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| 8" Sugar Skull © Eve Lynch |
Anyone have a blank wall spot? :)
(Day of the Dead art is like my Linus blanket. It just feels like home.)
6.30.2010
Sugar skull mosaic - work in progress
Anyone have a blank wall spot? :)
(Day of the Dead art is like my Linus blanket. It just feels like home.)
6.28.2010
More on inspiration...
A friend forwarded me this inspiring and thoughtful video by graphic artist Marian Bantjes. The artist explains why she believes that throwing your individuality into a project is heresy.
I particularly loved this quote that she threw out there toward the end...
"Inspiration is cross pollinating." ~ Marian Bantjes
Thanks Christine. :)
I particularly loved this quote that she threw out there toward the end...
"Inspiration is cross pollinating." ~ Marian Bantjes
Thanks Christine. :)
6.27.2010
Interview with Martin Cheek - Part 4
A Fitting Name
If you have been following along for the last 3 Martin Cheek interview posts, you know that Martin lives up to his name and can be very "cheeky".
His personality comes out in his commentary and certainly his artwork. The remaining part of his interview really emphasizes his cheekiness.
Part 4 of Martin's Interview
If you could spend a day with 3 famous people (from history or alive now) who would they be? Why?
There are lots of authors I admire – but would I want to spend time with them? Updike would probably be condescending but John Irving would probably be friendly and it would have been fun to have met my next door neighbor, some bloke called Charles Dickens.
I also like and admire stand up comedians – but the ones I’ve met are usually not much fun and pretty intense. I could probably manage a day though.
What is your favorite animated movie and why?
Pinocchio. Made in 1940 it is totally ground breaking. As a piece of art it is remarkable and fantastic and was made only 12 years after ‘Steamboat Willie’, the Mickey Mouse black and white. In those 12 years, Disney changed ‘cartoons’ into an art form; whether you like it or not is irrelevant. Professor Christopher Frayling once conducted a series of lectures on animation at the RCA without mentioning Disney once, quite an achievement!
Describe yourself in 5 words
When my father died, my sister Elaine telephoned me to ask if there was a special song that I would like played at the funeral. I decided that Nick Cave´s ´Into My Arms´ would be nice. I found the CD but couldn´t find the CD case.
That weekend there had been a free Johnny Cash CD in the Sunday newspaper - so I took out the Johnny Cash CD and replaced it with the Nick Cave CD, added a sticky label on the outside saying ´Track 4´ and sent it to my sister.
On arrival at my sister´s house for the funeral, my sister said "I got the Joihnny Cash CD you sent, thanks"
ME: It WASN´T Johnny Cash, it was Nick Cave!
Elaine: Yes it WAS - it was Johnny Cash.
ME: No it wasn´t...but in any case, it doesn´t matter - did you give the CD to the vicar?
Elaine: Well the one you sent was a free one, so I thought - we have Johnny Cash and it will be better - so I gave him THAT one instead.
ME: You did WHAT?
At this point my son Tom fell about in helpless laughter.
ME: What are YOU laughing at?
Tom: You know what will happen Dad - they are BOUND to play "I Fell Into A Burning Ring Of Fire!"
That's a Wrap!
You can read more about Martin on:
If you have been following along for the last 3 Martin Cheek interview posts, you know that Martin lives up to his name and can be very "cheeky".
His personality comes out in his commentary and certainly his artwork. The remaining part of his interview really emphasizes his cheekiness.
 |
| The Clangers, 45cm x 63cm © Martin Cheek |
If you could spend a day with 3 famous people (from history or alive now) who would they be? Why?
I’d love to meet my hero, Ronald Searle, but what would I say to him? ... "Well done!"?? I did draw a birthday card for his 90th recently and he politely thanked me.
A day in the Disney studios in the 1950’s would have been interesting, working on, say ‘Lady and the Tramp’ or ‘101 Dalmatians’. By then they knew what they were doing and having fun with it.
There are lots of authors I admire – but would I want to spend time with them? Updike would probably be condescending but John Irving would probably be friendly and it would have been fun to have met my next door neighbor, some bloke called Charles Dickens.
(Charles Dickens lived next door to where Martin resides in Kent. His Georgian house was built in 1720!)
I also like and admire stand up comedians – but the ones I’ve met are usually not much fun and pretty intense. I could probably manage a day though.
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| Fantastic Mr. Fox, 38cm x 30cm, © Martin Cheek |
Pinocchio. Made in 1940 it is totally ground breaking. As a piece of art it is remarkable and fantastic and was made only 12 years after ‘Steamboat Willie’, the Mickey Mouse black and white. In those 12 years, Disney changed ‘cartoons’ into an art form; whether you like it or not is irrelevant. Professor Christopher Frayling once conducted a series of lectures on animation at the RCA without mentioning Disney once, quite an achievement!
Describe yourself in 5 words
Big Brummie Brainless Boring Bastard
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| Bats © Martin Cheek |
Share with us something funny that happened to you.
That weekend there had been a free Johnny Cash CD in the Sunday newspaper - so I took out the Johnny Cash CD and replaced it with the Nick Cave CD, added a sticky label on the outside saying ´Track 4´ and sent it to my sister.
On arrival at my sister´s house for the funeral, my sister said "I got the Joihnny Cash CD you sent, thanks"
ME: It WASN´T Johnny Cash, it was Nick Cave!
Elaine: Yes it WAS - it was Johnny Cash.
ME: No it wasn´t...but in any case, it doesn´t matter - did you give the CD to the vicar?
Elaine: Well the one you sent was a free one, so I thought - we have Johnny Cash and it will be better - so I gave him THAT one instead.
ME: You did WHAT?
At this point my son Tom fell about in helpless laughter.
ME: What are YOU laughing at?
Tom: You know what will happen Dad - they are BOUND to play "I Fell Into A Burning Ring Of Fire!"
That's a Wrap!
You can read more about Martin on:
- MartinCheek.co.uk
- Martin Cheek mosaic courses
- View his commissions
6.26.2010
Encouragement
Lately I've been doubting that living the creative life is even possible. A few days ago I was questioning everything, wondering if making art and making a living will ever come together and meet in the middle.
I received several encouraging comments, but this one really surprised me and made me think - Hell yes! Keep on keeping on.
I am too much of a "techno-peasant" to be able to respond to your blog correctly, which I read religiously, so this is the only method I have. Or at least until I find some 8 year old kid to teach me the correct method!!
