, another friend, who had recently purchased a painting of mine, confessed that she still hadn’t hung the work. In fact, she said, she and her husband had not hung virtually any work. She asked me to come over and help her hang my painting- and few others too. The  walls were pretty bare, and it was driving her nuts.

What these two stories have in common is a sense that what we look at on our walls affects us. Blank walls can feel empty, and make a home feel temporary or transitional. It makes it hard to “root” ourselves in an empty home. At the same time, when we have images on our walls that we don’t like, we can feel uncomfortable or dissatisfied in our homes. They don’t feel authentic to us, but feel fake and disconnected.

It doesn’t really matter what you put on your walls as long as it resonates with you. Art and design is completely subjective, and what works for one person won’t work with another. You might like Pop Art, Street Art or Minimal Art.

Tastes can also change over time. What thrills you one year looks dowdy or outdated the next.

This can cause one to fear making a choice about what to put on the walls of your home, or to not be sure where to put the work. But have no fear- trust your instincts.

Some things that might work are:

    • Think about your taste. Where do you like to shop for clothes? Are there brands you like? What do they have in common? Try to find art like that style. For example, if you like shopping at Anthropologie, you might like vintage or folk art.
    • Look at your space and think about where your eye naturally settles. Those are good focal points, and places for art.
    • You can mix and match styles of work. Go vintage, modern and expressionist all on one wall, hung “salon style”. Put different styles throughout your home for an eclectic touch.
    • Don’t worry too much about art “matching” your colors or space. That can be in the back of your head, but don’t let it drive your decisions. This is a home, not a hotel lobby.

Most of all, think of how the work makes you feel. Spend some time with it. Make sure the work makes you feel good.

On Failure and Success.

To be successful as an artist has no exact definition, much like in any profession, but there are several clear indicators that one is successful. Your work sells, you are featured in shows, you are written about, you as asked to do commissions, etc. You can have all of these happening or just some and be very successful.

Or, there’s another way to analyze an artist’s success. An overlooked item that indicates success: being a master of your medium and making art because it comes from an inner drive to create.

There are not a lot of true masterful artists. I know a few. They are epic in their talent, hard work and dedication to being really good. They pursue their work with gusto, with chutzpah, with gal. But the thing is, I know is that even the masters struggle. Perhaps they just struggle better than the rest of us. I cannot know.

All I know right now is that my days in the studio, working away at my art, are a huge struggle. And they feel held down by the weight that many artists seem to languish under: fear, obscurity, ego, expectations and a profound sense of failure.

I walked into the studio this week for the first time in quite a while and actually felt like I knew what I was doing. OK, kinda sorta knew what I was doing. I made a piece I am so proud of, because it is truly beautiful. But it doesn’t fit in with the series of work I thought I was working on, the series of work that is now going to go to the dust heap of history, the literal trash, because I cannot stand to look at it or even think about it. This is a common occurrence for me: I think I will do a body of work that looks this one way, that explores this one thing, and them make a few pieces, realize it was a dud, and go back to making the work I already was making. Waste of paper, waste of paint, waste of time, waste of energy, waste. Then I feel like I’m wasting away as an artist; I need feeding.

I am told by other artists that process is never a waste, that, as one of my artist mentors once said, “Those paintings had to get made.” But that doesn’t mean the art was good, it was just necessary. (Oh, lord, NECESSARY? Like a vaccination or a physical or going to the dentist, it has to be done, for the maintenance of the artist? Get it over with and move on?) Like that, really?

Yes, really.

As this sinks in as my reality, I am reminded that I because I don’t really feel like I have a choice except to be an artist. If I don’t make something, a part of me is not created. I don’t move, I don’t breathe, I’m just a robot. It is not just a part of my identity but how I interact with the world. Perhaps it is and is not a choice. I could stop doing this, but the thought of that seems horrible and crazy. Who does that? Who throws this away? I can’t.

