DREAMERS AND MUSIC-MAKERS

My original shrines made a great display of my work! And now the dream continues….

Sometimes I surprise myself.

When I wrote “Art for Money, Money for Art”, I was solidly grounded in my story, my artwork. But the world sure wasn’t. Ever since I’d started my professional art career, it seemed like every day, the news was full of something dire. It began with 9/11 and marched through invading more and more Mid-Eastern countries. Galleries struggled, sales wavered, and then finally, the Recession of 2008 put a dagger in my hopes of becoming a “rich and successful” artist.

And yet, my principles remained strong. I knew I was making my work for all the right reasons, even as some people mocked me for being a “Pollyanna” about my slumping sales.

When the Recession hit a few years later, I did get a little desperate. For the first time, I submitted jewelry work to a mail-order catalog. I learned a lot, a few items were accepted and published, and I made enough sales to heal my drained bank account.

But I also learned that making something strictly for money, something that was a ‘sure seller’, something I had to make hundreds of, was not for me.

Okay, I’ll admit, if I had to actually pay my own rent and put food on the table, I would do it differently. As my wonderful partner has said, “I get paid pretty well to do the work I love. It’s not your fault the work you love doesn’t pay too well.” Thank you, sweetie!

It’s just that making something to please someone else, making the exact same thing in multiples, over and over, and the betting on a sample that might bring in some money but probably not, became pretty stressful. It drained me. I was relieved to return to my happy place in my art-making.

Segue to the pandemic, where sales dropped for everyone….

One day in my studio, as I was composing yet another beautiful necklace, it hit me. I love making jewelry with my artifacts. It’s my best-selling category, too.

But I realized my studio is already full of jewelry. I don’t really need to make more, except that making makes me happy. (I’m sure autocorrect is going crazy right now…)

And I realized there was a big project I’ve been holding in my heart for almost a decade or more. I could feel it calling to me: My shrine series, from 2013.

What held me back?

  • Some technical issues I couldn’t figure out.
  • A lack of materials.
  • Worrying about whether it would sell.

I decided to simply start with what I had, and see what happened.

What happened was a small miracle.

  • Yes, I hit those technical issues pretty quickly. And guess what? After some trial-and-error attempts, I eventually figured out a good way to manage them. They were so good, I actually went back and took some earlier pieces apart and redid them.
  • I started work in a series of colors, making multiple versions that were still unique.
  • I found sources for almost everything I needed: Tiny brackets, even tinier screws, new candidates for smaller boxes and drawers, and work-arounds for every issue that cropped up.

I now have almost completed fifty shrines in my studio. (“Completed” is a relative term. Next come artifacts, and then mounting them in the box shrines.) I have so many, I’m now panicking about an upcoming open studio in June. Because my shrines have commandeered every inch of space in my studio.

Thanks and a hat tip to Natalia Gorwalski, who generously gave me these little tool/parts drawers, now painted and waxed and ready for stacking!

What kept me awake in the middle of the night?

Wondering if they would ever even sell.

I know this worry for what it is: My brain trying desperately to find a “solution” to an overabundance of shrines.

So today’s article “Fresh Drive” by Sara Genn, landed at just the right time for me. (Sara continues the journey of her father, Robert Genn, with their blog, The Painter’s Keys. Any creative can benefit from their shared insights and wisdom.)

I am again restored me to my highest, best, artist self.

Genn discusses “intrinsic vs extrinsic drive”. Extrinsic drive are the external rewards we seek from whatever we do, based on “if/then”. “If I stick to my diet, I can lose weight.” “If I work overtime, I can get make more money.” “If I create a chart, I can get my kids to do their chores.” Extrinsic drive is good for establishing new habits, getting things done, attaining our goals, etc. I would add, ‘seeking fame and fortune’ to those extrinsic goals, which is also a common goal for artists.)

But it turns out that extrinsic drive can be toxic to creative work. “Artists, it seems, are inspired by everything but an extrinsic reward.”

Aha!

“Intrinsic motivation is dependent upon three main factors; autonomy, or auteurship; mastery, or the pursuit of excellence in a given skill; and purpose, the soul-driven intention behind a quest or endeavour. Finding out one’s purpose is a lifelong exercise — and should be mutable and ever-evolving.”

My drive to make these shrines is a way to use this pandemic to work on something that has no endgame right now. I want to see them in the world. Every new one I put together is so satisfying!

I was delighted to see my “Pollyana” outlook reinforced by Daniel H. Pink, one of my favorite authors:

“Daniel Pink, an expert on human motivation, has made a case for imploring businesspeople to understand what artists innately already practice: in the near-carrotless world of fine art, where the journey is often the only reward, the ideas are inherently better. Without a known destination or straight path to victory, artists dwell in the periphery of problems and solutions, forced to look around and take time to contemplate options and routes to discovery. The secret to meaningful conceptual thinking is to circumvent the obvious and embrace the mysteries. This is how we surprise ourselves and push beyond the “first thought.” While the first thought may be the most expedient, it will not advance the artform. You must commit, over and over again, to putting yourself in the arena of better ideas, so that a process of discovery can take hold.”

Once again, I feel validated.

I started with a “first thought”. Then I quickly ran into every obstacle that’s held me back for years.

But this time, Instead of setting everything aside until I had a ‘perfect’ solution, I simply started.

As problems arose along the way, I figured a way through them, one at a time. I changed my mind about a lot of things, and learned a lot along the way. And as I got better, so did my strategies for solving problems.

I still wake up in the wee hours, wondering how I’m going to handle this or manage that. I still look at my studio and wonder, “Where will I even put all these??” “Will these ever sell??” “Should I start looking for a gallery to send an exhibition proposal to???” “Are these as wonderful as I think they are, or am I just kidding myself?????”

Go back to sleep, lizard brain. I got this! My newest mantra for my lizard brain is, “I’ll figure that out when I get there….” And so far, it works!

So for all the artists I’ve heard from over the years, especially this past year, who worry about sales, who struggle to keep making their work, who want to know how to recreate a successful time in their art career, who wonder if it’s even worth it if they can’t sell it, etc., here is my free advice:

Do what you have to do, to survive these troublesome times.

But never surrender the work of your heart, your art, your dream project.

 Find a way to dive in, today, now! Make a little room in your day for it.

Set aside your self-doubt, your worry, your self-judgment for now. Do what brings you joy. (Says Luann, scrubbing turquoise paint off her hands and face for the tenth time this month.)

We are not wishful thinkers. We are the music-makers, and we are the dreamers of dreams.

Know that our artwork can inspire others on so many levels, in ways we can’t even imagine.

Follow your creative heart and never let it go.

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to my blog.

Small shrines, big shrines, and everything in between….

NEWSLETTERS (AND BLOGS!) 101 #28: Share Who You Are

It's good when your artist story/statement/tag line matches your body of work.
It’s good when your artist story/statement/tag line matches your body of work.

NEWSLETTERS (AND BLOGS!) 101 #28: Share Who You Are

Marketing is about sharing—and KNOWING—our own unique story!

 (3.5 minute read)
Yesterday a friend/fellow artist sent me a link to another artist’s “artist sentence/statement”.
It was slightly crushing, on so many levels.

The first is, they are highly-visible in their field, selling for famous mail-order art catalogs, featured on several platforms, etc. So, a little envy popped up. (Note to self: “Money/fame are not the only measure of our success.”) (See? I have to remind myself, too!)

Second, their “art sentences” was dismaying. Very, very similar to my own tag, which is “Ancient stories retold in modern artifacts.” (Let’s just say the identical word ratio was about 50%-75%.)

But what was really weird is, their work did not reflect this aesthetic.

I fumed, briefly. What should I do? Complain? To whom? Do I “own” these words? No. Do I know for sure they copied mine? No. Do I know who’s been using them longer? No.

I even subscribed to their newsletter, thinking I’d get a feel for who they really are, at heart.

And then it hit me:

Why should I care???

I can make assumptions. I can do research. I can fume all I want.

In the end, I have no control over this situation. Zip.

Even if I did, here’s what I finally realized:

Do I want to waste my precious time and energy taking this on? Do I really want to die on this hill?

 

The answer is, “Nope.”

Focusing on the negative leads to dark places, loss of energy, and distraction.

 

That artist can do “them”. I will do me.

My work has been, um, imitated, from time to time. I’m sure even more than I know! Because the ones I know about are often because the, um, imitator, actually shared that information with me. Polymer clay is a relatively new art medium, and techniques/palettes/projects get shared/copied/reposted constantly. (Oddly, the polymer people who are most protective of their “copyrights” are NOT the people who originally created those techniques/palettes/projects. Go figure.) For more insights on copying and the polymer/any art medium world, check out this article and this one by Ginger Davis Allman of The Blue Bottle Tree.)

I was going to say this is the first time my words have been borrowed. Except that’s not true, either. For a long time, some people would repost my blog posts and articles on their own platforms. Not good. Because invariably, their readers assume they wrote them! (FWIW, it’s more respectful to share a synopsis, or a personal take on how the article affected you, and share a link back the writer’s platform.)

I finally stopped that, too, unless it goes too far.

I am not saying you or anyone else has my permission to copy any of my work.

What I will say is this: People who do this? They yearn for what we have, but either haven’t developed their own skills, story, and personal vision, or have chosen not to.

There we have it. The power of our choices.

 

Today, I will unsubscribe from their newsletter. I will work on my stuff today, and let go of envy. I will scratch my head about an artist story that doesn’t really relate to that artist’s work, and didn’t encourage me to want to learn more.

And I will move on.

I will go to my studio and continue working on my new shrine series. (A customer followed up with me today, asking if I’d contacted the gallery they’d referred me to. Dang! They’re doing better follow-up than I am!)

I will focus on the work that brings me joy, and peace in my heart. I will find ways to share it today, in my social media marketing.

I will continue to only focus on what is under my control, and strive to let go of what isn’t.

And I hope with all my heart that today’s words will encourage you to do the same! (If you aren’t already, in which case, good on you!) (My husband asked me where this phrase came from, as opposed to “good FOR you”. I think it’s a New England thing.)

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them through my blog.

WayBack Whenever: That Small Voice Inside

Oh, dear. My intentions to republish some of my old RadioUserland blog posts seem to have fallen by the wayside….

No matter. When I run across one that still speaks to/for me, I’ll reprint ’em here. (And most of them do!) (Also, thanks to Karyl Shields, who alerted me that the links don’t go to the right content any longer. Fixed! Darn you, Internet!)

Still following that “little idea” and I’m finally making some progress!
Monday, March 28, 2005

THAT SMALL VOICE INSIDE

Amy Peters, silver jeweler to the stars and Queen of self-promotion, posted a fascinating link on a forum today called “Marketing for Introverts.” I can’t find the article but her book can be found here: Self-Promotion for Introverts. Nancy Ancowitz’s insights provided very manageable steps we can take to promote ourselves and our work, and I highly recommend her article.

While poking around her site, I found an article she was interviewed for that also caught my attention. It’s called “To Find A Path, Just Follow That Little Hint” by Patricia Kitchen:

Why did this article appeal to me so much? Because a journey begins with having a place to go. And if you don’t know where to go, how do you take that first step?

Kitchen’s premise is, most people wait for a “bolt from the blue” to indicate where our true heart’s desire lies. But it usually doesn’t happen that way. Instead, she says, we have to pay attention to that tiny little hint of something that captures our interest. And follow it.

As adults, we often find we’ve lost or muffled the instinct to follow our hearts. We don’t have the time or energy to try new things, or pursue a glimmer of an interest. We lose faith in our abilities and strengths, we forget our gifts.

Last week I invited a friend to a free self-defense workshop at the martial arts studio where I study kick-boxing. I asked her on a whim, thinking it would be fun for both of us. “Oh no,” she said, “I wouldn’t be any good at that!”

I was baffled. Why would you have to be good at something to try it out? Heaven knows I have no “knack” for marial arts. And who would expect you to be good at self-defense without learning or practicing it??

But I understood the mindset. It’s that fear of NOT being good at something, the fear of embarrassing yourself in front of others, the fear of making a mistake. It’s the fear of being caught doing something foolish, or the fear looking stupid. It can be the fear of not getting your money’s worth or the fear of wasting time. It can be as awful as the fear of finding out you are NOT talented, or special, or capable of being better.

That’s why it’s so important to “follow that hint” of something interesting, new and fun. Why it’s so important to allow yourself the teensiest little opportunity to try something different. Why it’s so important to simply be open to something that piques your interest.

And why it’s so important to listen to that quiet voice within yourself that says “why not?”

Because who knows where that could lead you?

Kitchen ends by stressing that you must take active steps to pursue that hint. Otherwise, it stays a dream and never becomes your reality.

Tiny hints…small voice…and daily little steps. All adding up to a big dream come true.

NEWSLETTERS 101 #17: Share an “Aha!” Moment

My biggest "aha" moment was what put me on the path to becoming a "real" artist. Still powerful. Still works.
My biggest “aha” moment was what put me on the path to becoming a “real” artist. Still powerful. Still works.

NEWSLETTERS 101 #17: Share an “Aha!” Moment

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

Was there a moment when everything changed for you? Share it!

(4 minute read)

One of the taglines in my Fine Art Views (and elsewhere) is this:

“I share my experiences so you won’t have to make ALL the same mistakes I did….”

Yep, I’m hoping it made you laugh a little. But I am also here to reassure you, that when we have our own “aha!” moment, aka “the Eureka effect”, that miraculous gift of insight where we see what’s really going on, what the solution is, how to move forward from a stuck place, it’s good to share it.