As for your "fork in the road" and do I stay or do I go . . . please Eve, I am begging you. Stay! For my sake and for everyone else who loves your work. You are finally coming into your own. Developing your own style, a recognizable style that screams Eve Lynch. I love your work. I would hate to see it blurred by long absences. I don't know your financial position - and that is only for you alone to decide, but as for you being an artist - you definitely rank right there, as far as I am concerned.
Hopefully you will find your footing with the jewelry blanks you like, your fan base will find money . . and you can fly!
Hang in there, the world would be a poorer place without Eve & Kraken Mosaics!
>> Thanks Valerie. :)
My recent doubts weren't entirely financially motivated. As much as I know that I have to maintain my creativity, part of me wonders if I can really get to a point where I am satisfying much more than just my creative muse.
If only there were a Utopian world where art supplies were plentiful (and free) and time passed much more slowly.
I received several encouraging comments, but this one really surprised me and made me think - Hell yes! Keep on keeping on.
I am too much of a "techno-peasant" to be able to respond to your blog correctly, which I read religiously, so this is the only method I have. Or at least until I find some 8 year old kid to teach me the correct method!!
As for your "fork in the road" and do I stay or do I go . . . please Eve, I am begging you. Stay! For my sake and for everyone else who loves your work. You are finally coming into your own. Developing your own style, a recognizable style that screams Eve Lynch. I love your work. I would hate to see it blurred by long absences. I don't know your financial position - and that is only for you alone to decide, but as for you being an artist - you definitely rank right there, as far as I am concerned.
Hopefully you will find your footing with the jewelry blanks you like, your fan base will find money . . and you can fly!
Hang in there, the world would be a poorer place without Eve & Kraken Mosaics!
>> Thanks Valerie. :)
My recent doubts weren't entirely financially motivated. As much as I know that I have to maintain my creativity, part of me wonders if I can really get to a point where I am satisfying much more than just my creative muse.
If only there were a Utopian world where art supplies were plentiful (and free) and time passed much more slowly.
6.25.2010
Interview with Martin Cheek - Part 3
Martin Cheek teaches mosaic art courses in the UK and around the world so it's apparent that he runs into artists from all backgrounds and skill levels. He also judges the mosaic art challenges on CMA, a social networking website for mosaic artists.
Being in the midst of all that creative energy must be interesting. I asked Martin about it and about his opinion of the "mosaic is art" debate that routinely circulates on the social networking sites.
What have you learned from another mosaic artist recently?
Dunno.
I like setting judging the competitions / challenges on CMA. It never fails to amaze me how the same brief can be interpreted in so many different ways! I love the way that everyone has their own style and that I can instantly recognize – say an Irit Levy or Christine Brailler piece.
What is your opinion on the "mosaic is fine art" debate? Do you feel like the mosaic community has something to prove?
I feel that the more we bang on about it the worse it gets, as though we have something to prove. As Shakespeare puts it, “The lady doth protest too much, methinks!” (Hamlet Act 3, Scene 2)
I don’t think that artists make such distinctions. It’s usually art critics who feel the need to say something, however misguided and banal, in order to meet their deadlines and fill up their column inches.
Stay tuned for part 4 (the final post in the interview!) In the meantime, read Part 1 and Part 2.
Being in the midst of all that creative energy must be interesting. I asked Martin about it and about his opinion of the "mosaic is art" debate that routinely circulates on the social networking sites.
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| Lion Resting, 30cm x 42cm © Martin Cheek |
Dunno.
I like setting judging the competitions / challenges on CMA. It never fails to amaze me how the same brief can be interpreted in so many different ways! I love the way that everyone has their own style and that I can instantly recognize – say an Irit Levy or Christine Brailler piece.
What is your opinion on the "mosaic is fine art" debate? Do you feel like the mosaic community has something to prove?
I feel that the more we bang on about it the worse it gets, as though we have something to prove. As Shakespeare puts it, “The lady doth protest too much, methinks!” (Hamlet Act 3, Scene 2)
I don’t think that artists make such distinctions. It’s usually art critics who feel the need to say something, however misguided and banal, in order to meet their deadlines and fill up their column inches.
Stay tuned for part 4 (the final post in the interview!) In the meantime, read Part 1 and Part 2.
6.24.2010
Deep Thought Thursday: Question everything
I've been purposefully creating art since 2007 and while I've reached a few of my goals; establishing gallery representation, showing my work in exhibits and selling artwork, I am finding that making any sort of a living with my art is more difficult then I ever imagined.
I'm sure every creative person hits a wall and has to ponder whether or not they should continue trudging along trying to make a dollar or hang up their tools of the trade and get a real job.
I'm there.
As much as I love creating beautiful things, I'm starting to find myself questioning whether or not all of the effort that I am putting in is ever going to pay off beyond what it is now. Blogging, making jewelry, creating artworks, social networking. Is it clouding my view? Am I looking at the world with rose colored glasses?
I guess what I am really saying is should I stay or should I go now?
I'm at the fork in the road.
I'm sure every creative person hits a wall and has to ponder whether or not they should continue trudging along trying to make a dollar or hang up their tools of the trade and get a real job.
I'm there.
As much as I love creating beautiful things, I'm starting to find myself questioning whether or not all of the effort that I am putting in is ever going to pay off beyond what it is now. Blogging, making jewelry, creating artworks, social networking. Is it clouding my view? Am I looking at the world with rose colored glasses?
I guess what I am really saying is should I stay or should I go now?
I'm at the fork in the road.
6.22.2010
New jewelry items in my Etsy Shop
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| Tropic Plaid, 1" square on leather cord - Eve Lynch |
Included are several new pieces of jewelry, two polymer clay pendants and some other surprises.
Shop away!
6.21.2010
Interview with Martin Cheek - Part 2
Art is about the journey
In Part 1 of Martin's interview (Missed Part 1? Read it here.) he mentioned that "his relationship with his work is in the making of them" and that "once finished, he rarely has any emotional ties to them".
I often feel the same way. It's the act of creating something - not the finished piece that I find magical. Even though I sometimes get attached to certain artworks (very few), the process is definitely the most rewarding.
With all that said, I find it incomprehensible how some people go from crayon toting toddlers to creative whirlwinds as adults. When does the spark first ignite? Those stories - the beginnings - are always the most interesting.
Part 2 of Martin's Interview
When did you first realize you possessed creative talents?
