The Photographer
18 x 24, pastel on Wallis Museum paper
It is difficult to stay real as an artist. One day I will feel great about a painting and think that I have finally arrived and that this painting is excellent proof that I am getting somewhere with my work. The next day I will find that I can't draw to save my life. Ups and downs like a wave machine. It's hard to avoid.
And hard to have an objective sense about my work.
That's where a good critique group comes in. I meet monthly with a group of dedicated artists. We each bring in one or two paintings and present them to the group and wait for feedback. Feedback comes in all sizes and shapes. I try my best to let it all come in, without trying to defend or shape it, and listen. And learn. The learning is the most important part of all.
"The Photographer" is not a completed painting. I think it's about 90% done. The feedback I get tomorrow will help me decide what and how much more to do.
18 x 24, pastel on Wallis Museum paper
It is difficult to stay real as an artist. One day I will feel great about a painting and think that I have finally arrived and that this painting is excellent proof that I am getting somewhere with my work. The next day I will find that I can't draw to save my life. Ups and downs like a wave machine. It's hard to avoid.
And hard to have an objective sense about my work.
That's where a good critique group comes in. I meet monthly with a group of dedicated artists. We each bring in one or two paintings and present them to the group and wait for feedback. Feedback comes in all sizes and shapes. I try my best to let it all come in, without trying to defend or shape it, and listen. And learn. The learning is the most important part of all.
"The Photographer" is not a completed painting. I think it's about 90% done. The feedback I get tomorrow will help me decide what and how much more to do.
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