Despite knowing this, the ego bears down on the artist with its fear and expectations, like a bully at the playground. The voice hammering, Why didn’t you sell anything? Why aren’t you represented by a gallery? Why is your work crap? Why doesn’t anyone write about you? And more questions. There are no answers to these questions, because we only have so much control over how the world perceives our work. You cannot force people to engage. They will do it if they want to.

I want to ask a better question. I want to ask, rather, does that artist need to make art? How hard do they work? How good have they gotten over the years, slogging away?

For if we, and I mean I, equate the worth of my work with only its ability to sell or gain recognition, it will lose something.

I will lose something.

Therefore, I keep going. I keep creating. I will fill my closets with art, hoping someone, someday buys it, gives it a home. But I cannot stop.

Guess I’ll just have to go back to the studio.

Happy painting, friends.

Harnessing Chaos

AtWork-1 Life is what happens while you're busy making other plans. ~ John Lennon

For the past month or so, I have been wrestling with a painting. I tried all my usual tricks- sneaking up on it with white paint to "cover up" the parts that were not working, simplifying it, making it more colorful, making it more complex- none of which worked. I ended up with a bit of a mess.

OK, it was down right ugly.

The colors were, frankly, atrocious: acid yellow with earthy teal green, pale pink, weird beige (is beige ever weird? Well, I figured that one out!) and baby boy blue. Their dissonance haunted me for days. In yoga class I would find solutions to the problem, only to not have time to act on them. Finally, this past weekend, I attacked the piece. I knew it needed red, but not just any red: CORAL. That almost-orange-and-almost-salmon color that is gracing all the home decor blogs and catalogs this season.

Oddball

 

So there I was, painting some circles on this piece, with each one thinking, oh, crap, there's another thing I'll have to fix.

But I kept going. Trying to relate the halves of the work, add points of connection, reference and movement, and balance the color scheme so it stayed weird, but not unnervingly so.

This painting is really about trying to find structure in chaos... at some point making peace with the chaos. Therefore the work is not "pretty," but it has a jolie laide quality that makes it work. It is not at all what I set out to do, but somehow, I found a way to harness the chaos and coalesce it into a loose sort of structure. That's why I named it "Oddball."

 

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Elemental Beauty: Line and Texture

Relic, mixed media on paper, 30" x 30", ©2013 Julia Rymer Whenever I think of line- in the design sense- I think of the word mark-making.

Mark-making is one of those art terms that you hear in art school as an artist, but it doesn't really mean much to anyone outside the arts. (Frankly, it doesn't always mean much to artists!) However, it is a term that encompasses what creating with line means: the primal instinct to leave one's mark somewhere. It is this very human urge that compels one to "art"- to use art as a verb- to create, build, make, craft- to say with the hands, rather than the voice, "I was here."

Texture goes with line. Rough, smooth, silky or crisp, texture is the design element that relates most to the physical world- often coming from it, with the materials reacting to the surface on which they are used.

The piece above, Relic, was created by layering watercolor on paper. While the paper was still wet, I drew into the work, activating the charcoal and deepening the black, giving the marks depth as they melted into the paper. While the paper dried, I sprinkled salt and old paint granules on the paper, so that when it dried there was a mottled look, like stone or rock. The marks in this piece are primitive, simplistic, inspired by seed pods I've been collecting from my garden. The title of the work refers to history in the geological sense.

 

 

Buy some art. Hang on your wall. Enjoy.

Illuminate Recently I was approached by the startup Artify It about offering limited edition prints of two of my original works on paper. I am pleased to say they are now available for a short time (one week to be exact)!

I am not going to bore you with the fact that limited edition prints are a wonderful way to start collecting art affordably (they are). But if you were to look at buying art because it is affordable, why not just buy it at a Big Box Store? Then you can get all the "paintings" you need, on sale and in the designer colors that will exactly match your couch!

Instead, I prefer to think of buying my work through Artify It as more about buying something special and adding uniqueness to the space you frequent. Or perhaps you know an art-lover that will get a total kick out of the work too, so you buy them a gift. What a nice way for someone to "live with beauty"!

In any case, if you are interested, click the photos and they will take you to the website for purchasing. I hope you enjoy!