It may be just what someone else needs to get out of a hole today.

Here’s one of my favorites I love to share. It’s about fear. How fear can dominate our lives, inside and out. How it can paralyze us.

And ironically, how shallow it can really be. (Yes, pun intended!)

This story is over 15 years old, and the fear I described was already almost 15 years old. If my husband hadn’t cajoled me to take a dip in the lake on that hot summer day, I might still be holding that fear in my heart.

My intention in sharing this story was to encourage others who are in the same boat. Paralyzed with fear, palpable fear. Impossible to ignore. Only “diving in” (figuratively and literally!) helped me get to the bottom of that scary lake. (Again, pun intended.)

As I linked to the Dublin Lake story, I found another related story in the sidebar, entitled “Breakthrough”. Here is where a bunch of fears, and one random comment, came together into one beautiful solution.

Now my latest insight, that came from revisiting my old blog, today:

Radio Userland was an early blog hosting site (now-defunc) site. I wrote on it from 2002 to mid-2007. (I couldn’t even access it for ages after I left, until my techie husband recoded all the urls into something I could get to easily.) (Thank you, sweetie/love of my life!)

In five years, I got maybe three comments. THREE.

Was it because I was a terrible writer? Or an uninteresting writer? I’ll leave that for you to decide! But I do know the platform had its drawbacks, for me.

It was hard to comment. I don’t even know if I could have responded to those comments. I had no way of knowing how many people visited my blog. I never thought to ask the ones that did, to share it with others.

So: No comments. No likes. No way to measure “hits”. No way to know if anyone ever even read anything. No way to know if what I wrote, helped someone else.

And yet, I wrote. I process hard places in my life, through writing. So I wrote for myself, first. I love having had all those ‘lessons learned’, insights, and free advice.

I love it when I come across them again.

Because I still need them.

As a good friend said a few years ago, “I love all my life lessons! I love them so much, I learn them again, and again, and again.”

And when I share them with the world? Priceless. As in, “free” because you get to read them here at no cost to you.

And “priceless” as in “powerful”, as in “if it helped me, and when I shared it, it helped you, then that has incredible, endless value.”

Is it coincidence that I had this realization so soon after last week’s article, on how the numbers ultimately don’t matter?

I don’t think so.

So consider sharing an insight that helped you move forward in life. An insight that helped you find your way in the dark, towards the light, and a mug of hot milk.

If it helps even one of your subscribers do the same, well, that’s pretty cool.

One suggestion: Stick with the positive, or at least end on a positive note. Not all life experiences are good ones. But when we learn something fundamental, something beautiful because of them, that inspires hope.

Of course it okay to share something we’re struggling with right now, too: Health issues, difficult life events, etc. Believe me, if you’re going through something really hard, someone else out there is, too.

And it’s okay to just gritch now and then. (That’s a word from an old high school friend, a blend of “gripe” and “bitch”, and I love it almost as much as “blort”.) In fact, it might be an opportunity for readers to make suggestions or express sympathy, which may or may not help.

But just knowing they care can mean a lot to us, too.

But don’t be too much of a Debbie/Danny Downer, either. Yeah, we all have our moments, but we also all have enough on our plates.

What is one of YOUR favorite “aha!” moments? Try it out on us, in the comments!

If you enjoyed this article, if you enjoyed this article, share it! Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

TESTING OUR ASSUMPTIONS: Faux Facts of the Lascaux Cave

Is it coincidental that this article was annoying for me, right before I begin this new series? Maybe. Maybe not!

 

I was noodling on the internet this morning, stopped to look something up about the Lascaux Cave in France, the inspiration for the work of my heart.

I came across this article in the Winchester Sun newspaper in northern Kentucky.

It’s actually a good article, focusing on gratitude for the things we take for granted in our lives. And Smith’s assumption is not only one that was taken seriously for years–that cave art is about hunting magic–it’s funny, and a gentle reminder to find the gifts we already have in our lives.

But….

It felt awkard to say this, but why rely on a totally disproven man-the-killer-ape philosphy in life?

I tried to write to her, but oddly, I could not find a way to contact her nor the newspaper. I also wasn’t sure if I were being too picky. Except…so much of the “facts”, aren’t.  That bothered me more than I anticipated. She got her point across, so maybe I should just shut up…?

So I decided not to send it, but to post my thoughts here, in my own space.

Here’s what I wrote:

Erin Smith’s article on Nov. 5, 2020, “What Good Things Have Brought You Here Today?
​I came across your article while looking something up.  It’s good, and I enjoyed it And yet….
I know the theory behind your thoughts (granted, they’re funny!) about the folks at Lascaux being tired of reindeer meat.
And it’s true, for generations, we’ve assumed all cave art, dating back more than 35,000 years now, was about hunting and sympathetic magic around hunting food animals. (My art history studies revealed Lascaux is now considered the “high gothic” of cave art, for its unique use of color.) It was “obviously” about men and boys practicing their target shooting. (Spear marks were found in some of the images.)
The elders were also teaching the boys how to draw, which is why there are animals with eight legs, and multiple heads. This is what was taught to us art history students in the ’70’s and for decades after.
And heck, maybe they WERE tired of eating reindeer meat.
But this ‘hunting magic assumption’ is now considered out-of-date.
Research shows that NONE of the caves depict the actual animals each community hunted. Yet nothing stopped them from hunting other animals.  So what’s that about?
Evidence from the sites of their communities reveal they did NOT hunt nor eat the animals mainly depicted in each cave, relative to evidence found in their settlements.
And this was not a male-only activitiy.
Turns out the spear marks were made at a later time, probably by another community that found the images after the original painters had moved on, and before the entrance to the cave collapsed. So, NOT made by the original artists.
Many of the shamans that created the images are women, and some suspect MOST of them were women. ​And evidence shows that men, women, even children participated in the ceremonies.
The ‘garbled images’? Inexperienced artists? Nope.
First, there is evidence of “multi-media” elements in the ceremonies (created in areas of the most intense echoes, so sound was probably a feature during their creation, or in the ceremonies that followed.)
There’s now evidence that through primitive artifacts, with the flickering light of torches, these images can appear to move, as demonstrated by this video by Marc Azema. You can watch the longer, most recent version here. Or the explanation of how these images were viewed here. But the last bit, at the end of them all, the montage of the large, running cat critter, is still the most astonishing. I can only imagine the intense observation of running lions that resulted in this highly-realistic rendition.
And last, at the begining of the 21st century, archeologists associate the Lascaux Cave’s work with the timing of great climate change. These people saw what we’re seeing, intense change in climate that affected their entire way of living, not over centuries, but within a handful of years. Cooler weather gave way to hotter weather, the vast grasslands were disappearing, the vast herds of animals that fed on them disappeared. One theory believes they were calling the horses back. (Most of the horses in Lascaux are pregnant.)
Someone who thinks I’m “making up a sappy story” about hunting magic said, “You don’t get it. Cave art is all about survival!” To which I replied, “So is a cathedral.”
My own artwork began with the inspiration of the Lascaux Cave. I get the clever wit of assuming they were tired of eating reindeer. I get that there was a great inspiration for your great article in this, and I enjoyed reading it.
And as Patricia Lauber said in her amazing children’s book, PAINTERS OF THE CAVES, we may never know the exact story of these paintings. They are a message that was not addressed to us.
Just sayin’ that the messages we can CHOOSE to see can carry an even bigger message that’s better for us all. There are now wonderful insights that can inspire even more insightful articles.
And we can choose NOT to diminish the spiritual work of a people lost to us in time, who were US–just as intelligent, just as resourceful, in short, just like us–to make our point.
Respectfully,
Luann Udell

 

NEWSLETTERS 101: #5 What Is the Story Only YOU Can Tell?

Yep, I'm a little obsessed with my horses. Because they represent the start--and heart--of everything I am today.
Yep, I’m a little obsessed with my horses. Because they represent the start–and heart–of everything I am today.

NEWSLETTERS 101: #5 What Is the Story Only YOU Can Tell?

Apologies, I just realized I forgot to republish this article here on my blog! This is part of my series “NEWSLETTERS 101” and this one is a biggie!

We may not be ‘used to’ digging so deep. But the gold you find there is worth it!

(5 minute read)

Last week’s article about knowing our creation story sounded simple. But I’m guessing from some of the questions I received privately that most of us don’t find it that easy.

When I work in person with someone, it’s easier. There are questions I can ask, hints in people’s responses I can follow, and body language that tell me I’m getting close. And when people get to their truth, it’s powerful to hear, and see. Their stance gets ‘brave’: They stand/sit taller, their voice deepens, their words are simple, straightforward, and powerful. And often, there are tears. From both of us!

Unfortunately, before people get there, it can be very hard. For me, and for them.

Some people get annoyed. Or angry. Or they shut down, or push back: “I dunno. I dunno. I DON’T KNOW!!! Why do you keep asking me that??!!” (“That” is usually the word “why”, and I’ve written about it for years on my blog and on Fine Art Views (along with other authors.)

I’ve written about five drafts of this article in the last few weeks, and get overwhelmed with everything I want to say. So instead, for those of you who truly want to find your story, today I am assigning you homework. THREE homework assignments, actually:

Check out this article on what makes each one of us special: 10 Things That Make A Person Unique And Different

Read carefully, and think of how you would respond to each of the aspects given.

Next, invest $5 on a copy of Kaleel Jamison’s book, The Nibble Theory and The Kernel of Power. The link actually goes to the best bookfinding tool on the internet called (surprise!) Bookfinder.com.

This book will take you less than an hour to read, but it can be a life-changer. It was for me. The first section is understanding why some people always try to take us down by ‘nibbling’ away at us until we are not a threat to them anymore.

The second section, finding our Kernel of Power, can help you dig deeper into what makes you YOU. Take your time in reading this part, and think carefully about the questions. (Also note that Jamison says how our tears come with our truth.)

Third, this homework assignment is more creative. Remember that meme that went around on Facebook, 25 Random Things About Me, where we were asked to create a list of ‘things’ most people would not otherwise know about us? (Yes, I did it, and it led to another blog post. Of course!) (And also ‘of course’, I did an entire series of articles on how 25 Random Things can help us write a stronger artist statement.)

Last, there is an unspoken element in all these assignments:

The power of our choices.

Mine came when I realized I didn’t have to be “good enough”. I simply had to make the work of my heart. It was the beginning of everything with my art.

Many people say there was no ‘turning point’ or creation story with their art. They never ‘chose’ their art career. They always knew they were creative, and simply followed that path.

If that’s the case for you, then those three exercises may give you clarity. Because ‘just following a path’ still entails many, many tiny choices along the way.

I’ve written about this process—finding our central truth, our creation story–many times. I wish I could do it in person with each of you who are still searching. I also realize, I’m a writer. I constantly write my way to my truth. (To all of you who have signed up for my newsletter or subscribe to my blog, that’s why you get emails every week instead of once a month! Can’t apologize anymore, it’s part of who I am!)

I shut myself in my studio that day I wrote my artist statement. I was frustrated many times, but would not let myself leave until it was done. And I knew when it was done.

I know there’s still nuance in it. Most people call it a poem, and I agree. I elaborate on it once people, visitors, collectors, let me know they want to talk about it with me.

But it still resonates, and it still speaks my truth: I am here, now. I am only here for a short time on this planet. I want to have my voice in this world. Writing and making little plastic horses is part of that voice.

Yep, I’m a little obsessed with my horses. Because they represent the start–and heart–of everything I am today.

I found that looking for humanity’s roots in ancient times gave me hope that we can all do better at being a good, compassionate, generous, creative human being. Including me. Again: The power of our choices.

There are many other ways I am unique. Like loving melted ice cream. Like not liking watermelon. Like taking up martial arts and my art in my ‘40’s, dyeing my hair for the first time in my ‘50’s and sitting with the dying in my ‘60’s.

All of these are choices.

You’ve made choices all along the way, too.

Think about them. Do the homework. Let me know if you have questions. I’ll do my best to answer them.

On one hand, no, none of this will be on the test. (There is no test.)

On the other hand, you already have all the right answers. They’ve been there all along.

Let them out. Let them breathe. Let them shine. Just like YOU.

If you enjoyed this article and know someone who might enjoy it, please feel free to forward this to them.

If you received this from someone, and liked it, you can subscribe to more artists’ views at the Fine Art Views blog.

And if you’d like to read more of my stuff, you can subscribe to my blog at LuannUdell.wordpress.com.

NEWSLETTERS 101 #7: Why Your ‘WHY’ Is So Important

Do we all have a deep mystery to discover?
Do we all have a deep mystery to discover?

NEWSLETTERS 101 #7: Why Your ‘WHY’ Is So Important

NEWSLETTERS 101 #7: Why Your ‘WHY’ Is So Important

(Hint: Because it is the heart of everything you do, every decision you make, and everything you make!)

(6 minute read)

Welp, somewhere along the line, this series shifted from “how to create an email newsletter” to “how to find your creation story”. I would apologize, BUT –

In my defense, knowing our creation story is the foundation of everything else we do.

Yes, we may end up making our creative work for years before we find it. Yes, it may not be a story you are comfortable sharing with just anyone.* Yes, it can changed or modified, to align with a new series of work, or for a special exhibit, etc.

But that story is in us, even if we can’t find it – yet. It is what drives us, guides us, in a thousand small ways, every day.

Knowing our creation story is a form of self-empowerment, a direct conduit to the inner passion that drives to make the work we make.