As a child I liked making jigsaw puzzles…surprise, surprise! By the time I started school I could do them with 2000 pieces. On my first day at school the teacher came up to me and asked "What do you like doing?!" I replied “jigsaws” – to which she produced a kiddy puzzle with about 20 pieces in it. “That's no good”, I explained,"I can do them with 2000 pieces!" "Now don’t tell stories," she admonished - to which I got cross…"You ask my MOM!" …which she of course did and my Mother, bless her heart, was able to put the old bag in her place. (She was probably really young looking back …but she FEELS like an old bag in my memory.)
The trouble was that, in those days, anything over a few pieces was aimed at adults. So the larger puzzles were boring scenes, like photos of thatched cottages. I dreamed of a large Disney puzzle, but that didn’t happen for another 20 years when Heye brought out a cartoon series of Mordillo’s cartoons. Needless to say, I bought the lot, even though I was student by then and should have moved on to more adult pastimes!
What is your least favorite material to work with?
Have you ever thought about making mosaic or fused glass jewelry?
I’ve thought about it, yes. My daughter makes exquisite jewelry: her hands are smaller than mine and thus, she’s able to handle small pieces. My hands are too big – like a boxer trying to do flower arranging with his boxing gloves still on. Besides - I’m not really interested in PRECIOUS – I’d rather have FUNNY!
(I think Martin's fusions would make wonderful pendants!)
In Part 1 of Martin's interview (Missed Part 1? Read it here.) he mentioned that "his relationship with his work is in the making of them" and that "once finished, he rarely has any emotional ties to them".
I often feel the same way. It's the act of creating something - not the finished piece that I find magical. Even though I sometimes get attached to certain artworks (very few), the process is definitely the most rewarding.
With all that said, I find it incomprehensible how some people go from crayon toting toddlers to creative whirlwinds as adults. When does the spark first ignite? Those stories - the beginnings - are always the most interesting.
Part 2 of Martin's Interview
When did you first realize you possessed creative talents?
As a child I liked making jigsaw puzzles…surprise, surprise! By the time I started school I could do them with 2000 pieces. On my first day at school the teacher came up to me and asked "What do you like doing?!" I replied “jigsaws” – to which she produced a kiddy puzzle with about 20 pieces in it. “That's no good”, I explained,"I can do them with 2000 pieces!" "Now don’t tell stories," she admonished - to which I got cross…"You ask my MOM!" …which she of course did and my Mother, bless her heart, was able to put the old bag in her place. (She was probably really young looking back …but she FEELS like an old bag in my memory.)
The trouble was that, in those days, anything over a few pieces was aimed at adults. So the larger puzzles were boring scenes, like photos of thatched cottages. I dreamed of a large Disney puzzle, but that didn’t happen for another 20 years when Heye brought out a cartoon series of Mordillo’s cartoons. Needless to say, I bought the lot, even though I was student by then and should have moved on to more adult pastimes!
 | ||
| Nocturnal, 38cm x 30cm © Martin Cheek |
I get very annoyed with cheap Chinese Vitreous that shatters every time I try to nibble it. I’m getting pretty bored of using Vitreous Glass. By choice I only use it for backgrounds these days, unless budgetary requirements make it the only option. It’s so plastic and characterless, compared to my fusions or smalti. Vitreous seems to have realized that I have fallen out with it: I end up fighting with it as opposed to working with it!
(I never could understand what mosaic artists saw in vitreous glass! Way too demanding for my tastes and patience level.
Martin's piece "Nocturnal", shown above" is made from millefiori and his handmade glass fusions - his signature look.)
I’ve thought about it, yes. My daughter makes exquisite jewelry: her hands are smaller than mine and thus, she’s able to handle small pieces. My hands are too big – like a boxer trying to do flower arranging with his boxing gloves still on. Besides - I’m not really interested in PRECIOUS – I’d rather have FUNNY!
(I think Martin's fusions would make wonderful pendants!)
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| Arachnophobia , 25cm x 18cm © Martin Cheek |
Thought I'd have the interview wrapped up in 2 parts but there is too much material and photos to shove into a couple of posts.
MORE TO COME!
6.19.2010
Interview with Martin Cheek - Part 1
A Personal Anecdote
Martin Cheek is a professional mosaicist and author of five mosaic art books including Making Mosaics, the first mosaic art book that I ever purchased. The lively orange fish on the cover jumped out at me from the store end cap and started my foray into mosaic art.
Even though I never attempted a single project in the book, I continued to return to it time and again. The quirky little "cheeky birds" were egging me on and eventually I got up enough courage to attempt some of my own projects. I'm thoroughly glad that orange fish caught my eye that day.
I recently had the opportunity to ask Martin a few questions about mosaic art and he was nice enough to oblige even though he was in the middle of teaching his Mosaic Master Class.
Martin Cheek Interview - Part 1
Which of your mosaic works do you favor the most and why?
I produce about 50 mosaics a year, one a week on average I would say. Most are nothing special but occasionally I produce what I call my ‘stepping stone’ mosaics: those that allow me to move forward and progress, either technically or artistically. The last one of any great significance was ‘Sara’s Butterfly Dance’. (Installed at King's Hospital, London)
Funnily, the ‘Doggie Eye Test’ was quite a challenge, although you would never think so.
On your website, it says that you work on about 10 mosaics at a time. Why do you work this way?
Well, even when I am busy with commissioned work I like to keep my personal work moving. Right now I have more than 20 mosaics at various stages of development and I will work on whichever one I fancy on the day, depending on my mood - I like that.
I can have an easy day if I feel lazy, making something where I know what I am doing; or tackle something new and challenging if I am feeling up to it and ready for a fight!
Generally speaking, my ideas come in series form. I take a simple idea, say my ‘Catfish’ and work it up. One mosaic doesn’t say it all, doesn’t explain it or solve the riddle.
For example the first one (Catfish -shown above) made me realize that the cat’s cheeks could be prawns, so I made this one as a continuation or progression:
And that led to this one...
...being completely made up of fish. I still prefer the first one though.
It’s also the case that I struggle with realism, so I usually have a piece of realism slowly creeping on. I’ll pick it up when I feel confident enough to tackle it.
What is the one technique that you believe every mosaic artist should try to master?
Patience!
Stay tuned for the remainder of the interview - coming soon!
Martin Cheek is a professional mosaicist and author of five mosaic art books including Making Mosaics, the first mosaic art book that I ever purchased. The lively orange fish on the cover jumped out at me from the store end cap and started my foray into mosaic art.
I recently had the opportunity to ask Martin a few questions about mosaic art and he was nice enough to oblige even though he was in the middle of teaching his Mosaic Master Class.
Martin Cheek Interview - Part 1
Which of your mosaic works do you favor the most and why?
