Archive for 2009

The Whatsoever Rule and how it can overcome procrastination

Sunday, March 29th, 2009

One of the problem areas with trying to get work done is procrastination and apparent distractions. Whatever the things are that separates me from doing my painting, drawing sculpture. I know one of the classic answers to this is to just start with something small. But even that advice can seem daunting, like the thought of swimming across a large almost frozen lake or something like that.

A strange example I know, but what the heck that’s what came up for me. Your example maybe something different like singing or getting naked in front of a large group of people or doing both at the same time. That’d freak me out as well I must admit, but let’s get back to the point.

The well honed Whatsoever Rule may be very liberating but what is it?

Not surprisingly perhaps, it means for a day, or longer, you just decide you’re going to do whatsoever you wish. In other words everything without exception is your choice. This is way more profound and useful than it first seems, I know it is, so let’s look at it more closely.

Strangely compelling reasons to procrastinate

  • The dishes need to be done - a very overused example, besides I’ve a dishwasher so let’s scratch that one.
  • The plants need watered
  • All of your shoes need to be polished
  • Food needs to be bought - well maybe do this one unless you’re deeply into the starving artist mode
  • The dog needs to be walked
  • eMails need to be answered

I know you’ll have a load of your own better more urgent examples. My ones are sort of uninspired but that’s why they call this type of doing stuff that gets in the way of the likes of painting, mundane.

Ask yourself ‘If I could do whatsoever I wish would I do this?’ If the answer is no then don’t do it - there that was really simple. If you get phone calls or people knocking on your door. If you could do whatsoever you wish, would it be talking to these people? If not get rid of them, gently but firmly of course.

This Whatsoever Rule helps you get beyond a false sense of duty, habits and expectations - yours and everyone else’s, holding you back from doing your art. I sometimes think I have some kind of moral obligation to put up with other peoples distractions, I don’t and maybe you don’t either.

The Whatsoever Rule creates a wide open space for you to just be.

The best way to work this is to decide before you do to bed the day coming is going to be your Whatsoever day. Then the moment you wake up nail it. Own the day - it’s yours. After the first flush of chilled out, doing nothing mode, leading to a mild feeling of euphoria, I start to want to do stuff - my stuff.

The valuable thing that emerges from this great space is a sense of freedom and free choice. My free choice is mine no one else’s, so screw the email someone wants me to send off. Or the phone calls I ‘need’ to make. Later alligator.

I find it much easier to choose to paint or write (this blog), or to do creative work, because a strange sense of ease comes about. Doing anything with this Whatsoever mood doesn’t seem like work, it’s effortless, like being in the moment or being in the flow. Surprise, surprise I’m in the flow and the entity called Barry with the chattering mind blessedly disappears for awhile. Good things happen all by themselves. Bliss.

The Whatsoever Rule is a way of being.

Out of this spacious way of ‘Being’ the ‘Doing’ naturally arises freely, without blockage.
Now why couldn’t I have just said that at the beginning.

Try the Whatsoever Rule - or maybe you’re just too busy?

A group of four dedicated artists head off by Ferry to Normandy/Britanny for a ten day ‘Field Trip’ in early March.

Thursday, March 19th, 2009

Part Une

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The intention was for us to sketch our asses off somewhere far away from our studios and ‘normal’ lives filled full of art-destroying distractions.

We stayed in a small, quaint, narrow three story *house. Quaint in this case meant no double glazing, an ill fitting front door, one tiny bathroom and shower directly adjoining the one living room, and a sub zero temperature draft coming up through the floorboards from the basement below - are we hardy or what!

So rather than write about the pretty countryside, the non-existant locals and the food, oh and I nearly forgot, the sketching, instead I’m going to write about:

Some of the things I learnt from my 10 days of Art Bootcamp.

Now I’ve done a lot of this ‘en plein air’ work before, all over the world in fact and perhaps you have as well, so to give us both an out, after all we’re not newbies at this stuff are we! I’m going to rename it.

Things I suddenly remembered induced by extreme emotional and physical discomfort, when trying to sketch.

When sketching en plein air - pretentious name at best but let’s not forget it was ‘invented’ in France - comfort rules. All throughout the trip a bitterly cold breeze blew, even inside the house where we stayed. Sketching, or anything else for that matter, doesn’t work well when you’re cold, (think about it). It requires concentration and dexterity, which is almost impossible when you’ve lost contact with parts of your body. So dress in layers. Hands, feet, ears and nose are the most affected by the chill. Solutions for this is gloves with the tips of the fingers cut off - the gloves silly, plus two or three layers of socks and a lightweight thermal hat, one you can pull over your ears. You can pull it down over your eyes as well when you’ve finally had enough and want the world to go away for a little while. (A trick I learned sometime around the age of three, but still useful). You may want to add a few other garments as well, like trousers, otherwise you tend to attract attention.

Nature and town planners don’t often provide seats at just the place you want to sketch. So unless you want to specialise in cafes, bars or churches take your own small, lightweight collapsible stool. After years of trial and error the one I recommend is Walkstool I’m not going to waffle on about the benefits of it, it’s light, strong, comfortable and really well made. Need you know more! The bottom line is (sorry couldn’t resist that), it allows you to sit comfortably anywhere for hours at a time if the Muse should happen along, and even when She doesn’t.

Democracy and other delusions

Impromptu group decisions can unexpectantly break out at any time. From what to buy for the evening meal to where to head too next to sketch, so be prepared for it and say your piece. Not that anyone will be paying much attention mind you. But it’s nice to feel you’ve stated your opinion despite it making no difference at all to anything. Kind of like democracy really. But there are times when it’s really important to be heard and to make sure it’s acted upon. Such as when the most vocal person in the group says ‘let’s go to the Kangaroo Zoo’ or whatever, just politely, but firmly mention you’re all sketched out on that one and quickly move on. Do not get caught up in discussing the colour of Kangaroos or anything like that or you’ll be there before you know it.