Someone reached out to me recently about this, with really good questions we may all have:

Do we all have a deep mystery to discover?

Yes, we all do. Everyone. Everyone has a story that gives some sense, some insight, into the choices we make.

Of course, many of our choices become such a habit, we forget the reason we made them in the first place. Hey, I’ll go first!

Why do you sleep on that side of the bed? (Me: I want to be closer to the bathroom in the middle of the night!) (Which is also why that changes every time we move.)

Why do I hate tuna fish casserole? (Me: I used to really hate ‘mixed’ food, I hated strong flavors like tuna fish, and my parents gave me grief every time I tried to bow out of eating it. Almost every dinner was a fight about food. Tuna fish casserole brings up bad memories, and mentioning it is a running joke between my hubby and me.)

Why do you make your artifacts out of polymer? (Me: Because I want them to look ancient, worn and damaged by time, over thousands of years. I can recreate that look with a faux ivory technique in polymer clay. Also, there’s no need to harm animals to make them, in this day and age, so polymer is more ‘life neutral’ for me. And how cool that this material began to soar in popularity as an art medium in the world at the same time I took up my true art?!)

Why the Cave of Lascaux? (Me: I have always yearned for a horse to love, I have always dreamed of riding a galloping horse, moving freely forward, flying in the wind, at one with these marvelous creatures. They were a metaphor for my longing to be an artist from my youth. The mysterious Lascaux paintings fed this longing. Now that we know more about the makers of those paintings, the synchronicity is even more astonishing!) (Recent findings on women as shamans in prehistory; that all members of this community participated in the ceremonies; that these paintings were created during the onset of swift, debilitating climate change.**)

I think I am waiting until I am an authority on (making my art) to try to look for the why.

This is not necessary to find our ‘why’. We are just postponing asking ourselves this difficult, but ultimately empowering work. Remember: We are already ‘good enough’, there is no diploma for ‘being human’, and we are all a work-in-progress.

Where does passion for working come from?

From our heart. The desire to be seen, heard, loved in the world. To be seen as an individual, and to be part of a community. To be remembered, long after we are gone. We want to make our mark in the world. Many factors guide/hinder us along the way, from how we were raised to what we perceive is valued in our culture. That’s why finding our way to this work can take time and effort for many of us.

Although I do like the idea of being a powerful force for good in the world. Who, me?!

Yes, YOU! And me! And about 98% of the rest of the world. (I’m leaving out the sociopaths and narcissists of the world, although sometimes even they often create good work in the world in their pursuit of their passions.) (Just don’t date or marry them!)

Here’s my favorite metaphor for “do I matter?”:

When we put the work of our heart out into the world, it’s like tossing a pebble into a large lake. We may not see where all the ripples go, but they are there and they go SOMEWHERE. (Look up The Butterfly Effect.)

Our art is like that.

It may take time for it to be seen. Maybe not even in our lifetime. Van Gogh died in despair, craving to be seen in the world. If only he could see his own validation now! Or it could disappear eventually. But what is left is how it affected US, and others in their own good time.

(Again, the power of the internet, and the legacy of the art we leave behind.)

The cave paintings of Lascaux were a powerful message that was not addressed to us. But that cave deeply, deeply impacted all the people who were able to see it before it was closed, and even long after. And it changed my life.

For millennia, we have had some very strict rules about who can be an artist, and who can’t. Rules about what ‘real art’ is, and what isn’t.

Rules and laws have kept women, people of some religions, people of color (outside of their own origins and present communities), people of ‘other-than’ gender, in a box, and usually not a very pretty nor kind box.

But things change. We are not in a perfect, accepting, loving world yet. But it is even more possible to have our voice in the world. The current shelter-in-place orders may force us to stay home. We may feel paralyzed, overwhelmed, anxious about the state of the world right now. But the internet, and social media marketing***, allows us, and our art, to roam the world. Access to a smart phone, a computer, a library (eventually!) give us this perfect freedom.

We do the work we feel compelled to make, and hope someday, somewhere, somehow, someone else will feel its message.

And when WE know our message, we are empowered now, no matter what happens later.

I told this person they’d inspired this article! One person’s words, even shared with self-doubt, shared with courage, and with the hope that I might answer, lit up my heart.

I hope my words today light YOUR heart, and theirs.

*You can share the gist of your creation story, if the details are too personal or uncomfortable to share. Just knowing it is huge!

**And as a side note, everyone who says, “My art speaks for itself”, the story of the Lascaux Cave paintings for years was, men-and-boys-practicing-target-shooting. New evidence now shows that “story” is completely wrong, on so many levels. We were seeing these images through the lens of our own time, with all the cultural prejudices that can block our “view”….) (To which some will counter, “Cave art is about survival!” and I reply, “So is a cathedral.”) (The power of our choices.)

**”Social media marketing” of course, is simply using the internet to get our work in front of other people, who may love it, be inspired and uplifted by it, and hopefully, even love it enough to buy it!

NEWSLETTERS 101 #4: Know Your Creation Story

 The moment you chose to live your life and make your art with intention is the heart of everything you do, write, say.

(4 minute read)    

Last week, I shared how introverts can shine in the world, thanks to email art marketing newsletters.

Today, I had a long article planned. But, lucky you! I realized it was about two different topics I had squished into one:

Your Most Important Story of All

Before we get to suggestions about this, let’s talk about the most important topic of all of this:

The Story of YOU.

Here’s the biggest obstacle when it comes to every aspect of marketing and selling our art:

Sooooo many people don’t know their own story!

Let’s back up a little. There are two powerful stories in every creative person.

The first is what I call the ‘creation story’.

The second is our artist statement, which I’ll tackle next week. Because it helps to know your creation story first.

What’s the difference?

Your creation story marks your first step, the moment you knew you were meant to be an artist. It’s that aha moment when we realized we had to be an artist. The moment where we completely embrace what we want, regardless of whether we even know how, or why. It’s the point in your life where your deepest intention occurred.

Dave Geada, FASO’s marketing guru, talks about this story in almost every webinar I’ve watched so far. He phrased it perfectly: After a near-death experience, he vowed to live his life with intent. With INTENTION. I’ve called it our “hero’s journey story” for years, and Dave calls it that, too. (Whew! I love it when the experts and I are on the same page!)

That’s what your first step was: Your intention to make your art. Here’s mine. It’s what made me take the leap, and it still resonates with me today.

Unlike your artist statement, it doesn’t have to be public (though there are ways to modify it so it can, so don’t rule that out.)

You DO have to know it. Because once you realize it, it will provide the foundation of everything you do, write, make, talk about, going forward with your artwork. It will ground you when you are lost. It will reassure you when you are discouraged. It will lift you up when life gets hard.

Knowing it will help you lift others, too. Because when we speak our truth, it not only resonates with others, it can inspire them to see theirs.

Years ago, I created a workshop designed to help people write their artist statement. It was powerful, and eye-opening. I got to hear how several dozen people got their start, and why. My favorite was the artist who started with, “I had a baby. I nearly died. Everything changed…” I exclaimed, “THAT’s your artist statement!” What I meant was, this was the foundation of her artist statement.

To frame this better: That may or may not be what she decides to use, publicly. But it was that point in time where “everything changed.” It would inspire her artist statement, however she chose to frame it. It was her creation story, it was powerful, and she knew it.

Another great creation story was one I’ve written about before, which illustrates that our creation story will evolve. It’s about long-time artist who lost their sight late in life—and everything changed. Did they stop making? Nope. But it’s different, now. Because everything changed. But it was compelling enough for me to go back to that ‘weird crappy’ piece of “art” hanging on the gallery wall, and find something beautiful in it. Courage. Perseverance. Letting go of what was, and embracing the new ‘what is’.

Your homework: What is your creation story? Write it out, if only for your private use.

If you enjoyed this article, and know someone else who might like it, too, feel free to pass it on. And if someone sent you this and you did like it, see more of my articles at FineArtViews.com, other art marketing topics at Fine Art Views art marketing newsletter, and my blog at LuannUdell.wordpress.com.

 

 

THE NEW NORMAL And the Power of Our Choices

When things change, we get a chance to consider what's really important.
When things change, we get a chance to consider what’s really important.

THE NEW NORMAL And the Power of Our Choices

When things change, we get a chance to consider what’s really important.

Part of me doesn’t want to write about our “new normal”.

My email inbox has about three items that aren’t about COVID-19, and not much is useful or helpful. Part of me doesn’t even want to use that new word in a sentence.

Part of me wishes we could go back a month and start over. Part of me wishes the next six months were over, and we get back to the “old normal”.

Part of me also thinks I’m the only one who’s thinking this. Ha!

And yet, so much of my daily life is pretty much the same. My partner and I have worked out of our home for decades. Video conferences are a staple for him. Friendships have grown by phone calls. We’ve always been “loners” out of necessity, partly because we moved so much when we were younger, and partly because of our last major move across the country five years ago.

So what’s hard about that now?

Because someone said we had to.

It feels childish, and that’s because it is. On one hand, it can feel positive because now we know what the right thing to do is. OTOH, not many of us are comfortable feeling we have no choice.

And that can make us feel powerless.

What is the source of “power” for me?

Changing a mental attitude. Embracing a new “normal”. Choosing. Acceptance.

Finding new ways to do things.

Here are some choices that I’ve found helpful:

Stepping away from the “news” firehose.

From the remark, “trying to sip from a firehose”, where there is so much water coming out, sipping = drowning. There’s a healthy balance between getting important updates and facts, and immersing ourselves in “knowledge” that sucks up valuable time. We need to know newest developments, of course. But do we need to check those every half hour? Nope. I wasn’t even aware I was doing this until a friend emailed me yesterday. They are busier more than ever with work, since the format shifted to online consultations with clients (which they already know how to do.) But it’s even harder to make room for their creative work because they’re constantly checking their news feed. Their admitting it shined a little light on my own behavior.

Why do we do this? Because a) it feels like we’re doing something productive, and b) it’s a way to manage our fear and uncertainty. OH, and c) it helps us feel less alone. All of these things are good things in moderation. As a “new normal”, not so much.

Making a conscious decision to only read reliable news sources for useful updates can help. (Won’t fix it, of course, THANK YOU LIZARD BRAIN, but it helps.)

Actively thinking about what works for us, and what doesn’t. I can’t do production work at home, because my own workspace here is half the kitchen table (since a family member moved out here with us last year, I lost/gave up my home studio. See how I reframed that?!) I have an elderly cat who insists I focus on her by methodically knocking every thing off the table. Every minute. All day. (Yes, I’ve tried all kinds of work-arounds, but a spray bottle of water works best.) Fortunately, my off-site studio is structured so I can shelter in place there, too. Another artist friend’s studio doesn’t work that way, but they’ve carved out a creative space at home. We can all explore ways to carve out a tiny creative space if our studios are off-limits and our schedules are upended.

Realizing I can still go to my studio, with the proper precautions, has helped stabilize my routine.

Instead of looking for people to blame, look for the helpers. “When I was a boy and I would see scary things in the news, my mother would say to me, “Look for the helpers. You will always find people who are helping.”  – Fred Rogers

Reading about bad behavior and selfishness feels good, because it helps us feel “better than” those folks who don’t “get it”. We forget that we are all hard-wired to behave badly at times, and that other people may have fewer choices to deal with the crazy. My own shortcoming?

Hating people who cry about having to “shelter in place” in their multi-million dollar mansions. Until I realize if they are that unhappy, then I am truly blessed to be completely happy in our less-than-900 s.f. home that shelters three people, 3 cats and a dog. (Even if my writing desk is half the kitchen table!)//////  (And those dashes are where my cat just tried to walk across my keyboard again.)

Instead, I love reading about the helpers, the people who realize they have something other people don’t: The ability to sew face masks for the rest of us. Time to run errands for others. The person who tipped a delivery driver with money, and a roll of toilet paper. (My cat is trying to knock over the squirt bottle.)

Because these people embody my last suggestion:

Focus on what we CAN do, instead of what we CAN’T. A few major art events (open studios, opening receptions, etc.) have already been cancelled, and I’m surprised at my feelings – relief! I added an extra one this year, a big one. I was beginning to feel a little pressured.

And now I have plenty of time to update my Etsy shop, order supplies for that new jewelry line I’ve been working on (Ooooooh!! Online shopping!!! YES!!!). When I’m at the studio, I focus on making over cleaning and organizing.

My husband and I were complaining about having to be home so much, until we both realized it was only because we have to. Remove that thinking, replace it with “want to”, and there’s our “old normal” back. Simply reframing how we think about it took some pressure off. (Not useful if your kids are young enough to be home from school, too, but again, another tiny blessing I hadn’t thought of before!)

My partner and I made some stupid choices before we “knew better”. (I didn’t think the situation was that serious, until I had more facts.)

Now we know better – and we do better.

And the side effects! Air pollution has dramatically shrunk since the pandemic. People have new appreciation for open spaces and parks (although we also blew those outlets when too many people thronged to the coast and state/national parks last weekend.) Maybe we’ll care more about protecting them, going forward. Realizing what we do have, that others don’t, gives us a chance to be more compassionate, and caring. Health care workers, first responders, teachers, delivery people, all have gained even more respect.

In the end, it all boils down to the power of our choices. Not just our physical ones, but our emotional/spiritual/mental ones, too.

As artists, our role is a powerful one, and will continue to be, sales or no sales. We have always dealt with uncertainty, our markets plummet at the first sign of “danger”, and when society is darkest, art is a tremendous solace to many. Not just our art, but the creative work of all. It’s what restores us to our highest, best self, and it’s what gives moments of beauty and joy to others.