I produce about 50 mosaics a year, one a week on average I would say. Most are nothing special but occasionally I produce what I call my ‘stepping stone’ mosaics: those that allow me to move forward and progress, either technically or artistically. The last one of any great significance was ‘Sara’s Butterfly Dance’. (Installed at King's Hospital, London)
 |
| Sara's Butterfly Dance, 100cm x 72cm © Martin Cheek |
And more recently the ‘Catfish’ series was a bit of a breakthrough. (see below)
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| Catfish, 30cm x 28cm © Martin Cheek |
All that said, my relationship with my work is in the making of them. Once finished, I rarely have any emotional tie to them.
On your website, it says that you work on about 10 mosaics at a time. Why do you work this way?
Well, even when I am busy with commissioned work I like to keep my personal work moving. Right now I have more than 20 mosaics at various stages of development and I will work on whichever one I fancy on the day, depending on my mood - I like that.
I can have an easy day if I feel lazy, making something where I know what I am doing; or tackle something new and challenging if I am feeling up to it and ready for a fight!
Generally speaking, my ideas come in series form. I take a simple idea, say my ‘Catfish’ and work it up. One mosaic doesn’t say it all, doesn’t explain it or solve the riddle.
For example the first one (Catfish -shown above) made me realize that the cat’s cheeks could be prawns, so I made this one as a continuation or progression:
 |
| Pink Catfish, 30cm x 30cm, © Martin Cheek |
 |
| Fishface, 30cm x 30cm © Martin Cheek |
...being completely made up of fish. I still prefer the first one though.
It’s also the case that I struggle with realism, so I usually have a piece of realism slowly creeping on. I’ll pick it up when I feel confident enough to tackle it.
What is the one technique that you believe every mosaic artist should try to master?
Patience!
Stay tuned for the remainder of the interview - coming soon!
6.18.2010
The Creative Life
quillota
Originally uploaded by larovocdemadera
"If you're an artist, you look at everything as a possibility and inspiration because you know that ideas can come from anywhere."
via Living the Creative Life
Do I remind you of a zombie elf?
I am a big fan of zombies and I've created my fair share of decaying creatures.
My fanaticism started when I discovered that a local gallery was holding a Dark Arts exhibit in conjunction with Zombicon, a festival of all things undead. I'm not really big into horror films (I hate them actually) but I have a teenage son who plays the Nazi Zombies mod on Call of Duty, so it was probably inevitable that the creepy things would find their way into my artwork.
First came Brain Dead, my petite zombie sculpture... it was followed by Zombie Love 2, a cool commission entitled Beatles Freak (the customer requested a harmonica playing zombie!) and most recently Zombie Buddha. (Nothing is safe from being zombi-fied.)
Most of the aforementioned artworks were sculpted from polymer clay, but in 2008 I completed a zombie mermaid made completely of stained glass. The work, The Sailor's Lament, was patterned after artist Len Peralta's zombie "Birth of Venus" sketch.
After completing a few, the stigma of "zombie maker" label kinda stuck.
Then a funny thing started happening...
Several of my Flickr contacts started emailing me a link to another artist's zombie creation - Zombie Elf to be exact. MandarinMoon sculpts all sorts of interesting things out of polymer clay but for some reason people associate this particular zombie thing with me.
That's very weird!
3 different people in the last 3 months have sent me a link to this photo.
Isn't that so strange?
<----------He's very cool though.
Zombie Elf Front view
Originally uploaded by MandarinMoon
My fanaticism started when I discovered that a local gallery was holding a Dark Arts exhibit in conjunction with Zombicon, a festival of all things undead. I'm not really big into horror films (I hate them actually) but I have a teenage son who plays the Nazi Zombies mod on Call of Duty, so it was probably inevitable that the creepy things would find their way into my artwork.
First came Brain Dead, my petite zombie sculpture... it was followed by Zombie Love 2, a cool commission entitled Beatles Freak (the customer requested a harmonica playing zombie!) and most recently Zombie Buddha. (Nothing is safe from being zombi-fied.)
Most of the aforementioned artworks were sculpted from polymer clay, but in 2008 I completed a zombie mermaid made completely of stained glass. The work, The Sailor's Lament, was patterned after artist Len Peralta's zombie "Birth of Venus" sketch.
After completing a few, the stigma of "zombie maker" label kinda stuck.
Then a funny thing started happening...
Several of my Flickr contacts started emailing me a link to another artist's zombie creation - Zombie Elf to be exact. MandarinMoon sculpts all sorts of interesting things out of polymer clay but for some reason people associate this particular zombie thing with me.
That's very weird!
3 different people in the last 3 months have sent me a link to this photo.
Isn't that so strange?
<----------He's very cool though.
Zombie Elf Front view
Originally uploaded by MandarinMoon
6.17.2010
Bravo's Work of Art - still enigmatic to me
There is something very interesting about watching Bravo's new "reality" show Work of Art. I began watching for the opportunity to see other artists create something spontaneously but I am finding the thought processes behind the artwork much more fascinating.
I am a bit puzzled by the judges reactions to some of the artwork. Why did they find Miles' homemade bed to be so fantastic?! (Concrete buttholes?! WTF?) And the whole discussion about Nicole's technology "tomb" went right over my head.
Looked like junk to me.
Still can't figure out why Abdi's pieces haven't received more recognition. His portrait (last week) was amazing and his sculpture was awesome. Looked more like art to me than any of it and he could actually articulate why he made it.
All interesting nonetheless.
Reruns and artist interviews available on Hulu. (Thanks to Art Biz Blog for the tip.)
I am a bit puzzled by the judges reactions to some of the artwork. Why did they find Miles' homemade bed to be so fantastic?! (Concrete buttholes?! WTF?) And the whole discussion about Nicole's technology "tomb" went right over my head.
Looked like junk to me.
Still can't figure out why Abdi's pieces haven't received more recognition. His portrait (last week) was amazing and his sculpture was awesome. Looked more like art to me than any of it and he could actually articulate why he made it.
All interesting nonetheless.
Reruns and artist interviews available on Hulu. (Thanks to Art Biz Blog for the tip.)
6.16.2010
Argonauta = mermaid + octopus
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| "Argonauta" 8x10" © Eve Lynch |
The 8 x 10 inch portrait of a mermaid/octopus hybrid is comprised of standard and iridized stained glass with tentacles modeled from polymer clay.
This mosaic is a good example of inspiration at work. I followed my love of the things that inspire me and something magical was born.
Argonauta has already found a good home with an artist friend. (That was fast. She sold in 24 hours!) Thanks Rebecca!