 

BloodEarth

The Artist You Are

There are times when the artist that you are and the artist that you want to be cannot be reconciled. This is a fight between desire and reality. You fight and fight to be a certain type of artist, but nothing works- it doesn't fit. You want to make bigger work, smaller work, more colorful work, less colorful work, paintings, sculpture, prints, or just installation. Conceptual work, or formal work. You think, "I'll just do this type of art, or use this type of approach, and the world will get me." So, there you are, trying and trying and trying, getting nowhere. No one is responding- not even you.

With Malcolm Gladwell's 10,000 hours of genius-hood getting farther and farther away, you consider giving up.

The question you are really trying to answer is who YOU are as an artist. Not your famous professor, best friend from art school, or that guy who randomly picked up a paintbrush one day and now sells paintings for $20,000 a pop. Not the girlfriend who paints in her spare time while her baby sleeps, or the friends whose art involves tagging the neighborhood.

No, the question is: who are YOU as an artist?

Not who do you WANT to be— but who are you right now as an artist? In this space, this place, with this work? And can you value yourself and what you do? Can you grant it legitimacy? Can you be enough?

Image

For today.

Harbinger300 I will not weigh in on gun control, or the need for better screening and treatment for mental illness. I will not tell you to "hug your kids a little tighter" (even if you do) or to write your congressman. Urgings are not my intention. I may or may not agree with any of them, but right now, that is not at all what I want to say. I want to tell you this:

I created this piece, Harbinger, in Spring 2010. At the time I was living in Mountain View, CA, trying to figure out my next move in life. Stuck in a depression so profound, so deep, it seemed there was no end to it, I ventured out of my gray, Silicon Valley apartment onto the streets along office parks and strip malls. I was never more surprised than to find magnolias, in bloom, pink and full, in front of a cold, glass building.

The magnolia flower is known as the harbinger of Spring. Spring is the metaphor of new life, growth, possibility. In other words, out of the gray, cold winter of our lives and this world, find hope anywhere you can– so that darkness and coldness and brutality does not engulf you.

 

Art & Beauty: Skyler McGee

McGee_3Skyler McGee: Balancing Nature and Space

I have followed Skyler McGee’s work since she was a student of mine at Metropolitan State University of Denver. Since then, her work has evolved into careful, poetic considerations of nature, space, and color.

Inspired by the natural world, Skyler works in fresh, delicate layers. She plays with combinations of materials– hard and soft, light and heavy, from oil paint to printmaking to watercolor. She emphasizes the artist’s hand or presence- nothing feels machine-made, but rather as if it was somehow uncovered in a forgotten studio from long ago, or excavated from an anthropological dig. She works carefully, slowly, her color sense reflecting the natural elements that inspire her work.

Currently living in Dallas, Texas, with her husband and two little girls, Skyler’s work reflects her daily life as well, as she balances her life as an artist, mom and wife. You can see more of her work at charcoalandsaffron.wordpress.com.

McGee_9

The Creative Place

Image "Creative artists ... are mankind's wakeners to recollection: summoners of our outward mind to conscious contact with ourselves, not as participants in this or that morsel of history, but as spirit, in the consciousness of being. Their task, therefore, is to communicate directly from one inward world to another, in such a way that an actual shock of experience will have been rendered: not a mere statement for the information or persuasion of a brain, but an effective communication across the void of space and time from one center of consciousness to another."

Joseph Campbell, The Masks of God, Volume IV: Creative Mythology

What is art if not to awaken us? To make things seen that we do not see, to bring light onto subjects we would pass by. Art says, "Look. Hear. Feel. Experience." – and then some.

Art creates a place where we are present.

 

Effortless Layers

So much of art work is about layering. It is so easy to over-layer, to build a surface up too much to the point that it ceases to breathe. But in nature, layering happens effortlessly, and the effect is often one of ease and strength. The lesson: don't overwork it. Let it grow how it wants to be.

(photos by Julia Rymer Brucker)

Mangrove branches, Hawaii.

Homage á Ansel Adams, Bear Valley, CA.

Dew, Point Reyes, CA.