What is one positive change or insight you’ve had recently? What has lifted your heart in these scary times? What gives you hope?

And how can you share it with others? Start here, and pay it forward, today!

ICE AND SKY

We are all walking on thin ice, every day.
We are all walking on thin ice, every day.

Ice and Sky

ICE AND SKY   

Hard times are always closer than we think, but we can’t live like that.

As our everyday life morphs and evaporates in front of our eyes, it can be hard to have hope in our heart.

We wake up one morning and everything is different. It even looks different. Empty streets. Empty restaurants and bars. A bathroom nearly empty of toilet paper. (Sorry, couldn’t resist.) (And I get to joke about it, because I decided not to do my usual stock-up-on-two-months’-worth-of-toilet-paper last week, and now I’m sorry I didn’t.)

Was it only a week ago that the steering committee for a major county-wide open studio tour get into a passionate debate about whether to shift the dates for our event to avoid fire season in California? Now we can wonder how many of us will even be able to participate at all.

But as we left the meeting room, a friend said something, and I responded with a phrase that was one of my late father’s favorites:

We are all walking on thin ice, every day.

We just don’t know it.

My dad wasn’t really a philosopher. When he was angry with me, he’d warn me with, “You’re treadin’ on thin ice!” I knew I had to either stop or hunker down, or there would be consequences.

He meant, of course, that if I kept it up (whatever “it” was), I’d get smacked. Looking back, I’m grateful he let me know! It allowed me to make the changes that would avoid that.

But as we go through life, it turns out we are treading on thin ice every day. We are almost always only a step or two, one crack, away from catastrophe. We are always only one step away from the event that could change our lives, forever.

We’ve all experienced the panic of a car that suddenly veers into our lane, or the driver that runs a red light as we enter the intersection.

We’ve probably all been through the medical test result that suddenly takes away our notion that we’re in “good health”.

We’ve had that dreaded phone call from the police, or the hospital, in the middle of the night.

We can be cautious, we can be prudent, we can try to avoid all risk and potential danger. But it won’t protect us from the random acts of other people, our own occasional idiocy, and the forces of nature.

Suddenly, we look down, and realize we are walking on thin ice.

We could fall through any second.

It’s terrifying.

It’s the bottom of our world falling out from under us.

And yet, we can’t live like that.

If we were aware of this potential danger every second of our lives, our lives would be miserable.

Our lizard brain, of course, is happy to help us see danger everywhere. After all, its job is to protect us, and it works very hard at that.

Yet another part of our brain sees life as “normal”. Our loved ones will be there when we wake up in the morning. There will be food in the fridge. There will be no incidents as we drive to work. Everybody will stop at the red lights. There will be toilet paper at the grocery store.

That’s why we are so shocked when the ice breaks. We’ve been lulled into believing the ordinary will stay ordinary.

Should we listen to our lizard brain more?

That doesn’t work.

It seems the more I worry, the more I find to worry about. This is when we obsessively worry, all the time. When we try to control and manage every aspect of our modern lives. It’s a toxic, never-ending cycle that never gives us what we crave: Peace in our hearts.

Life is uncertain, yes. There will always be things that are beyond our control. There is danger lurking everywhere.

And yet…

There is also beauty, and goodness, and tiny moments of insight and clarity, even in the darkest hours.

They can be so tiny, we can’t see them until after the worst is over. They may seem so insignificant, we can’t image their utility, until later.

There is almost always a gift there, albeit one we would probably never choose deliberately.

We can see this in action, especially through the internet, even now. There are people who are angry, freaked out. People looking for someone to blame.

People whose fears overcome their consideration for others in the same boat. (The images of people with a year’s worth of toilet paper in their shopping carts.)

Yet a friend shared a post on Facebook recently that moved me to tears. The original post shares the beauty, wonder, and solace to be found in these frightening times.

As artists, we are fortunate. Making our art can restore us to our highest, best selves. (Except when I drop that box of seed beads on the floor and spend the next hour patiently picking up and sorting each one…) (Which, okay, I start out yelling and end up in a Zen state. For real!)

We may be afraid, but we have a place in the world.

Yesterday, our county set a “shelter in place” protocol for all residents. I raced to the studio to bring home enough supplies to work at home.

A storm system was passing through, and a rain cloud was just leaving. It held the sky, dark and dismal, with tiny patches where the sun shone through.

As I looked up, a large flock of snowy egrets burst into the sky, and flew away.

Great white birds, flying as one, as flocks do, their snowy feathers catching a random ray of sunshine, silhouetted against dark, stormy clouds.

It took my breath away.

Take a few minutes today to find your happy place. Find a little time to do your creative work. If you can’t get there right now, make notes for your next project. Imagine the steps. Write them down. Savor the anticipation.

Find a favorite book to reread, relishing the bits you might have skipped over in your racing through to find out what happened.

Share something that lifts your heart. In the comments, share a tiny blessing you’ve found in the last few weeks.

Post a link to something you’ve found comforting, uplifting. It could be a beloved poem, or a thought you’ve had, something you’ve read or experienced that lifted your heart. It will lift the hearts of others.

Think of small ways you can help, right now, with the causes dear to your heart. Donate online to agencies that are forces for good in the world. Even a couple of dollars can make a difference.

Set aside your greatest fear for now, not because it’s “unlikely”, but because it doesn’t serve you right now.

I mean, yeah, follow the “shelter at home” protocol if your state has set them. Do what is recommended and required, and take exquisite care of yourself and your loved ones.

But also find ways to let your lizard brain know you’ve got this. Thank your lizard brain for trying so hard to keep you safe. Then let it rest for a while.

You can still be the best “you” in the world, today, if you try. The internet can be a curse, or a blessing.

Today, use it as a blessing to share your own moment of Zen.

As always, if you enjoyed this article, let me or my editor know! If you’d like to read more, you can either read more of my articles on Fine Art Views or subscribe to my blog at LuannUdell.wordpress.com. You can visit my older articles in the wayback machine at Radio Userland. (They are harder to search for, but they are also shorter!)

If you think someone else would like it, please forward it to them. And if someone sent you this, and you liked it, ditto!

WHY MILLENNIALS DON’T BUY OUR ART: The Hardest, Harshest Reason(s) of All

There are many ways for our work to become a part of someone else's story, someone else's world, and someone else's journey.
There are many ways for our work to become a part of someone else’s story, someone else’s world, and someone else’s journey.

WHY MILLENNIALS DON’T BUY OUR ART: The Hardest, Harshest Reason(s) of All

WHY MILLENNIALS DON’T BUY OUR ART: The Hardest, Harshest Reason(s) of All

(11 minute read)

The next-to-last article in this series about why millennials etc.

We’re on the home stretch!

In my articles, and in the comments section, we’ve shared many fact-based, data-driven evidence about the different world millennials grew up in. It is simply different than the one we grew up in. EVERY generation faces the same challenge: New conditions, new “rules”, new obstacles, new solutions. The bad parts aren’t necessarily our fault, and it’s usually not their fault.

I also shared these setbacks and obstacles with one hope: To soften, and encourage us to change our assumptions and opinions. Only when we open up to seeing life from the other’s person’s point of view can we connect, with compassion and respect.

I knew there could be tremendous pushback against these thoughts, and there was. That’s okay. I will say it again and I will keep on saying it:

My art is not for everyone.

And neither is my writing.

Which means your work is probably not for everyone, either.

I’ll be honest. It’s hard to hear the anger and criticism these articles have generated. Just as it for all of us when someone walks into our booth, and then declares in a loud voice that they don’t like our art, and then proceeds to list the reasons why.

We may be angry, threatened, threatening, sad, resentful. These are human responses, normal responses, when we encounter something that seems harsh, insulting, frightening, upsetting, or baffling. It’s called a flight-or-fight response. It’s almost impossible not to feel these reactions when we experience something that seems to upend everything we thought was true.

But one of my superpowers in life, a hard one to use, but one that’s served me well is this:

We can’t change how we FEEL. But we can choose how we ACT.

This has helped me change my opinion about quite a few big issues in my life. It’s expanded my world view, opened new territories, and inspired me to write so I can share these insights with others who are ready and/or willing to consider them.

Not everyone will. But again, it’s their choice.

So take a deep breath, because today we’ll talk about the most important reason millennials don’t buy our art:

1)    The don’t like your art; or

2)    They don’t like you; or

3)    Both.

Harsh, I know. But take a deep breath, settle your heart, and read on.

Because these are also the reasons why all our non-buyers don’t buy our art, too.

This is the harsh reality of all the endeavors we take up in the world.

There will always be someone who couldn’t care less. There will always be someone who is lukewarm about our work. There will always be someone who doesn’t like it, for all kinds of reasons, reasonable and unreasonable.

But there will also always be someone who loves it. Even if they can’t afford it, or have no room for it, or they aren’t at the point in their life when they can act on their love for it. It won’t matter how good you are, nor how bad we are.

So if someone tells you/lets you know they don’t care for your art, what is your reaction?

Some people get cold and huffy. Some act out on their feelings. There are groups on Facebook for creatives to vent their anger at ignorant, insulting, clueless, gross visitors at fairs and shows. It can be fun to read these stories, because it helps us see this is a pretty common phenomenon. We are NOT THE ONLY ONES who experience rejection, not just from galleries, or juried shows, or guilds/leagues, awards, etc.

But when the stories get toxic, it gets harder to read. Because artists also share their sharp retorts, their indignation, their snarky thoughts about those visitors.

It’s okay. I get it. I love to blort with the best of them.

But what happens is, this turns a potentially powerful human connection into a battleground.

It’s not necessary to get into that fight. In my blog series and eBook “How to Get People OUT of your booth”, I discuss how difficult people can be challenging. But there are diplomatic ways to circumvent their behaviors, ways that help get us to our happy place, so we can deal more effectively with the people who DO enjoy our work.

Because the worst thing that can happen when we “let loose” with anger and bile is this:

OTHER PEOPLE ARE LISTENING.

In encounters where someone has said something rude, mean, whatever, and I meet them with serenity (YES, the serenity is a facade, I’m seething underneath. I’M HUMAN, just like you) other people in my space come up to me after, and say something like, “I can’t believe how kind/patient/powerful you were with that person!”

They now know that even if THEIR question is “dumb” or unintentionally rude, they will still be treated with respect and kindness.

In other words, it is SAFE to interact with me.

When we eagerly jump on others who we believe are behaving badly, there’s a side effect: We contribute to the toxic environment ourselves.

I was lucky. Early on, I held back from “confronting” and “challenging” visitors who were less-than-enthused about my work, (and my writing.) I had the good fortune to live in the same region as Bruce Baker, a former nationally-acclaimed speaker about how to strengthen and improve our creative work on many levels: Booth display, jury slides, signage and customer relations. He drew from his own wisdom gained from doing shows and fairs, but also benefited from other like-mined, experienced artists who shared what had worked for them.

The trick is to anticipate the questions and comments that might trigger us (the flight-or-fight thing), and practice our best response to them.

Because if someone asks us what we consider a “dumb question”, or says something insulting (whether deliberate or unintentional), and we respond with our “fight” reflex, other people who DO like what they see, will think twice before asking their own questions.

Because once people have entered our booth, once they’ve had a chance to look at our work and decide they kinda like it, once they’re ready to talk, they do the thing that will determine where we both go from here:

THEY ASK A QUESTION.

Maybe they can’t afford it – yet. Maybe it won’t fit in their living room – yet. Maybe it creates yearning whispers of what it might be like to pursue their own work of the heart.

Yes, maybe they’re so clueless about “good booth behavior” that they bungle the question. We can get really good with that, if we are willing to change our own attitude, and meet them halfway. (Or 3/4 of the way!)

If we can do that, a door opens. There is an opportunity for a rich exchange of questions and insights, a chance to either a) inspire a sale, if they’re ready, or b) lay the groundwork for future sales. At the last show I did, the second one after a total flop the year before (5 attendees for the entire day, no sales), a customer approached me and declared, “I saw your work last year, and I COULD NOT STOP THINKING ABOUT IT.” They bought a special item and companion piece for themselves, and pricey gifts for two friends. I could hardly operate my Square, I was so excited!

If I’d harbored resentment about the lack of attendance, if I’d sat around complaining within hearing of guests about the lack of sales, I could have squished that connection forever.

Instead I have a new collector who has already shared their love of my work with their friends, who may also consider buying my work. And share it with THEIR friends.

It all starts with staying calm. Leaning in. Curbing toxic assumptions and impulses. Staying focused on our work, the work we love, the work we make room for every day (if we can) in our lives.

If millennials are not your audience, let it go. We’ve shown that they have perfectly good reasons, just like ANY OTHER people who aren’t.

But if you are committed to blame them (especially for the reasons that are beyond their control, and NOT THEIR FAULT), believe me, they will know.

To all the people who commented with compassion and empathy, to those artists who (mostly) contacted me privately (I’m guessing because they didn’t want to expose themselves to criticism) who ARE MILLENNIALS, THANK YOU! Your experience either confirmed my research, experience, and thoughts, OR you were willing to reconsider what is going on. I’m grateful.

To all the people who disagree, please, as always, do what works for YOU. My advice and words are free, and therefore worth every penny you paid for it. :^)

Next week, I’m going to ask people whose work DOES sell for millennials, what has worked for them. Is it their style? Their subject matter? Their price points? Their willingness to engage and connect? I’ll do my best to collect the people who have already shared, and put that in the article for your convenience (and theirs.)