6.15.2010
Outrageous color
(Every time I see a project injecting color into an otherwise dull landscape, I want to jump for joy!)
Two Dutch artists, known as Favela Painting, are transforming the favelas of Rio de Janeiro into a magical wonderland filled with eye popping color. The duo aims to bring "outrageous works of art to unexpected places."
I think they have that covered!
Check out the before and after photos of the town here.
I wish more towns (near me!) would encourage this type of creative activism.
Not only does it brighten the outlook of the local population but it would draw in more tourists.
Fan Favela Painting on Facebook
Two Dutch artists, known as Favela Painting, are transforming the favelas of Rio de Janeiro into a magical wonderland filled with eye popping color. The duo aims to bring "outrageous works of art to unexpected places."
Check out the before and after photos of the town here.
I wish more towns (near me!) would encourage this type of creative activism.
Not only does it brighten the outlook of the local population but it would draw in more tourists.
Fan Favela Painting on Facebook
6.12.2010
Help the Gulf Coast
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| © Mincingmockingbird |
Etsy shop: Help the Gulf Coast
Proceeds of the sales are being donated to Oxfam America and the National Audubon Society.
I purchased this fabulous pelican print, Tending Weeds in a Watery Garden by artist Mincing Mockingbird.
More information is available about the collective on the Help the Gulf Coast blog including proof of their first donation to Oxfam America.
6.11.2010
The hippest chandeliers ever
The crazy, creative side of me is screaming that I must have one of these to hang from my super high ceiling!
I could repaint the giant wall a funky color and pair it with this amazing octopus sofa from Anthropologie. (link via Indy Squid Kid blog)
It would be like living in a modern version of Captain Nemo's submarine.
Wallacavage also created this cool monster bed for his nephew. I have not even a clue what those horns are made of but that thing is ridiculously fun.
Many thanks to Lee Ann Petropoulos for tipping me off about the chandeliers.
6.10.2010
Deciding on a background for Octo Girl
I spent the better part of the morning finishing up loose ends on my tentatively named "Octo Girl" mosaic.
I've hit a few snags - as usual - and will need to think about the next few things that I do. My decision will mean the difference between getting her finished soon or dragging this out for a few more days.
The tentacles are made out of polymer clay and were glued in so that I could get the stained glass in between them tight enough. This leaves me with the dilemma of how to finish the suckers off once the glass is in place.There are a few larger gaps in between them to deal with and I decided long ago not to grout so...fixing that might be tricky. And time consuming.
I am trying to hash out how to tackle the background. I painted the Wedi with a coat of light turquoise acrylic because I thought I wanted her to appear to be floating in cool, blue water but the color is too close to that of the tentacles and I think it will draw attention away from her face. Not good.
Another option is to use a mixture of seed & bugle beads to coat the background but I'm afraid it will be a costly experiment and I'm not keen on scraping off hundreds of glass baubles once I decide that I don't like it.
Right now I'm in between using a mix of green glass (it really makes her face pop) or painting the Wedi to look like water and then laying clear textured glass over it.
The green glass is my top pick at this moment.
My camera batteries are flat empty so work in progress shots will have to wait.
I've hit a few snags - as usual - and will need to think about the next few things that I do. My decision will mean the difference between getting her finished soon or dragging this out for a few more days.
The tentacles are made out of polymer clay and were glued in so that I could get the stained glass in between them tight enough. This leaves me with the dilemma of how to finish the suckers off once the glass is in place.There are a few larger gaps in between them to deal with and I decided long ago not to grout so...fixing that might be tricky. And time consuming.
I am trying to hash out how to tackle the background. I painted the Wedi with a coat of light turquoise acrylic because I thought I wanted her to appear to be floating in cool, blue water but the color is too close to that of the tentacles and I think it will draw attention away from her face. Not good.
Another option is to use a mixture of seed & bugle beads to coat the background but I'm afraid it will be a costly experiment and I'm not keen on scraping off hundreds of glass baubles once I decide that I don't like it.
Right now I'm in between using a mix of green glass (it really makes her face pop) or painting the Wedi to look like water and then laying clear textured glass over it.
The green glass is my top pick at this moment.
My camera batteries are flat empty so work in progress shots will have to wait.
Bravo's Work of Art - Anyone watching?
I can't even believe that I am mentioning a TV series in a blog post but I have to say I really enjoyed watching Bravo's new series Work of Art last night.
The most interesting part about the show was watching the artist's interpret the portrait challenge. It reminded me that judges and jurors do take the challenge guidelines into consideration when picking a winner.
The artists that fell into the bottom three might be talented but their artworks just didn't scream "portrait" and so they ended up on the outs. Lesson learned - the audience has to connect to your art and it is important if they understand what you are trying to say.
On another note, I wish Nao would just go away. What a catty b*tch!
Anyone else watching?
The most interesting part about the show was watching the artist's interpret the portrait challenge. It reminded me that judges and jurors do take the challenge guidelines into consideration when picking a winner.
The artists that fell into the bottom three might be talented but their artworks just didn't scream "portrait" and so they ended up on the outs. Lesson learned - the audience has to connect to your art and it is important if they understand what you are trying to say.
On another note, I wish Nao would just go away. What a catty b*tch!
Anyone else watching?
Artist fills the gaps with LEGO bricks
I adore public art projects and I find some of them to be truly uplifting. I'm more impressed with ideas that spring from the ordinary, artwork that stops you in your tracks and makes you pause and smile.
Artists like Banksy and Born to Kiln are among some that come to mind.
Another is artist Jan Vormann, who repairs cracks and gaps in buildings with colorful Lego bricks. His handiwork can be seen in NYC and on buildings in Berlin and Italy that were damaged by war.
Vormann installs the "dispatchwork" with a strong adhesive and while the plastic bricks will stay in place for some time, they will eventually fall out just like ordinary brickwork.
Many cities have welcomed his colorful form of repair with open arms. A Mayor of a small Bavarian town liked it so much that he had the brickwork set in concrete!
You can learn more about the colorful repair projects in this video.
Artists like Banksy and Born to Kiln are among some that come to mind.
Another is artist Jan Vormann, who repairs cracks and gaps in buildings with colorful Lego bricks. His handiwork can be seen in NYC and on buildings in Berlin and Italy that were damaged by war.
Vormann installs the "dispatchwork" with a strong adhesive and while the plastic bricks will stay in place for some time, they will eventually fall out just like ordinary brickwork.
