Greg's Blog

trying to find out what's up?

 

 

Official website
Follow me on LinkedIn follow me on facebook tweet me
get in touch

Giving it all Away

July 1, 2015 by admin

I was recently asked “what did it take to get to that next level?”

What? Rethink, reconsider, and recalculate that one! I’m here flailing around like a ship in a whirlpool. What “next level” are we talking about?

Looking from within, it looks as though I’m just spinning my wheels in the same old spot. Kind of like being around your children all the time, they never change. But when relatives come from afar for that rare, but sometimes “too often” visit, all you hear is “oh my how little junior has grown,” or “what happened to that little girl I used to bounce on my knee?” When you look at things on a daily basis, it is only the drama that gets noticed.

I believe it must have hatched as I bantered thoughts and ideas around with artist Jeffery Sparks as we talked of creating a group for artists here in the Midwest similar to the Hudson River school of artists, or the Southwest artists. he pointed out that we had to be good to help set an example. He believed we could be among the best in the region as we led this organization that is now called the Missouri Valley Impressionist Society. (MVIS for short)

Sure I agreed, but did I believe it? No, not really.

It wasn’t that I didn’t think I had the talent, I knew I had some, but being the best sounded insurmountable. I mean there are literally thousands upon thousands of artists just in this area. How in the world? No way!

So I put that pipe dream on the back burner, and just focused on painting, and me.

The next time anything like this came up was with my friend and mentor, Rick Howell. If you didn’t know Rick, he was a one of a kind guy, always giving, always caring, helping people, the land and all that inhabited it. He sat me down in his little artists’ retreat and gave me the “low down.” “It’s not going to be easy,” he said. “If you think you have worked hard at anything in yourlife before, you are mistaken.”

Rick told me about making a serious commitment, and passing that boundary of fear that keeps one from taking that step into the unknown. He talked of the proverbial “miles of canvas” that I had to put behind me before I even came close to those goals we wrote down.

What I heard in “Casa Estella” was not new stuff. But hearing it from this unbelievable artist who actually thought that I had the potential to be great was different! It’s one thing to hear words of praise and encouragement from friends and family. But Rick Howell was a professional with an amazing talent, and he began to help me to believe in myself.

Keyword “BELIEVE”

Belief is important. If you don’t believe in yourself, how in the world are you going to convince someone else ? But belief was not all, talent helps, now what in the world are you going to do with it?

Even with Rick behind me, I was still skeptical of all involved, and what it would take to take that next step. Could I do it? Could I commit so much of my time to these goals that we worked out around the kitchen table in a high plains desert? Commit so much time and energy, and money! I was working full time still as a master engraver. Itt was going to cost me quite a bit in salary to reroute into the world of fine arts.

But try to believe.

I had no idea what I was getting myself into. The time commitment, the energy, looking, seeing, feeling. Eeverything had to change. I did not realize this, but as I went along, this is what I found had to happen for me to even minutely close the gap between me and the upper echelon.

Did it begin slowly? I don’t know, but for me I had to change quite a bit. I had much to learn to take my art from the amateurish to the professional. I knew nothing of color, values, composition. Sure I studied in college, but that was what, 30 years ago, and we just began brushing on things when my career as a fine artist took a turn to the commercial side and family. So I’ve shelved the tales by Stephen King and replaced them with Carlson and Payne.

When I am alone my thinking turns to my art. I am now always questioning what I see, and how I might recreate it on canvas. I see things as I’m driving just around the block or to the next show and try to figure out how to mix that color up with my 4 color palette.

I squint all the time in the middle of a conversation seeing how things look in just a few values. If you see me kind of drift off, it’s probably not a flashback from the late 60’s. More likely I see something that caught my eye and I’m thinking how it might fit best in a horizontal or vertical format.

Is it a case of living, sleeping, eating art? Yes it really is, and I still feel like I’m not doing enough. At night I lay in bed working on inventory, and invoicing, and applications, and social networking. During the day it’s the same thing, but throw in the things that life puts before you, plus if possible a little painting.

I work on a balancing act because, yes, there are other things in my life that I love besides paintingmy wife Susie, and my wonderful family. I have friends and a home, and I still sculpt as an engraver on occasion, though that is becoming rarer by the minute. I do what I must first, then I do what I can after that.

It is a commitment, and it takes a good supporting cast around you. I know I could not have gotten this far alone. At one time I thought so, but for me admitting that I needed help was freeing. I’m not the great and powerful Oz that I once believed.  (I think my parents kept trying to tell me this, but would I listen to them?) Well, this is something you must build and nurture constantly, starting in the home, the community, and then beyond.