But I do want to leave you with this last story, which isn’t mine.

It’s my daughter’s.

First, both my kids were the inspiration for me to step up to the plate with my art. When my daughter asked if she could work booth with me at fairs, I agreed. It was a powerful shift in our relationship as she entered one of the most difficult part of her life.

She began her art collection with purchases from my fellow exhibitors, and continues to this day. You may find some valuable insights into millennials and their buying habits this Fine Art Views column from last March.

And here is the “spoiler” from that column:

“My daughter still wants something of beauty that came from another person’s hands, and heart, especially when she started to make and sell her own work.

As she browsed for an urn for the ashes of her stillborn child (Sam died 8 months into her pregnancy), she became frustrated with the same ol’ same ol’ look of them. Nothing felt personal enough, or fit the emotion of the event. When I suggested that a good friend who works with wood might make something especially for her, she lit up. (She found a maker on Etsy who resonated with her.)

This box will be in their home forever, and every time they see it, it will bring a bit of solace amid the sorrow. They may not know, or care to know, the story of the maker. But it holds their own story of this time, and that’s what matters.

I just spoke with my daughter again, and she added more about her purchase.

She wanted something unique, related to cherry blossoms, because that’s around the time of his birthday, when the cherry trees bloom here in Washington, D.C. She wanted wood because it’s warmer. She wanted something personalized and not mass-produced.

She wanted “something that fit us”, her and her partner.

There is appreciation for the maker, as it fits her needs as the collector.

The maker may have no idea of what my daughter and her husband were (and still are) going through.

When I hear people my age disparaging this age group, it breaks my heart.

And when I hear people with their own thoughtful, kind, compassionate, positive, uplifting experiences, my heart is healed.

So when you go to your studio today, when you make that time to do the work that is important to you, know that someone, somewhere, someone will be lifted up.

When you are discouraged because you can’t figure out why your art doesn’t sell, focus first on the fact that it uplifts YOU.

When you put it out into the world, know that someone, somewhere, needed to see it, for reasons we cannot even imagine.

And when you are healed, and share it, someone else will be healed too.

Next week, I’ll compile and curate the ways some of us have found a way to gain millennial collectors. There are some strategies that will work for some of us, but maybe not all.

My only goal was to encourage your heart to open up to new understanding, and new possibilities. To expand our rock-hard definitions and assumptions that not might only hurt others, but might also hurt ourselves.

And to echo the last words of that column I wrote, “So let’s open our hearts, and our minds, to these changes which time will bring.

There are many ways for our work to become a part of someone else’s story, someone else’s world, and someone else’s journey.

Keep hope in your heart, and be open to new possibilities. And be patient with yourself, as we all navigate these new waters.

Art is part of us, no matter what it is, no matter where, or how, or when we find it. Online markets can be just as powerful as in-person encounters, if not more. (Many in this age group never even think about going to traditional art galleries. Yet.)

And I will hope ALL of our art, mine, and yours, will be “found”, someday, by the people who will love it and enjoy it for the rest of their lives.”

As always, if you enjoyed this article, please feel free to share it. And if someone sent you this article and you liked it, you can sign up for more articles at Fine Art Views or more from from my blog by subscribing (upper right hand corner of this page.)

LESSONS FROM THE GYM: The SAID Principle

Challenges can be just enough to keep us moving forward
Challenges can be just enough to keep us moving forward

Accommodation can be our friend, or our enemy…

(5 minute read)

More lessons about life, and art, overheard at the gym this week.

A client was amazed at how much better they felt after only a few days of physical therapy. The therapist working with him said something that caught my interest, describing a well-known principle in the field: The SAID Syndrome.

Posited by a Hungarian physicial, Dr. Hans Selye over a hundred years ago, SAID stands for Specific Adaptation to Imposed Demands. That is, our body, given any form of stressors (biomechanical or neurological), will specifically adapt to that stress. (There are now more modern acronyms and phrasing similar in tone, but this is the one I overheard.)

That can be a good thing, a neutral thing, or a bad thing.

For example, if all we do we sit all day, month after month, year after year, our bodies will adapt to that. We may lose our ability or inclination to do any physical activity, or worse.

If we train by running laps, we may get fit and strong, but it won’t necessarily mean we prepared for lap swimming. The two activities use different muscles. We have to cross-train in both activities, in order to get better at both.

If we gently, slowly, challenge our body, all our muscles, and our mind, they will adapt to that, too.  We can challenge our body in different ways, too.

We can strive to go from simple motions to complex motions. From moving slow to moving faster. To go from using a low level of force to higher force. To walking/running a short distance to a longer distance.

We can get stronger, faster, more flexible, more resilient, more persistent.

How does this apply to making, marketing, and even selling our art?

If we get discouraged with our sales, we could slump into our sad place and believe no one wants our work. Or, if sales matter, we can experiment with shows and fairs until we find the ones where we find an audience. We can approach stores or galleries to represent us. We can use an online sales venue or sell from our website.

If our art isn’t quite up to snuff, we could keep our blinders on and do nothing about it. Or we can explore ways to get better: Use better tools, or experiment with a new media that might suit us better, or expand our skillset with classes/books/online tutorials.

If we feel like failures, if we believe our work of our heart doesn’t matter, we could walk away from the work we love. Or we can seek out a supportive community, realizing if it makes us happy, that can be “good enough”. We can ask for input about how we could do better, whether it’s our technique, our color palette, our subject matter, etc. (I overheard one local artist declaring if they never painted another vineyard, they would be totally okay with that.) (We live in wine country. Guess what most landscapes are?)

Short story: For our work to change, WE have to change. For our skills to get better, we have to do the work. For our attitude to change, we have to explore what our goals really are, what is important to us—and practice that mindset. To find our audience, we have to believe there IS one for us out there somewhere, and do whatever we can to get our work out into the world.

This effort doesn’t have to be a major shift, either. Some of us can do that, maybe. (We moved across the country to California five years ago, to reboot my partner’s career.) But usually, small incremental steps, moves, and changes will suffice. Otherwise, we could injure ourselves by trying to do too much, too soon, too fast.

One of my favorite challenges I’ve seen (which I haven’t tried yet, myself) is the 100-day daily challenge: Painters a single small work every day. Collage artists create an ATC (artist trading card) every day. Writers write a page a day. Then share it with our audience. I’ve seen these so many times, and it’s jaw-dropping how this simple exercise seems to not only improve the person’s skillset, but also set them on an entirely new journey, one they couldn’t see until they tried this.

My goals moving forward are pretty manageable so far. Keep a happy heart. Do the work. Get “bigger” in a way that’s manageable for me, and let myself be the judge of what “bigger” is. Trying the occasional new thing, whether it’s materials, subject matter, color palette, venues, etc.

Even my story, which still means so much to me, has evolved over the years. The heart of it is still there. But as I’ve faced spiritual and emotional challenges about my place in the world, my story has grown: A woman artist finding a place in the world, a place in prehistory and more modern history. Finding the medium that let me tell that story, then adding new media to the mix. (First fiber, then jewelry, then prints and sculpture, now assemblage.) Expanding my color palette from “only what we’d find in the Lascaux Cave paintings” to what those ancient artists would have used if they’d had the access. (Indigo/lapis blue! Aqua! Turquoise!) Expanding my skill set. (Refinishing antique boxes, creating museum-inspired mounts for display.) In the process, my definition of “creative work” has gotten bigger and stronger, too.

If everything is working for you, then the “challenges” can be just enough to keep us moving forward, or comfortable with staying in the same place. Maybe we can share our techniques and knowledge with others, so they can take our original journey and move onto their own. Maybe we can encourage other artists by making recommendations for a gallery that might be a good fit for them. Or we could assist them with finding their own powerful stories.

Or we simply share conversations overheard at the gym, sharing a little insight in our lives, for others who just might need to hear them, today.

How do YOU challenge yourself? Have you had a successful experience with challenges, like the “make a ‘whatsits’ every day for a 100 days”? Where are you stuck, and did this article get you thinking about an intriguing challenge, just for you? I would love to hear about it, and I bet others here would, too!

As always, if you enjoyed this article, please feel free to share it. And if someone sent you this article and you liked it, you can sign up for more articles at Fine Art Views or more from me at my blog LuannUdell.wordpress.com. 

WHAT WE LOST: Lessons Learned from the Fires, My Aging Brain, and My Notebooks

Lessons Learned from the Fires, My Aging Brain, and My Notebooks
Lessons Learned from the Fires, My Aging Brain, and My Notebooks

What We Lost

Lessons Learned from the Fires, My Aging Brain, and My Notebooks

(8 minute read) 

I had a great idea for this week’s column. “Had”, not have. Because….where do I start??

Six months ago, I tried to clear my computer of old emails, because Google said I was “out of storage space.” My husband said it’s mostly photos that take up most of the space, so at first I only deleted emails with images already stored on my computer.

But the numbers didn’t go down much, so I began to delete more and more. At one point, my actions were moving so slowly, I thought I was doing it wrong, so I would hit “delete” several times before I’d see messages disappear. Which resulted in me accidentally deleting EVERY SINGLE EMAIL before 2018.

I didn’t think it would matter, until I realized a) that meant every single article I’ve sent to various magazines and online venues by email was also deleted; b) important conversations I wanted to refer back to were deleted; c) orders to companies for critical goods and services I only use every few years, were deleted.

Every week, there’s something I think of, and go, “Oh, I’ll search my email for that!” And then realize it’s gone, gone, gone.

Six weeks ago, I also got clarity on how to move forward with a project I’ve long carried in my heart. I needed to create my own “mounts” for displaying artifacts. I actually took an online class on mount-making for museum mounts just before we moved to California. I still have the book, I’m sure I saw it around that time, and went to look for it last week.

I can’t find it anywhere. I looked at home. Nope. I thought maybe I took it to the studio, but can’t find it there, either. I searched all my storage space at home. Nada. So I looked for it online, but it’s out of print. And Bookfinder.com, which usually comes to the rescue, only showed the folks that sell out-of-print books for thousands of dollars. I thought, “Oooh, I could search my emails for the rich conversations I had with my online teacher!” Then remembered….Oh, poo.

About that great idea for this column. I wrote it down, as is my habit, in my notebook, where I write down everything I need to remember: chores, appointments, commitments, insights, and yes, ideas for columns. I typically get 2-4 months of entries in each one, so that’s how much time is represented in each one.

Last Friday, I lost that notebook. I’ve searched high and low for it, even home, studio, storage. I’ve looked under furniture, car seats, inside backpacks packed for the fire evacuation, etc. I even called places I visited that day, asking if anyone has seen it or turned it in.

I feel like my brain is breaking!

And my biggest fear: This is a metaphor for the biggest fear for many of us, as we age, the loss of our memory. Scary stuff!

But is that the best metaphor?

Are we living computers, with memory that prevails for ages until injuries or conditions take them away? Is everything we “remember” even true? Are all our judgments and decisions that important over time?

Even as I wrote that, I looked once more on Bookfinder.com for the book, and found a copy that was affordable.

I visited a great hardware store that sold the brass rods I need to make those mounts, bringing samples and images of what I needed them for. A customer service rep assured me that making my own L hooks would be time-consuming, and there was an easier way to make those mounts with glue.

Yes, I miss the emails, still. But the articles aren’t actually “gone”, because they are somewhere in my documents file, even though it’s increasingly hard to find them. I will always regret some of the wonderful email conversations I’ve enjoyed over the years, but the healing, wisdom, and care I received from those are still with me.

And of course our most recent experience with our California wildfires helps put this all into perspective…..

The Kinkade fire was similar to the Tubbs fire in 2017 that destroyed 5% of the homes in Santa Rosa, except it wasn’t. Winds were less sustained, fire crews had more support, and they learned from the Tubbs fire. Almost 3,000 homes (over 5,000 buildings) burned in the Tubbs fire. Only 150 homes were lost in the Kinkade fire. There was more information available, because the lessons learned from 2017. Still not perfect, but a lot better. And most important? 22 people died in the Tubbs fire. The Kinkade fire? Zero.

This time, we had more time to think about what to take and what to leave behind, should we have to evacuate. I found it harder to leave my studio than our home!

These losses, real and imagined, concrete and anticipated, all sit in my heart today. Here are the gifts I’ve found there:

It’s hard for us to think about our unsold work, especially if it tends to outnumber our SOLD work. But at least it will go somewhere. It might sell after we pass, it may be gifted, it may be found in antique galleries and thrift shops, or heck, a yard sale! But that’s still better than having it all destroyed, for all time.

I’m frustrated at all the information I lost in that notebook. But I can find some of the more vital information (for taxes, etc.) I usually have a separate notebook for my more emotional/spiritual/blorting writing, and I still have all those! In fact, as I came across them while searching for my last journal, I’ve been pulling them out of storage and rereading them. My favorite so far is the year I recorded every funny thing my kids said. So many things I did not remember, until I read them again! So many setbacks and recoveries. So many problematic people for me to complain about, and so much insight gained on some, from good people.

The self-doubt I thought was new? Turns out I’ve had it since I took up my art! Yes, I was fearless in practice. But I still had to write my way to that place of power, over and over and over.

It was poignant to reread all my “biggest visions” and dreams I had for my art, that seem pretty small compared to the ones I’ve made in the last few months. Maybe I’ll surprise myself again, with even bigger ones!

It was empowering to read of the “dream galleries” I yearned to be accepted by, and so I get to contemplate the ones that worked out, and the ones that didn’t –and why.