Many cities have welcomed his colorful form of repair with open arms. A Mayor of a small Bavarian town liked it so much that he had the brickwork set in concrete!
You can learn more about the colorful repair projects in this video.
6.09.2010
NEW BLOG: Flickr Mosaic Artists
I've been experimenting on and off with how to best "curate" my favorite mosaic artworks. I have a real hankering (bet you haven't heard that word lately) for collecting things and being able to collect and collate virtually is a heck of a lot easier than amassing a giant collection of artwork for real. Besides, it's a whole lot cheaper.
I started the Flickr Mosaic Artists group about 2 years ago. The group serves as a large collection pool for many of the artists on Flickr who are working in mosaic and it now has over 600 members worldwide (666 to be exact - spooky). There are currently over 5000 photos of completed projects in the photo pool. (The group is limited to photos of completed artwork only.)
It occurred to me that I could easily create a photoblog featuring some of the submissions from the group...and the Flickr Mosaic Artists blog was born.
The blog currently features a growing list of artist's blogs, mosaic related websites and suppliers.
To add your mosaic related link to the Flickr Mosaic Artists blog, please contact me with the name of the link. (A reciprocal link would be much appreciated.)
If you'd like to share the mosaic love, please post on your blog, Twitter or Facebook about FMA! That's creative karma. :)
I started the Flickr Mosaic Artists group about 2 years ago. The group serves as a large collection pool for many of the artists on Flickr who are working in mosaic and it now has over 600 members worldwide (666 to be exact - spooky). There are currently over 5000 photos of completed projects in the photo pool. (The group is limited to photos of completed artwork only.)
It occurred to me that I could easily create a photoblog featuring some of the submissions from the group...and the Flickr Mosaic Artists blog was born.
The blog currently features a growing list of artist's blogs, mosaic related websites and suppliers.To add your mosaic related link to the Flickr Mosaic Artists blog, please contact me with the name of the link. (A reciprocal link would be much appreciated.)
If you'd like to share the mosaic love, please post on your blog, Twitter or Facebook about FMA! That's creative karma. :)
6.08.2010
Listening for the truth
Here's a thought that I can identify with...
"I want to be able to stretch my creativity by using different materials, different substrates, different themes. And yet, I worry that I will never be taken seriously if I don’t “settle down” into a style." via Art by Lee Ann Petropoulos.
It seems "finding your own voice" is a common struggle. I mulled it over in this post.
In the last year, I've learned a lot about seeing my art as others see it and I think it helps to hear the unfiltered comments of an audience. Not the audience on Flickr that never speaks a harsh word, but an art critic or gallery patron that has no stake in your happiness. Sometimes the best advice is unsolicited.
"I want to be able to stretch my creativity by using different materials, different substrates, different themes. And yet, I worry that I will never be taken seriously if I don’t “settle down” into a style." via Art by Lee Ann Petropoulos.
It seems "finding your own voice" is a common struggle. I mulled it over in this post.
In the last year, I've learned a lot about seeing my art as others see it and I think it helps to hear the unfiltered comments of an audience. Not the audience on Flickr that never speaks a harsh word, but an art critic or gallery patron that has no stake in your happiness. Sometimes the best advice is unsolicited.
Born to Kiln!
 |
| Born to kiln, I'm in a hole! Originally uploaded by BorntoKiln |
The UK based artist has been filling potholes on the streets of London with ceramic art that he creates specifically for each break in the road.
His work reminds me of the graffiti artworks created by street artist Banksy. They are clever, simple and they have a message.
I asked the artist a little bit about his work and his process. He was kind enough to reply.
Q: Why do you do it (fill the potholes, that is)?
A: I do it, as random acts of mosaic kindness. To put a smile on the viewer's face and to help the UK Craftivist Movement grow. Art and craft for social change against injustice! I also love street art in general and wanted to be an active member of that community.
Q: Do you make the tile inserts?
A: I do the artwork and Carrie Reichardt fires them for me.
(FYI: Carrie is the mosaic artist extraordinaire behind the Luis Ramirez Wall,
The Tiki Love Truck and the fabulously mosaiced Treatment Rooms in London. She also participated recently in the London Elephant Parade.)
Q: What is your installation process?
A: I'm experimenting at the moment as to find the best process. But generally, first I find an appropriate pothole, then draw the shape onto some mesh. Go home and do the mosaic on the mesh. Then back to the location to fill the hole. I've just started doing them onto 3mm MDF lattice, this way I can grout before the placement.
(FYI: The MDF lattice is a new product for me. I did a quick search for it and found it available mostly in the UK. Here's an example.)
Q: Do you install the artwork at night? Is it secretive?
A: No, I normally fill the holes in the day. I work/repair public footpaths, as far as I know, I'm not breaking any laws or causing criminal damage. So don't feel the need to work under the shadow of nightfall.
Q: Have you received any feedback from the local community?
A: I've only received positive feedback from people so far.
Q: Do you create other forms of art?
A: Yes, I also work with glass creating anti-war pieces. Bullets and grenades - Making very ugly objects beautiful. I paint on canvases as well.
 |
| © Born to Kiln aka Jimmy South |
Anyone that has ever broken a tile, smashed a dish or cut stained glass can appreciate Born to Kiln's random acts of mosaic kindness!
Spread the word.
6.07.2010
An artist's statement IS necessary!
The results of Competition 8 are in over at CMA and while I didn't win, I did learn a valuable lesson about trusting your instincts.
The competition's theme was "TIME" and many of the artists submitted very literal translations. Others made you think about how the theme related to the artwork. It was an interesting way to see how individual artists interpreted a single theme.
The contest was judged by Martin Cheek, author of several books on mosaic art. Martin commented that he chose the winner based on how well the artist, Kathryn Portelli, translated the theme of "time" into a work of art. He also said that he did not choose the "best" piece or "his favorite". He felt that it was irrelevant in the context of this competition.
I entered my mosaic portrait of Frida Kahlo and while the submission guidelines allowed for a small statement about the artwork, I opted not to enter any explanation.
At the time that I uploaded the my jpeg, I was deciding whether or not I should include a short artist's statement.
I opted to let the portrait speak for itself but my first instinct was to explain how Frida and her artworks have transcended time.
It fascinates me how the woman, as enigmatic as she was, has remained current and even increased in popularity since her death.
She remains one of the most unique artists that I have read about and her simple beauty is remarkably timeless. In some of her photos she looks as if she could walk off of the page and right into 2010 without missing a beat.
With all of that said, it was Martin Cheek's comments that left me feeling like an artist's statement would have served me well. (Note the statement in bold!)