Hissy fits and stuff like that

Just remember habitual stunts you pull with your adoring partner back home cut no ice in a group of unrelated artists high on creativity. So your ‘I’m not speaking to you right now because I’m so upset’ trip can be read by the others as, ’she’s so chilled out and in a deeply contemplative mood right now.’ Or your relentless whinging about the correct way to cook porridge can leave you in the middle of a very large field, alone and surrounded by a herd of cows way past their milking time. Remember this is en plein air after all, so don’t go soft on me.

If things start to get to you and they will, unless you’re in complete state of denial, make sure you take some time out to be on your own. If there’s something you want to say or do it’s up to you. If it’s important enough to you, it’s your responsibility to speak up and/or make it happen with or without the group.

More on’The Field Trip’ next post, perhaps….

* Least there be any confusion, we all are most grateful for the use of the house - the natural ventilation would probably be just about perfect in the summer. To go there in March was our call.

Our Artist Group web site can be seen here Working Artist Studios West Cork, Ireland. Nothing up there about the trip yet - we’re still getting over the strangeness of it all as you may gather.

Being a member of an Artist Group

Sunday, February 22nd, 2009

I was just thinking today about how much I appreciate being a member of Working Artists Studios here in West Cork.

A few Sundays ago we put on a Poetry reading afternoon along with live folk music. Without any big fuss or endless meetings, all four of us just got on with doing exactly what was needed to make the afternoon the success it was. Before, during and after the event everyone did what they were best at, no committee meetings, no debates - no need.

It was a true dance, effortless fun and uplifting.

A marvelous day, one of many.

Barry

videoYou can see a video snippet of Working Artist Studios Poetry event hosted by Paul O’Colmain here…

How many clients do you need?

Friday, February 20th, 2009

I remember back when starting my design studio. I had just moved into my new location from abroad, nobody knew me or my work, my office and studio was, yes you guessed it, my kitchen table! I had just spent another long, hard day on the phone trying to set up appointments to present my portfolio. All I had to show for scores of phone calls were a few maybes, loads of phone backs and ’send me your brochures’, which of course I didn’t have.

Journal

I was at one of my lowest points, despairing and feeling like giving it all up and getting a ‘real job’. I’ve always kept a journal, so as I started writing I stumbled upon one of those profoundly small simple questions that can make such a big difference.

Here it is…..

Exactly how many clients do I need to prosper from my work?

The answer completely changed my attitude and gave me such a boost. Here’s why. Given the average time it took me to complete a typical project I only needed one new order every 6 weeks - around 8 to 9 per year! It put all those calls and rejections into perspective. Of the thousands of businesses within driving distance of my kitchen table I only needed 8 of them to say yes! (Or less if some of them had more than one project per year).

Eight people to say ‘yes’ felt doable and it made me immune to all of those rejections all because I had a clear and achievable target. It was the start of building my business from its kitchen table roots into a very successful business.

Gaining clarity - maybe it’s not so difficult after all

So what’s all this got to do with art?

Simple – how many ‘paintings’, (insert the type of media you work with), do you need to sell every year to prosper?

First work out your yearly out-goings and don’t forget to include a budget for the things and events that make life fun. Work out the average price of one of your art pieces (less costs), and divide it into your total out-goings. That’s how may pieces you need to sell per year. This exercise may also cause you to question the prices you’re charging.

Say you’ve worked out you need to sell 30 paintings. In the millions and millions of people worldwide who like and buy art this is doable, especially if a buyer invests in more than one of your works.

Total yearly out-goings / by average cost of one of your pieces (less costs) = number of clients you need.

Revisit your Pricing

This is also a great way to explore your pricing as it calls into question the number of pieces you can/do complete per year and other issues such as the size of your work and format.

Now you need to let people know you exist and show your work. I’ll be going into this a lot more in future articles.

Re-Making the Way we make things

Wednesday, February 18th, 2009

Taking a break from working in my studio this afternoon, I browsed in the local bookshop. One book caught my attention. A hard backed book called ‘Cradle to Cradle’. As I turned the pages I discovered it speaks about ‘Re-making the way we make things’, so they last and have enduring value.

I thought how timeless our art work is. Using the best of artists quality paints on time tested materials such as canvas, paper and wood, well mounted and suitably framed, they will endure the march of time for years measured in the hundreds.

As I strolled back to my studio well wrapped up against the cold wind and rain, I glanced in the windows of the shops along the way. Televisions, kettles, computers, clothes and tools. Our oil paintings will hardly be fully dry when the first of these things find their way to the dump as landfill or to be recycled. The shiny new 2009 registered cars, wet in the afternoon rain, slowly making their way down the narrow street originally designed for horse driven carriages, will be crushed into blocks the size of our kitchen tables well before Grandchildren inherit our work from their Grandparents.

There are relatively few objects that will last as long in their original state and give pleasure to unborn generations as our art.

Art endures.

So must we as artists.

(Cradle to Cradle by Michael Braungart and William McDonough)

Message in a Bottle

Monday, February 16th, 2009

message-ina-bottle1I’m putting up notes for someone to see. I could just think about them or write them down in my journal, which I do anyway. Useful, but I know from past experience with me it can lead to isolation.

Cut off in my own little world.

Instead I turn up at the keyboard of my trusty MacBook and put my ‘message in a bottle’ and float it off into the ocean of the internet - one by one.

Who knows where they’ll end up, at least they’re out there.
And I did something, I took action.

Barry