We tend to think our lives, and our art career, as constantly moving forward, building and growing, or, if we’ve lost hope, stalled and pointless, when in reality there are peaks and valleys, profits and loss, insights and changes-of-heart, every step of the way.

Some of the things that felt like enormous roadblocks at the time, I usually referred to as “that incident”, or initials (if a person), and I can’t even remember who or what those were! They felt monumental at the time (and were!) And that stuff still happens, and will continue to happen. Hopefully, I will continue to move past them, and maybe even forget these, too.

And in the last year, several dear friends from my artistic path have popped up on my radar. No need to have those email conversations from decades ago! We now have new ones to savor and cherish.

That great idea I had for a column? It will either pop again, or it will be lost forever. No matter. Losing it inspired me to write this one instead.

I have a lot of unsold work in my studio. No matter! If it’s still around after I die, somebody will enjoy it, somehow. (I tell my kids how to manage my art and supplies when I’m gone: Give everybody a big bag to fill and charge them $250. They’ll make a mint!)

Even trying to jot down every idea, inspiration, question, isn’t proof against forgetting something, even something important.

Every day we will overlook an opportunity to get better, do better, find better, help better.

 And every day, we will find a new one.

As you make the work of your art, know that we can never be completely in control of our hopes, our thoughts, our intentions, our efforts.

We can only do our best. Because we are only human. Imperfect, inefficient, bad memories, displaced anger, trying to see our path in a firestorm of life events. 

It’s our greatest flaw, and our greatest super power.  Especially because we are artists, makers, creatives, constantly striving to use our work to have our say in the world, to tell our story, in ways that are good for the world. 

Embrace it! Go to the studio today, and make something that brings you joy.

And hold on to your dreams. Even one small step today will bring you closer to their fruition. You won’t know until you try.

If you enjoyed this today, please share it with someone you think would enjoy it, too!

If someone sent you this, and you’d like more of the same, subscribe to Fine Art Views for more insights from different artists.  And if you want to read more of my writing, subscribe to my blog at at LuannUdell.wordpress/com.

A DEATH IN THE FAMILY

The month before my grandfather died, I came home from college for some family function. I don’t remember what it was. It may well have been his birthday. I remember it was a special occasion, and a happy one. It was held at a farm, I don’t know whose.

I remember a sunny, beautiful day, an old and unfamiliar farmhouse, a crowd of people, many relatives, many others who were strangers to me.

My grandfather, as usual, was apart from all the others, more emotionally than physically. I always see him this way in my mind: Silent, sitting quietly, apart, gazing on the activity around him, but not of it. Somewhat interested, but not especially so. (He’d suffered a stroke many years before.)

If you sat by him long enough, he would gasp a sudden remark, gruffly, but with polite interest. How was school? What was my major? After hearing a response, he would settle back into himself until moved by convention to make another comment.

It wasn’t until many years later, after he died, that I finally learned the real reason for this sadness and apart-ness I always felt in him. I always thought he was an especially wise and profound man, lost in his deep thoughts, until overwhelmed by the chatter and chirping of the rest of us, he would rouse himself to be a good sport, and join in. Until more weighty matters pulled him back into his rich inner world.

I always thought that if I could say the right words, ask the right questions, he would suddenly open up and include me into that head world of….what?

Now I know he was an ill man, not just physically, but emotionally, mentally, and spiritually. He was diagnosed as manic-depressive, and the source of much pain and anguish in his family.

Time, and distance, old age, had softened many rough and bitter edges, but the sadness and solitude I sensed was a bitter one, not bitter-sweet. (Years later, my mother said she believed she was his “favorite”, and was always good to her. Not so much with my grandmother or the other four aunts and uncles.)

That day, though, he was simply my grandfather. I was feeling grown-up and socially “apt”. I remember chatting with him often, trying for and getting little smiles and a chuckle or two from him.

I remember a beautiful day, a cake, a crowd of people (some familiar and some strange.) I remember feeling part of a celebration, and part of a family.

Less than a month later, he was dead.

The call came from my mother, with the news. She told me the date of the funeral, and expected me home again.

I was a sophomore or junior at the University of Michigan, almost 3 hours away. (After they raised the speed limit, it became 2.5 hours.) I didn’t have a car. I usually snagged a ride from friends at college to travel home for holidays and break. No public transportation, of course. So getting home on my own was hard.

It was also my very first funeral, and I dreaded it.

I wasn’t very grown-up, emotionally. I think I was so self-centered that my thought was for my loss of my grandfather, rather than thinking of my mother’s loss of her father. I wasn’t grown-up enough to realize how much it would mean to my mother and to my beloved grandmother to be at the funeral.

I just wanted to remember him as I had seen him just a few weeks before: Sad, apart, yet more bouyant than usual. It seemed important to remember him that way, to remember happier times. I was afraid to see him dead, to realize I would never know what noble ideas he had, what secret thoughts he pondered. I was afraid to see my grandmother cry.

Somehow, I made it home. I remember very little except my mother’s anger.

For years, I could not remember what I did to bring this on me, I only remember I had done something thoughtless, something terribly wrong.

I remember how still my grandpa was in the coffin, like clay or soft stone.

My mother was angry, so angry she didn’t speak to me the rest of my time home. She yelled about what I’d done that had angered her, then her silence was like a stone.

Both of them seemed as far away from me as a star, cold remote, silent.

After the service, we went back to my grandma’s house. My Aunt Lou, my mother’s youngest sister, sat down on the sofa next to me. I loved my Aunt Lou. She was always kind to me. To everyone, in fact.

We talked about little things, nothing important. As we talked, she sat with her arm around my shoulder. She began to stroke my hair gently, pushing it back behind my ears, over and over. It felt wonderful. I was so miserable I thought my heart would break.

She asked if I liked my hair being stroked, and I whispered, “Yes.” “None of my girls do,” she murmured. “They tell me it bugs them. Grandma Paxton used to hold us when we were little girls and stroke our hair behind our ears. We loved it so much. I always thought I would do it for my girls, but they don’t like it.”

I remembered that when I was little, my mother stroked my hair like that. But not for years now. I wished she would do it then.

My grandfather had been dead for over 25 years when I got a phone call from my mom. (And now it’s 22 years that!) As usual, we chatted, keeping it light. Suddenly, she mentioned my grandfather’s funeral.

We had never talked about what happened. (We never did, about anything.)

She had been talking with a good friend about the funeral, and mentioned that she had been furious with me because I hadn’t worn a dress to the funeral.

I was stunned.

I didn’t even own a dress when I was in college.

“Did I wear jeans?” I asked cautiously, trying to remember what major faux pas I may have made.

“Oh, no!” she said brightly. “You wore a very nice pair of dress slacks.)

I couldn’t think of anything to say. (I did make a mental note that I should always wear a dress to any future funerals.)

I didn’t want to make the silence uncomfortable for my mother, so I said apologetically, “I guess that was kinda rude of me.”

“Oh, no!” she said again, brightly. “My friend said I should have been thrilled that you came at all, because so many kids your age wouldn’t have.”

When my fierce daughter flares up at me, I’m overwhelmed by my anger. Hers flames mine. I think harsh words which frighten me. I force my jaw closed, to hold back the bitter words which bite forever.

My anger is a chasm. We stand on opposite sides, and gaze at each other, remote, apart.

My hands yearn to stroke her hair, and touch her sweet face.

N.B. I wrote this when my daugher was nine. I was lucky. I began to realize my anger came from taking my daughter’s preadolescence angst personally. Once I set that aside, I always tried to meet her where she was. We made peace with each other. Forever, I hope. I’ve learned so much from her, in so many ways.

I am in awe of her.

And yes, that was as close to an apology as I ever got from my mom. She died early in 2018, after living with coginitive decline for about a decade, and my father died six months later.

And another N.B. Thank you (Susan D!) to those who pointed out all my typos! As I was writing this, a few family members were bugging me to let them use my computer, and I went too fast!!  :^)

 

 

WHY LOVE > $

SCRATCH: Writers, Money, and the Art of Making a Living by Manjula Martin
SCRATCH: Writers, Money, and the Art of Making a Living by Manjula Martin

WHY LOVE > $

Sometimes What We Want Isn’t Really What We Want*

So in math class, that title would read “Why “love” is greater than “money”.

I started reading a new book this week, called SCRATCH: Writers, Money, and the Art of Making a Living. Based on a series of interviews by Manjula Martin with well-known writers such as Cheryl Strayed,  Roxane Gay, Jennifer Weiner, Alexander Chee, Nick Hornby, and Jonathan Franzen, it is one of the best books I’ve read in a long time.

In these interviews, Martin encourages each writer to be totally honest about what being a “famous author” really looks like. The inside story is jaw-dropping.

Most started out making not very much money. That’s to be expected. But here’s what I didn’t expect:

Even when authors sign a $100,000 contract for their book, that’s not actually how much money they make.

Here’s how it works:

First, it takes years to get to the point where $100,000 would even be offered. Most start at $2,000. (That was the advance on my one published book.) If the book doesn’t generate stellar sales, there are no royalties. (I never got royalties.) I spent hundreds of hours creating the projects and steps, so I made….$1/hour?) (Of course, that would be $3/hour today, so there’s that.)

Let’s say you’ve climbed the ladder, and the deal is for $100,000.

First, your agent gets 10%. And a good agent is worth their weight in gold.

But the amount is also split into several payments.

There’s a payment for submitting the manuscript, one when all errors are corrected and the manuscript is re-submitted and approved, one when it actually goes to press, and the last when it is finally put out into the market.

This process can take years. Many of the authors thought, “I’ve made $100,000 this year!” But since the process can take from 2-4 years, they make a lot less per year than that. Like $24,000 less $2,400 for your agent.

So in the end, a writer who signs that lucrative contract isn’t exactly gonna get rich on it.

One book review says,

“…In the literary world, the debate around writing and commerce often begs us to take sides: either writers should be paid for everything they do or writers should just pay their dues and count themselves lucky to be published. You should never quit your day job, but your ultimate goal should be to quit your day job. It’s an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money?”

Sound familiar?

A lot of parallels to our art-making sector.

If we were to take a $100,000 commission for a work of art, here are some of the possibilities:

There would be the initial deposit for a custom order, usually non-refundable. But most customers wouldn’t give it up without a fight. I was at one of the top three fine contemporary craft shows in the country one year. One booth visitor placed a custom order at the show for a pretty major piece. Woohoo! I thought. A few weeks later, she called to cancel. Because she hadn’t considered the tuition for her son’s private school/academy he’d just been accepted into. (This, after sucking up 45 minutes of my time at the show telling me how rich she was, and about her amazing art collection at home.) When she called to cancel, she made the point (about 20 times) that her husband was a lawyer. I cancelled the order. (Fortunately, something felt “off” about her in the booth, and I had hesitated about starting the order. So, no loss.)

The person may even “forget” to tell you to cancel the order, like in my article about the Design Diva.

Consider the cost of packing and shipping a major piece in that price range. One local artist, a friend, even has to borrow my car to deliver their larger works to local buyers. (I’m happy, to do it, of course!)

Of course, if you work with a gallery, they’ll do that for you. But a gallery takes a 40%, 50%, or even (at the height of the market in NYC just before 9/11) a 60% cut.

Back to that book review quote: This is not a black-or-white issue. This isn’t us vs. the “bad people”. Maybe your bigger art sales aren’t this complicated.

But another interview revealed another side to that “success” we all crave:

Being locked into a “certain kind of fiction” or a “predictable best seller” can be suffocating. And fame can fall away in a heartbeat, with a bad review, with our own bad behavior, almost anything.

Several of the highly-successful writers said even in their “hottest moments” felt locked in, confined, discouraged by the category they found themselves stuck in. Deadlines may conflict deeply with life events. Touring for the book publicity can suck a lot of time and energy. Trying to top your last success can squeeze the creative juice right outta your system. “You’re only as great as your last success” can be a roadblock to creativity.

Most of the writers said they made a decent living three ways: Writing books (that get published.) Public speaking engagements. And teaching/workshops.

Sound familiar?

I highly recommend reading this book, even if you don’t read every interview. Most of these writers went out on a limb to be this honest and forthcoming about the realities of their success.

I wonder…..

If more artists felt safe to do the same thing, would we quit beating ourselves up about not making a good living out of our creative work?

Would we stop being intimidated by those people whose work sells for thousands, tens of thousands of dollars?

Would we realize that sometimes, those famous artists whose work sells for hundreds of thousands, or millions of dollars, don’t actually make a dime from those auctions? Because they sold the work for one price, and now the new owner (or second, or third owner) is selling it for a heckuva lot more? (Publicity is helpful.) Or the artist is dead? (Publicity not so helpful. They’re dead!)

What I took away from the book is this:

We have choices. We have the power of our choices.

If we need to make a living from this work, we can do it. It will start to feel like “a job” rather than a calling, but for some people, this is what they have to do.

If we can be satisfied with SOME money, or even not much, we get to have complete control over the work we make.

We get to choose how much from each end of the spectrum we’re comfortable with. We get to choose what we are willing to do, or not to do.

We get to choose whether it’s full-time/well-paid/a lot more work and not as much creative freedom. Or whether it’s “it makes me happy and that’s all that matters”, or whether it’s “I can find ways to expand my calling into other lucrative ventures by teaching.” I know one artist who has expanded their skills into creating ways for other artists to offer workshops: They have the knowledge, the resources, and the audience to do all the funky work we’d normally have to do ourselves, so all the artist has to do is show up and be ready to teach.

There are no solid, sure-fire ways to make our work and share it with the world. There’s no 100% good side to any of our decisions about it–except what works for us. There’s no WRONG way to do it.