All this just so I can paint. That’s really what I want to do, and maybe one day that will come. I now believe in myself, and I have seen a little glimpse of the potential within me. I am slowly, ever so slowly, beginning to paint the things that I love to get lost in when I visit galleries.

What does it take to become the best?

I have no idea and will probably never know. What I do know is that it’s not just having the talent.Talent is nothing if you don’t do anything with it.

I’ve heard forever “you’ve got to want something bad enough”. (sports cliché)) I always thought that it doesn’t make a difference if everyone wants the same thing, that doesn’t help. What in the world does it mean “they wanted it more than me?” No way!

What I’ve found is that what you do because you want something bad enough makes all the difference in the world. Maybe that’s what they really mean?

“If you can dream it, you can make it a reality. The possibility lies in your ability, enthusiasm and hard work to realize it.”  Lailah Gifty Akita

I’ve changed the way I live, the way I think, the way I see. Everything and anything I can think of that might make me a better artist. I see it helping, and I’m enjoying the journey. You’ve got to do that because if and when the end ever arrives…

rg at heaven hill farm

photo by Turner Vinson

…that’s it.

The END

 

Let’s try Art

July 24, 2013 by admin

It’s strange I don’t always blog about art here, so I thought I would give it a try, just for a change of pallets.Shall we keep it general, or go specific?

Warm up on Crystal Creek

Warm up on Crystal Creek

Let’s go with my latest projects, this is taking “so-so” plein air studies and making large paintings from them. 1st off, let me say I am not a pro at this, I saw a blog by Kathleen Dunphy’s about doing just this, and thought to give it a try. It makes so much sense though, I mean there had to have been something there in the first place that caught your eye, then you bring home a less than adequate study? What is up with that? I find that it makes so much sense to take one of those “rejects” and creating a larger working painting, even more so than a plein air study that came out great. Well, maybe… we’ll get back to that.

I’ve always loved painting large paintings. In college my average size was about 36″ x 48″. Okay, it’ s not big for a lot of artists, but for  those who paint outdoors that’s kind cumbersome. So coming quickly back to the present before I get too lost in memories, the average size painting I now do plein air is approx. 18×24. My mentor thought this the perfect size for painting studies, and I was totally okay with that. Lately I have begun to paint smaller outdoors, mainly to help generate a little money to buy more paint. Seems that the smaller pieces

Me at Crystal Creek

Me at Crystal Creek

have been moving a lot better in these times than the larger paintings. In this instance, I had an 11×14 plein air painting from a paintout with the Missouri Valley Impressionist Society at a place called “Crystal Creek”. A beautiful autumn day along a slow running stream in the woods. I had given a 3 hour workshop earlier that day along the Blue River, and quickly found my way here afterwards to join in while I still could. Many had left already, but I saw that they had still left the beautiful scenes behind them. Great! What I came away with was an okay study, I loved the colors, and the composition, but I thought it left a lot to be desired, and I tossed it onto the shelf. There it sat for months and months. I kept going out painting more, bringing good pieces that needed just a little tweaking into the studio and finishing them up. I would find older studies I really loved and finished some of them up, but an ever-increasing pile of paintings kept nagging at me.

Then I saw Kathleen’s blog and thought what a great idea.

I grabbed one of the 1st ones I came to, set it up next to an easel with a 30×40″ canvas on it, found an old reference photo, and “went to town”! To help keep things loose, after my initial block in, I would set my timer to about 30 minutes (as per Rick) and paint in spurts. Not spending too much time at any one setting so as to “overwork” the painting. I spent a lot of time looking through a mirror at it, getting away and studying it. There were things that I embellished that I swept over in the smaller piece. In enlarging the painting I did not approach it much differently than I do my plein air paintings. I did mix up larger amounts of paint, and used a #12 brush more than my favorite #8, but I did finish it up with the smaller #8. I quickly sketched in a few key lines of the painting, then began blocking in the values, keeping the cools in the cools, and keeping it warm guess where… you got it, where the warms are supposed to be.

I was very tempted to begin going into detail, there is so much you can do with a 30×40″ canvas, so so much!

But I resisted, and I believe I came away with one of my better paintings. What an exciting thing this was to me, it gives so much hope to all those canvases that had some good things about them, just didn’t quite “do it!” Plus now I have a large painting for the corporate buyer, and then a moderately priced piece for the average collector… either way, I hope that’s you.

Now whether an artist, or art lover, go grab some sort of canvas and smile.

Fall Enchantment

Fall Enchantment

back to top