"I went to Eve’s page to try to find out more about this stunning portrait and I was surprised to read that it is Eve’s first portrait. Everything about it is well observed, the face itself is carefully constructed and there is no doubt as to who this might be! I particularly like the fiery flesh tones – which suggest a passionate personality, juxtaposed with the clean clear blue background."
It has always been my belief that every artwork should have a short artist's statement accompanying it. The creative process is full of interesting acknowledgments and it really helps an audience (and a juror!) if they know where you are coming from and where you intended to end up.
Note to self: Explain the journey!
Lesson learned.
The competition's theme was "TIME" and many of the artists submitted very literal translations. Others made you think about how the theme related to the artwork. It was an interesting way to see how individual artists interpreted a single theme.
The contest was judged by Martin Cheek, author of several books on mosaic art. Martin commented that he chose the winner based on how well the artist, Kathryn Portelli, translated the theme of "time" into a work of art. He also said that he did not choose the "best" piece or "his favorite". He felt that it was irrelevant in the context of this competition.
 |
| Time Vessel © Kathryn Portelli |
At the time that I uploaded the my jpeg, I was deciding whether or not I should include a short artist's statement.
I opted to let the portrait speak for itself but my first instinct was to explain how Frida and her artworks have transcended time.
It fascinates me how the woman, as enigmatic as she was, has remained current and even increased in popularity since her death.
She remains one of the most unique artists that I have read about and her simple beauty is remarkably timeless. In some of her photos she looks as if she could walk off of the page and right into 2010 without missing a beat.
 |
| Timeless (Frida) © Eve Lynch |
"I went to Eve’s page to try to find out more about this stunning portrait and I was surprised to read that it is Eve’s first portrait. Everything about it is well observed, the face itself is carefully constructed and there is no doubt as to who this might be! I particularly like the fiery flesh tones – which suggest a passionate personality, juxtaposed with the clean clear blue background."
It has always been my belief that every artwork should have a short artist's statement accompanying it. The creative process is full of interesting acknowledgments and it really helps an audience (and a juror!) if they know where you are coming from and where you intended to end up.
Note to self: Explain the journey!
Lesson learned.
6.06.2010
It's not only the pipeline that's broken
The Brown Pelican's aloof personality and goofy antics have entranced me since I first encountered them waddling around on the waterfront in San Carlos Island.
I've agonized over seeing birds with hooks and fishing line hanging from their wings and I've admired them as they hitched a ride back with the boat at the end of a half day fishing trip. Their brazen attempts to steal and eat fish much larger than pelicanly possible have warmed my heart...but to see this charming and completely innocent creature covered from head to foot in sickly brown oil pisses me off.
BP has no right to continue doing business in this country - or on this planet. The incessant greed of big oil businesses has come back to bite us all in the rump...and it seems like only the innocent are paying the price. Sure they say they'll clean it all up but the reality is that they'll never get all of it and the Gulf Coast will be dealing with the effects for decades to come.
I am hoping that the majority of these birds can be saved (fingers crossed). This photo comes from the International Bird Rescue Research Center. (http://www.ibrrc.org) The organization is cleaning the oiled pelicans and (hopefully) restoring their lives.
Even though the spill is currently nowhere near Southwest Florida, I fear that the disaster will eventually impact us. I'm holding my breath and hoping that the entire Gulf Coast doesn't have to be destroyed by this accident.
One of my contacts, Gila Rayberg, who lives on the Panhandle of Florida has recently posted photos of oil making it's sickly debut on a beach in Perdido Key. My heart goes out to her and her little piece of paradise.
It's not only the pipeline that's broken...it's also my heart.
6.05.2010
Protecting your artwork
Kate Harper posted a fabulous interview with Alyson Stanfield of Art Biz Blog about protecting your artwork.
In other news...couldn't resist posting this photo from the Douglas Education Center in Monessen, PA.
This could totally be my alter ego. Love that pink hair!
Juicy Couture
Originally uploaded by DEC photos
6.04.2010
Suppliers and resources
In the spirit of all of the generous artists that I've come across in recent years, I am sharing a few resources that have been shared with me.
Handmade Wood Bases for Mosaics
Mosaic artist Crystal Thomas shared her source for custom made wood boxes. Ernie from Pop's Wood Shop, will whip up custom made substrates for your next mosaic.
You can see the handmade wood boxes in action on Crystal's piece entitled, Journey, one of my faves.
Millefiori
Anyone that has used millefiori in their art knows how addictive it can be!
The tiny little slices of patterned glass rod, sometimes referred to as murrini, can add instant attitude to your artwork.
Here are some of my favorite sources for handmade millefiori, like the "Peony" pattern shown here by glass artist Donna Millard.
Etsy shop: GutchiTayaNo
Lori & Kim
Etsy shop: The Wandering Bead
Handmade ceramic tiles
If I ever embark on a large scale mural, I'll be on the hunt for tiles with an original look - like these skull tiles from Rebel Tiles, handmade by artist Robin Indar.
She's designed several mosaic installations created with her handmade ceramics.
You can check out some of her handiwork (and handmade tiles) on her Flickr photostream.
Jewelry Blanks
The question that I have been asked more than any other is, "Where do you get your jewelry blanks?"
I've asked other artists the same question myself so I thought it would be helpful to list some of the major sources.
Deep welled jewelry blanks:
Lucky Supply Co
Golden Supply Co.
It can't hurt to add that I have access to the manufacturer for all of the blanks that either of these shops carry. If you are in need of a large quantity order, please email me. I can almost guarantee that I can offer you better prices.
And last but not least....
Artists' Boards
One of the most challenging things about starting a new artwork has been deciding what substrate to use.
I've tried using Wedi board with a finished edge and plywood bases that I later drop into floater frames. Both substrates serve their purpose but I really like using Blick Studio Artists' Boards for my smaller artworks.
The panels are made with MDF and have a textured canvas finish that enables the glass to adhere perfectly. I've used the cradled 3/4" size recently and I loved that it allowed me to use eye hooks to attach a wire to the back. No fuss!
This tip came from my artist friend, Rebecca Collins. She created her mosaic "A Tasty Morsel" on one of the panels.
 |
| courtesy of Crystal Thomas |
Mosaic artist Crystal Thomas shared her source for custom made wood boxes. Ernie from Pop's Wood Shop, will whip up custom made substrates for your next mosaic.
You can see the handmade wood boxes in action on Crystal's piece entitled, Journey, one of my faves.
 |
| © Donna Millard |
Anyone that has used millefiori in their art knows how addictive it can be!