The only thing that’s “wrong” is believing we are doing it wrong, and believing that other people are doing it right. Believing that “success” looks the same to everyone.

It’s all about what’s right for Y*O*U.

On that happy note, I hope this gives you food for thought. If you’ve found the right combo for your creative work and income, please share! If money is our measure of success, it’s good to share information about how that happened for you.

If you know someone who needs to read this, to get clear on their own goals, please share!

If someone shared this with you, you can read more Fine Art Views articles here.

And if you like what I wrote, you can subscribe to my own blog here.

*I was going to call this article, “Be Careful What You Wish For” (You Might Get It!)” but I think that’s just too heartbreaking. It’s not stupid or wrong to want something from our art, including financial success. Go ahead and wish! If it’s not right for you, you can always change your mind.

ANGRY GIRL

Forgiveness is an act of commitment.

Forgiveness is psychological, not moral.

I’ve just discovered this incredible blog by Nick Wignall. It has already given me clarity on some of my “life issues”, good lessons in this confusing yet beautiful school of life.

The most recent one I’ve read is about anger, and consequently, forgiveness, both tricky issues to deal with even as an adult. This article wrapped up a lot of confusing emotions and tied ’em up with a beautiful bow. The following is a summary of what struck me hard, but be sure to check out the article as written, too. Because something different might resonate for YOU.

Last year, both of my parents died about 7 months apart, and I made four separate flights back home. One each to say goodbye, and one for their respective memorial services.

I had already done a lot of work surrounding forgiveness. Long story short, there were many times where I was not protected as a young person, and I suffered from not only the damage done to me, but also suffered from the lack of compassion from those who could have done better. There were also times where I was kicked out of the family because I was so vile and despicable. I had to come crawling back, not sure what I had done nor why it had been met with such an extreme response.  And, like so many families, we were never–NEVER–supposed to talk about it, ever.

When a number of years ago, I realized my mother was now living with dementia, I knew I would never hear the words I was so desperate to hear. My work as a hospice volunteer taught me so much.  How to sit with a client who is nearing the end of their journey. To understand the difference between “fixing/curing” and healing.

I realized she could no longer be my mother. But I could still be her daughter. I saw her as a person who deserved my kindness, and compassion, and that helped me deal with both losses without losing my mind.

It also planted the seeds of forgiveness. It took time for me to really understand what true forgiveness is, but it started there.

I was still living with anger, though. Many members of our family had different experiences, due to our ages and…er…experiences. It felt like a contest for ages: Whose version was “right”, and whose was “wrong”.  How do we forgive people who are so sure we are doing it wrong? Especially when they never inquire what our own experience was like? Especially when we DID share those experiences, but remember them differently? Where is the truth when all we have is our own perception to rely on?

Nick covers forgiveness in the same way I finally reached it. Forgiveness does not mean “forgetting what happened” (because it is impossible to forget the pain). And it doesn’t mean the perpetrators are “off the hook”, and you have welcome them wholeheartedly back into your life. It doesn’t mean there has to be reconciliation–we are free to choose to protect ourselves, and we don’t have to accept “excuses” that are often at our expense. (For the record, “I’m sorry you got so upset” is not an apology.)

It’s about recognizing that other people are not under our control. We can only control ourselves, and there’s even a limit to that.

That’s where the anger issue came into play, and I love how he framed it.

Again, lots of quote and part paraphrasing:

Anger is a “positive” emotional feeling–we feel that we’re right and they are wrong. But it’s really an anti-depressant with potentially nasty side effects, and the consequences are often negative. LOVE THIS!

Anger helps eliminate sadness, boredom, feeling helpless, etc. It’s a crutch that makes us passive. It creates “opportunity cost”: Sucking up time and energy we could devote to learning better behaviors. It also reinforces our deep memories of the wrongs done to us. (Yup!)

The right approach, according to Nick, is to validate that anger. But don’t feed it. 

The way there is acceptance–not for that person’s actions/inaction, but to acknowledge and accept we cannot change the past.

Thinking we can change the past helps us feel more in control, but it’s an illusion.

As I read this, I began to understand where my own residual anger comes from:

I hate it when other people diminish my pain. “Oh, that’s not what they meant, get over it!” “I don’t remember it that way, so that means you’re remembering it wrong.” When compatriots agree with me “in theory” but still defend “the group”.

And the reason I ghost them, I now realize, is because it feels like the only thing I can control. I can avoid any further interactions, and avoid the snark, the disbelief, the snide comments, or subtle “betrayal” of not standing with you even though they know exactly what it was like for you

So I’m still learning about forgiveness, and I’m beginning to distrust my anger, especially as it often serves only to feed the flame, or grow the sadness.

The last take-away from this article is, forgiveness is not ONE decision. We have to get there over and over again until the process gets “learned”. And it won’t “feel good” in and of itself. Because not only can we not control other people, we can’t control how we feel. Feelings are part of us, forever.

We may be able to soften the feeling. (The common phrase in a grief support group I attended was about how grief never disappears, but it does “gets softer” as time passed.) But it will always be there. Feelings are us. (Apologies to Toys R Us….)

All we can control is our actions.

This was exactly what I needed to hear.

For years now, I’ve written about the power of our choices. 

We all have a lizard brain (aka “monkey mind”, “reptilian brain”, etc.) But when we learned to recognize those instinctive responses (anger?) to perceived danger (a rude customer, a snide family member), we can choose how we respond. We can choose “better”.

I am grateful that I found the way to continue the work of true forgiveness. I am grateful to find a better understanding of how my anger does not serve me, but I can never make it go away. I can choose to truly understand that in the short run, righteous indignation feels really good, but does not serve me in the long run.

And whether I have decades yet to live, or only a few hours, this is who I want to be.

This is who I can choose to be in the world.

LESSONS FROM THE GYM: How to Change Bad Habits       

This post is by Luann Udell, regular contributing author for FineArtViews, an online art marketing newsletter. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

The body does whatever we ask it to. But it may not be the best way to do it. Only conscious effort can change that!

(5 minute read)

 I was at the old people’s (of which I am one) gym today, the place where I’ve received physical therapy here in Santa Rosa . They have an independent gym program, which I signed up for as soon as I could. It’s the “opg” because almost all of us who are in the program are up there in years. (I might be the youngest one at….gasp!…67! Score!)

I do what I do best in life. I discreetly eavesdrop on nearby conversations, and gain insights to my own issues when something resonates.

Last week, I overheard one of the employees say to a client, “When we move, our body automatically does it the easiest way possible, especially if it’s trying to avoid pain. But that just “locks in” the “bad” behavior/action. And “doing it wrong” can make the situation even worse…”

“To change that, we have to….”

And darn it, I couldn’t catch what he said.

Had to wait til this week. I recounted his response, and asked what his advice was.

Turns out that, to retrain our bodies to move in a healthy, balanced, healing way, we have to consciously move the “right way”.

For example, I tend to walk on the outside of my feet if I don’t consciously think about it. Various injuries throughout my life have created this pattern for me. As I do the DUI walk, as we call it (going toe-to-heel along a line on the floor, a balance exercise), I could see in the mirror my feet weren’t “rolling through” the right way. I have to deliberately think about proper foot position. I never realized my “old way” was creating more issues, until physical therapists pointed it out. The unused muscles weaken, the extra strain on the overused muscles can actually pull a kneecap out of alignment. OW!!!

“Observe. Pay attention. Focus.” Sounds mindlessly simple, doesn’t it?

Except, when you think about it, there are a lot of times and circumstances where we do “what is easiest” and in a way that “doesn’t hurt.”

And the only way we can change that is to choose to do it differently.

One example: How often do we roll through stop signs at intersections?

Probably 99 times out of 100, it doesn’t matter, especially if the intersection is usually traffic-free.

But what I’ve noticed is, if we train ourselves to “roll through”, we do it without thought. We may lapse in checking to see if there is other traffic. Or if there’s someone else who’s running the stop sign. And the consequences could be fatal.

In our city, running yellow, orange lights (orange is when people run through and are still in the intersection when the light turns red) and even red lights, is a thing. It’s heart-stopping the number of times I’ve had the green light, and someone bombs through on their red light. Most of us take a second to actually move forward, and/or stop to check left and right.

The only way to break the “roll through” habit is to deliberately, consciously, stop, or at least pause, even for a second.

Is it annoying? Yes. Has it saved my life? Oh, yeah!

On a much smaller scale, for the first time in my life, I am now flossing daily for the last several months. I realized I was unconsciously choosing not to because “I didn’t have time” on busy mornings. Until I realized I DO have 30 seconds to floss. And I remind myself, by getting out the floss and placing it next to the sink before I even brush. I look at it and think, “30 seconds.” And consciously choose to do better.

How does this apply to our art-making and art-marketing? So glad you asked!

I’ve been writing and posting articles for years, here on Fine Art Views and on my blog. It was only a month ago I realized that if people SHARED those posts, there might not be an easy way to encourage the share-ees (for lack of a better word) to find me, let alone sign up themselves.

So now I try to remember to add, “Share if you like this” and add a link for the people readers share it with. (Hmmmm….let me do that right now!)

Art-making? I’m working on a new line of “statement jewelry”. I’ve been struggling with some the finishing steps, which are even more time-consuming than the actual “making”. Until I finally realized if I swapped out one of my “usual tools” for a different one. It felt awkward. But it cut the time involved in half.

I used to post articles on Facebook, then Twitter, and now Instagram. Time-consuming! But then I learned I could “share” through WordPress directly to my Facebook business page, and from there, post automatically to Twitter. And after Facebook acquired Instagram,  I found I could post to Instagram, and set it up to automatically post to Facebook, and from there, to Twitter. (I just have to remember to post to IG now.)

I was reading Keith Bond’s FAV article on compartmentalizing our art. It made perfect sense! I’ve actually been doing it for years, with separate workstations in my huge studio back in New Hampshire, and as best I can here in California. (The only issue is sometimes having to have duplicate tools on hand, which is why I still own about eleventy-six pairs of scissors….)

I loved the article because it shows how “unconscious actions” can send us into a tailspin if we’re not being fully aware of what we’re doing, and why.

What “bad” habits/assumptions/unconscious actions are holding YOU back?

And what can you do about it, starting today? (Hint: Even acknowledging we DO have unconscious habits/assumptions/actions is a powerful “first step forward” for today.)

If you enjoyed this article, share it!

And if someone has shared this article with you, and you enjoyed it, you can sign up for more articles here.

 

 

 

THE GIFT OF RISK: Stepping Outside Your Comfort Zone Has Its Own Rewards

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

Rewards, Insight, Setbacks, and …K…K….courage, all this can be yours!

Painting on glass for an out-of-my-comfort-zone book project ultimately led to this new body of work.

As I typed the title to this column, I realized I almost had an acronym! But I couldn’t think of a “k” word except “kindness”. Maybe spell “courage” with a k??? Aw, what the heck, let’s put both in there!

Last week, I shared my story about “luck”, and how we can make ourselves ‘luckier’.  I told how setting aside my expectations of being paid for everything I do opened doors I never even knew were there.

I shared the rewards of that risk, which expand even into today:

  • I had my work published and made visible before the internet made that easy.
  • I created fun projects that not only were well-paid, but upped my own skill set: Using vintage buttons to make distinctive jewelry. Painting on glass, which (I only realized after writing that article) paved the way for a new series of work. I’m painting cave art images on my handmade faux ivory medallions.
  • I wrote and illustrated the first mass-market craft book on carving soft vinyl stamps.
  • I met amazing people, who were a powerful, wonderful presence in my life for years. And I continue to do so! (It turns out our dentist here in California pulled out her stamp carving book to make her annual handmade holiday cards, saw my name on the cover, and realized I was her patient!) (Yes, I autographed her copy.)
  • I’ve bought old copies of my book (which is now out of print) to sell to students who take my stamp-carving classes.

Another big reward from taking a risk deserves its own list: Insight.

  • We cannot control everything in life. Not even close! But “nothing ventured, nothing gained” is a powerful insight. Here’s my favorite joke about that, but be forewarned, there’s a naughty word in there!
  • If you look back to my previous article, where two Mary’s had vastly different lives, then you will understand the power of ‘framing’, what we pay attention to and what we choose to let go of.
  • I found out what works and what doesn’t work, when it comes to choosing shows. I have respect for the wisdom of “never do a first-year show”….!
  • Not all rewards in life are about money.
  • It takes courage to pursue your dream, patience for it to build into something profitable, and a sense of self-worth to keep it somewhere in your life, even if it doesn’t work as your paying job.
  • There will always be people who will be uplifted by our work—professionally, emotionally, spiritually.

Now for the downside: Setbacks!

  • Not everyone is your friend. There will always be people who are deeply threatened by us, and our work. It’s taking less time for me to suss them out, thank goodness! (Thank you, The Nibble Theory!)
  • Not all shows are as well-managed as others. After all, show organizers/promoters make money on a show even if vendor sales are awful. (Of course, they can’t continue to be successful if their vendors aren’t. Still, there are always people like me who are willing to try….)
  • Hard financial times (9/11, war in the Middle East, the dot.com crash, the stock market crash of 2008, etc.) are especially hard on art and fine craft markets. Art is considered a luxury, not a need. (Debatable, of course) It can feel very personal, like ‘we are doing it wrong’. Many, many people in the industry—artists, craftspeople, show runners, galleries, etc.—suffered mightily in those years, and many never recovered. Many folks took wild chances, shifted strategies, tried desperately to hang on, where sometimes just hunkering down and waiting out the storm made more sense.

The danger of setbacks is, it’s all too easy to give them a major role in our decision-making. Once burned, twice shy, etc. Yes, it’s simply good sense not to keep sticking your hand in the fire.

Otoh (on the other hand), not all failures are useless. As good ol’ Thomas Edison said, “I have not failed. I’ve just found 10,000 ways that won’t work.”

So here’s that word again: Courage! (I almost went off on a bunch of metaphors based on Tennyson’s poetry, but I spared you. You’re welcome!)

Courage was a relatively new concept for me, as a child. Oh, I had exercised it a few times as a young adult, but always in pursuit of a dream. Going back to school, getting a teaching degree, even traveling across the country looking for work in the 1980’s recession.

But when I took up my art in my forties, I exercised courage in a sustained manner for years, viewing each setback as a valuable lesson learned, and always, always continuing to move forward. Even moving across the country in our 60’s was a monumental act of courage. Sometimes I’m still surprised we did it, though I don’t regret it for a minute. (Well. A few minutes….)

It takes courage for me to write these articles. I get paid a nominal sum, far less than when I wrote for magazines even 15 years ago. But though it doesn’t bring in a big income, it fills my need to share what I’ve learned, and expands my audience weekly. (Thank you, faithful readers!!!)

In fact, all my writing comes from sticking with it, even when it felt like nobody cared. Because…

It mattered to me.

It’s a risk. When I put my work/words out there, I want them to serve someone else as it served me. I hope it reaches someone who needs to hear that story, today. I’m delighted when people say it did. I love it when people pass it on to someone else, who may also need to hear it.

And yet, there are setbacks, too. There is always someone who thinks we’re “doing it wrong”, and they never overlook a chance to let us know that.  There are people who are offended by my titles, fercryin’outloud.  There are those who believe there is nothing worth doing for free, and those who believe my writing is toxic.

Still, I persist.

And now, here comes kindness….

My art, and my writing, have taught me to practice kindness even…or especially… to the naysayers, the contradicters, the folks who seem to be looking for a fight.

It felt impossible at first. It’s obvious my work is not for them, and that’s okay. The kind thing to do, of course, is for them to simply stop reading, or to delete it, or move on to the next studio on the tour.

But I’m learning. Like the people who call pastels “just chalk”, or the people who claim fiber is not an art medium, etc. they are where they choose to be. Yep, maybe even doing the best they can.

By responding with as much kindness as I can muster, I can let go. I am restored to the person I want to be in the world. My risk—putting my work out there to be criticized or ridiculed, is offset by the knowledge someone else is grateful I did take that risk.

And that makes it all worthwhile.

In the end, the choice is ours. We can play it safe. We can avoid risks, ditch change, never step outside our comfort zone.

It’s up to you. I can’t even pretend to think I know better than you. As I always say, if this doesn’t work for you, don’t do it!

I can only share what’s lifted my heart, write what’s helped me move forward, what restores me to my better self.

What risk have you taken that’s moved you forward? What did you learn when it didn’t work out? Remember, both are valuable, and both are worth sharing!

IT’S ALL ABOUT THE MONEY Except When It’s Not

If money is the ONLY measure of your success, don’t read any further, please!

In my latest article for Fine Art Views, I shared how taking a risk (what seemed to me a very small risk), brought me many benefits (tangible and intangible) for years.

My intention was to share how even small steps outside our comfort zone can have big results. I wanted to share that what most people see is “luck” ignores what underlies “luck”: Preparation, persistence, and recognizing opportunity. If you don’t recognize the opportunity when it appears, you won’t reap the potential rewards.

What started out as a very small thing (submitting an image of my work for the gallery section of a craft book) resulted in an opportunity to write and publish a book.

Most people applauded that concept. But to my surprise, some people focused only on the money.

Exactly how much work did I do for “free”, and how much did I get paid? (In today’s dollars, it would seem modest, but not ridiculously so.)

Am I telling people to work for free for the “exposure”?? (NO.) I did not “donate” to the gallery sections of the book I was in, like charity auctions so many artists are asked to do. I just submitted a photograph for each.

Exactly what did I gain from that decsion? It’s alllll in the article.

Paid projects. Paid to write a book. Foundation for teaching classes. New product lines down the road, even fifteen years later. A reputation for unique work, and for being a reliable writer.

After my work appeared in several books, people started calling me “famous”. (I’m not, of course, but many, many more people were made aware of my work. And many more people recognized my name.)

During open studios, I always have the two dozen or so books I’m in available to new visitors. It always impresses them. (“Hey, working with half a dozen editors across two dozen books? She must be doing something right!”)

I got paid for each project I created. And as I said in the article, they all turned into new lines of work for me. They also became the basis of classes I offer (and I charge for the classes I offer.) So the project books, and my books, offer validation of my skills.

I received a good advance on the book, enough to make it worth my while.

Did I get rich? No. (Although my advance from that book was more than 10x than I’ve made selling my ebooks.)
Did my reputation benefit? Yes, both as an artist and a writer.
Did I get more opportunities to write for pay? Yes.
Did I enjoy it? Very much!
Did other opportunities follow? Yes! My resume was awesome!

Again, if it’s all about the money, and money is THE ONLY CRITERION for whether this risk was “successful” or not….

I have no idea.

My income has gone up and down over the years, as I constantly sorted out what was working and what wasn’t. So any additional income that was still within my skills and interests range was very welcome. One year, making products for a mail order catalog account kept me afloat during a recession.

If I would do it again? In a heartbeat! I listed the benefits in the article. I believe the most important one is how these “risks” broadened my horizons, and widened my world.

Should everybody do this? Of course not! The stamp carver who produced the little booklet on stamp carving would have loved the money. They just didn’t want to commit to a year-long schedule, the amount of writing, etc. They’d written their booklet, and they were done. She gave me her blessing. (Thank you, Julie Hagan Bloch!) My schedule was more flexible, and I love to write!

Do I work for free all the time? Nope. A couple years ago someone reached out to me to write an article for their online publication. They refused to pay me, though they sort of promised I would get paid when their site went viral. (Uh huh…) They used the usual “but you’ll get such great exposure!” But they also kept increasing their demands on what was expected, so I knew it wouldn’t end well. (I started the article but soon walked away. There are warning signs for projects that won’t work to our advantage.)

Do I get paid for everything I do? Nope. There are times where I do stuff for free. I have my own criteria for assessing that. But I never do it when someone demands I do it for the “exposure”, when I sense those warning signs, or when there is absolutely nothing in for me at all, AND I don’t want to do it, period. Give a presentation or talk to art students? Sure! Donate to a charity auction? Only if I get my wholesale price from the sale. And so on.

We all have our unique boundaries, our individual take on where we draw the line between work-for-hire, work-for-free, and the gray areas in-between.

If we insist on being paid for everything, every time, and that is our ONLY criterion for success, we may overlook opportunities that will work in our favor. That is YOUR choice.

But it’s not mine.

This has been one of the most controversial posts I’ve ever written, which surprises me. I have been asked to defend the premise of this story over and over. I have had my integrity, my life experience, and my veracity challenged. (Usually people complained vigorously about how long my articles are.) (So I’m gonna wrap this up!)

Now….Did you know I don’t get paid to blog? :^D

Yes, I do get paid to write for Fine Art Views weekly. (I have permission to replublish those articles here.) But it’s not nearly what I used to get for ONE article when I wrote for magazines.

So, if I ONLY did things I love when I’m paid for them, you wouldn’t be reading this today. :^)

IF my writing has meant something to you…

If you ever felt like what I wrote has inspired you, enlightened you, educated you, shored you up when you felt the world does not want the work of your heart…

If you love the fact that I’ve openly shared for almost 16 years, what I’ve learned by being an artist, writer, martial artist, dog owner, wall climber, hospice volunteer, teacher, mother, etc….and shared it with you, not only because I have to write…

Because I hope someone, anyone, will find joy, learn, heal, be brave, be heard….at no cost to you….

How would you feel if I’d never started a blog?

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What Is The Story Only You Can Tell? Make It A Good One!

What Is The Story Only You Can Tell? Make It A Good One!

By Luann Udell

Image 3100480

4/27/2019 by Luann Udell

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

We can’t control everything in life, but we can choose how we face it.

Years ago, one of my favorite writers, Martha Beck, wrote an article thathas stuck with me for decades.

Beck’s insights and advice come from her years as a therapist, observing how people get stuck and how to help them get unstuck. In this article, she describes two of her clients, two women named Mary.

Mary One has a sad life storyA parent dying young, obstacles, setbacks, health issues, etc. Just reading the list makes you wonder how anyone could survive what she has been through.

Mary Two has a wonderful life story. She inherited wealth, and was able to attend top-notch colleges. She is highly educated, and her career issatisfying. She is very close to her grandmother, who showers her with love and kindness. She loves to travel and has been all over the world. One cannot help but envy her good fortune.

The kicker?

The two clients are actually the same person.

This article was a game-changer for me. The lessons are obvious.

We have all had sadness, and joy in our lives. We have all experienced cruelty, and kindness. We all have victories, and setbacks. We’ve all had people who love us, and people who are toxic. We all wish we had more money, even though we know in our hearts that if a billion dollars is “not enough” for the wealthiest people in the world, how will we ever have enough?

The lesson for me was simple: We get to create our own story.

For years, my saddest story was that I couldn’t get into art school. My school, one of two in the entire county, in an agricultural area, didn’t have much money to spend on art programs. This meant my portfolio was pretty pathetic. And so, when I did go to college, I majored in art history instead, the traditional “shadow artist”, hovering on the outskirts of my passion and filled with envy for those who thrived with their art.

And yet….

I actually was accepted into not one, not two, but three colleges thatoffered art programs. Instead, I chose the one that was the most prestigious, where my best friend, my high school boyfriend, and my secret crush had been accepted. It was the only school that rejected my portfolio. I took a few art classes, but they were like bananas offered to amonkey in a cage, a prize I could never reach.

So “not being good enough” wasn’t really a thing, though it took me years to see that. It was just a “sad story” I held onto for a long time.

Although that boyfriend turned out to be fairly toxic, and much of my love life was pretty pathetic, it was in this same city that I met my husband, my life partner, and a pretty great one. We’ve been together over 40 years.

So with the power of hindsight/reframing, going to that college was actually a lucky fortunate choice. (Next week, I’ll share another storyabout “luck”!) Taking all those art history classes, starting with theLascaux Cave (the oldest human art in the world in the 1970’s) was apowerful, inspirational resource when I finally owned the power of my choices, and became the artist I was always meant to be.

And if I had actually been accepted into that college’s art program, I am certain I would not be making the work I make today. I don’t think my tender heart would have survived the toxic critiques many students had to endure (I hear schools do it differently now, but I take that with a grain of salt, as this intriguing memoir reveals.

In short, there may be one set of facts, circumstances, etc…

But there are a slew of stories I can tell myself because of them.

When I’m feeling “less than”, I feel embarrassed that I actually hate drawing. I resent that my medium of choice took years to gain respect in the art world. I know that some people still would not consider me a “real artist”. I remember every cruel or thoughtless remarks from ignorant, pompous, or deeply-troubled people.

But when I choose to see my power, I know I make art for myself, first. Making my art has made me a better person. I know that I use thatpower, the power of my choices, to not only make work that‘s so personal, my collectors can easily recognize my style and aesthetics, I’ve used that power to reach out and connect with others, always with the hope that doing so may elevate the hearts of others, as well.

Try this exercise today: Jot down all the hardships and crappy things thathave crossed your path this week, everything that made you suffer and seethe. (I didn’t say “in your lifetime” because that could take weeks! But sure, put in anything that‘s still hounding you.) List the deadlines you’re stressing over, the to-do list that never seems to end, the lack of respect for your style/subject/medium, the dearth of sales. Make note of how you feel when you’re done.

Now write down all the blessings and gifts that happened in the same time period: The car that let you merge safely into traffic, the person who stopped to let you cross the street, the new opportunity to show your work that‘s got you fired up about your new series. Consider the thank-you notes you got from the grateful customer who bought your work because they loved it. Think of all the things you did accomplish, and all the steps forward you’ve taken with your art, your personal growth, your relationships.

How do you feel now?

I always-always-feel better.

This is why I write. It helps me sort out the distractions from the real deal, the true life mission I carry in my heart from the road bumps. I get clarity on what I can change, and what I can’t change. I can feel my anger melt as I frame the difficult stuff differently.

All the naysayers, the critics, the trolls, the digs, the snark we encounter daily, suddenly feel more like annoyances than anything. I feel free to simply do what I love to do. I give myself permission to live my life theway I want.

A recent example: A dear friend and supporter shared with excitement the realization that their work is “on trend”. My lizard brain immediately buckled. The same trend was in force when I started making this particular aspect of my art, and I struggled mightily to overcome it. For afew moments, I was envious that this person, who has had my back for years, might surf that wave farther than I ever will.

And then I had to laugh. My work has never been “on trend”, and I’m glad! The courage it took to simply make the work of my heart has created my own wave I can ride as far as I desire.

I know now that the world is big enough for both us. If they aresuccessful with their work, if they get a “bigger piece of the pie”, thatdoesn’t mean my slice is smaller. There is an infinite amount of “pie” in the world, enough for both of us. Actually, it’s big enough for all of us.

I will simply not let that first story be the story I tell. I choose the second storythe one filled with mutual respect, joy, and kindness.

What is the story YOU can choose to tell, today?

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