The tiny little slices of patterned glass rod, sometimes referred to as murrini, can add instant attitude to your artwork.
Here are some of my favorite sources for handmade millefiori, like the "Peony" pattern shown here by glass artist Donna Millard.
Etsy shop: GutchiTayaNo
Lori & Kim
Etsy shop: The Wandering Bead
 |
| © Robin Indar, Rebel Tiles |
If I ever embark on a large scale mural, I'll be on the hunt for tiles with an original look - like these skull tiles from Rebel Tiles, handmade by artist Robin Indar.
She's designed several mosaic installations created with her handmade ceramics.
You can check out some of her handiwork (and handmade tiles) on her Flickr photostream.
Jewelry Blanks
The question that I have been asked more than any other is, "Where do you get your jewelry blanks?"
I've asked other artists the same question myself so I thought it would be helpful to list some of the major sources.
Deep welled jewelry blanks:
Lucky Supply Co
Golden Supply Co.
It can't hurt to add that I have access to the manufacturer for all of the blanks that either of these shops carry. If you are in need of a large quantity order, please email me. I can almost guarantee that I can offer you better prices.
And last but not least....
Artists' Boards
One of the most challenging things about starting a new artwork has been deciding what substrate to use.I've tried using Wedi board with a finished edge and plywood bases that I later drop into floater frames. Both substrates serve their purpose but I really like using Blick Studio Artists' Boards for my smaller artworks.
The panels are made with MDF and have a textured canvas finish that enables the glass to adhere perfectly. I've used the cradled 3/4" size recently and I loved that it allowed me to use eye hooks to attach a wire to the back. No fuss!
This tip came from my artist friend, Rebecca Collins. She created her mosaic "A Tasty Morsel" on one of the panels.
6.03.2010
Sharing your sources
In my sourcing materials post I reflected on the amount of time and energy that goes into researching manufacturers and finding interesting new products to produce your artwork with. Being on the lookout for new materials is part of the artistic process but it can take away precious time that I'd rather be spending making art.
I've met some wonderfully generous artists that have opened their world to me and shared their sources for everything from jewelry blanks to Wedi board. I've also had a fair share of artists ask me where I'm getting my materials. It's a give and take.
On the other hand, receiving an email from someone that I have never met, inquiring about where I buy my materials can put me on the offensive. I'm more than game to help out but sometimes I just feel like returning with: Do your homework!
I am definitely on the fence about how to be helpful, polite and participate in the greater mosaic community and how to keep some of my sources to myself.
Even though I sometimes feel Grinchy and don't want to share all of my information, I really do feel that being part of an "open source" community benefits everyone involved. It puts everyone on a level playing field and allows the artwork to shine rather than the cool new substrate or the hard to find ring blanks. I still feel the need to squirrel away some of my tricks and sources every now and again but ultimately they all come out in the end.
This topic reminded me of an email conversation I had with mosaic artist Laurel Skye. I asked her how she feels about people constantly copying her high heel and skull mosaics. She replied that she really likes to see what other artists come up with. Her idea sparks the creativity of others. And that's not a bad thing.
I've met some wonderfully generous artists that have opened their world to me and shared their sources for everything from jewelry blanks to Wedi board. I've also had a fair share of artists ask me where I'm getting my materials. It's a give and take.
On the other hand, receiving an email from someone that I have never met, inquiring about where I buy my materials can put me on the offensive. I'm more than game to help out but sometimes I just feel like returning with: Do your homework!
I am definitely on the fence about how to be helpful, polite and participate in the greater mosaic community and how to keep some of my sources to myself.
Even though I sometimes feel Grinchy and don't want to share all of my information, I really do feel that being part of an "open source" community benefits everyone involved. It puts everyone on a level playing field and allows the artwork to shine rather than the cool new substrate or the hard to find ring blanks. I still feel the need to squirrel away some of my tricks and sources every now and again but ultimately they all come out in the end.
This topic reminded me of an email conversation I had with mosaic artist Laurel Skye. I asked her how she feels about people constantly copying her high heel and skull mosaics. She replied that she really likes to see what other artists come up with. Her idea sparks the creativity of others. And that's not a bad thing.
6.02.2010
Sourcing materials
Rebecca Collins' post about finding artist resources struck a chord with me...or maybe hit a nerve.
She mentions how it can take hours to locate suppliers for new and interesting materials. She is spot on.
When I started making my mosaic jewelry, I began buying my blanks from suppliers on Etsy. The blanks worked to my satisfaction but I knew that these sellers were merely placing orders and reselling. I wanted to find their source and after some mega legwork, I finally did.
I put in several hours of searching Google for every combination of words that I could think of that might hit on that elusive wholesaler that I knew was out there. Eventually my mania paid off and I hit upon the manufacturer. It wasn't luck, it was determination and good old fashioned man hours. The task certainly wasn't fun but it is part of doing business as an artist.
Stay tuned for part 2 of this post where I'll discuss the generosity of other artists I've emailed asking for sources and the pros and cons of giving away all your secrets.
Part 2: Sharing your sources
She mentions how it can take hours to locate suppliers for new and interesting materials. She is spot on.
When I started making my mosaic jewelry, I began buying my blanks from suppliers on Etsy. The blanks worked to my satisfaction but I knew that these sellers were merely placing orders and reselling. I wanted to find their source and after some mega legwork, I finally did.
I put in several hours of searching Google for every combination of words that I could think of that might hit on that elusive wholesaler that I knew was out there. Eventually my mania paid off and I hit upon the manufacturer. It wasn't luck, it was determination and good old fashioned man hours. The task certainly wasn't fun but it is part of doing business as an artist.
Stay tuned for part 2 of this post where I'll discuss the generosity of other artists I've emailed asking for sources and the pros and cons of giving away all your secrets.
Part 2: Sharing your sources
6.01.2010
Dominate your niche, damn it
Here's a great post about dominating your niche without apology that reminded me to be myself and not give a damn about pleasing everyone.
In my journeys throughout the blogosphere, I see far too many people concerned about offending someone or possibly even making an enemy.
I’d argue that cowering in the corner just makes you look like everyone else. Which gets you nothing.
So get out there. Be real. Be yourself.
And don’t you dare apologize.
via Copyblogger
In my journeys throughout the blogosphere, I see far too many people concerned about offending someone or possibly even making an enemy.
I’d argue that cowering in the corner just makes you look like everyone else. Which gets you nothing.
So get out there. Be real. Be yourself.
And don’t you dare apologize.
via Copyblogger
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