THE FOUR QUESTIONS #1 Create Your Artist Support Group

For some reason, I didn’t republish my initial articles for this series, which originally appeared on Fine Art Views. So I’ll be “catching you up” the next few days. Enjoy!

Luann Udell discusses the importance of having an "art group" and how it can help you grow creatively.
Luann Udell discusses the importance of having an “art group” and how it can help you grow creatively.

When your peeps have your back, it’s easier to move forward.

When I first stepped up to the plate with my art and my art biz, I was fearless. I was focused. Not even rejection set me back for more than a few minutes, just enough time to sidestep my lizard brain and get back to my higher self.

I educated myself at every opportunity. I sought out advice and insights from more experienced artists. I took notes and kept good records. Every day I sought to take one step forward.

Many folks were surprised to learn I had only been in business a couple years.

So when I found a notice about an upcoming artist support group workshop (on how to create your own support system), my first thought was, “I don’t need that!”

But something told me otherwise. Just a quiet little voice saying, “Maybe someday it will get harder…” (Spoiler alert: It can, and it does.)

So I took a chance and signed up for that a three-day workshop.

It changed my life

The workshop leader was Deborah Kruger, a fiber artist who already had a solid body of work behind her, including incredible installation art. A beautiful, intelligent vibrant, woman full of insight, and wisdom, good at listening. And really, really good at seeing where we get hung up in the details.

We were in awe of her. (Put a pin in that for a later article.)

Deborah’s work has evolved, as her own story changes.

We did many exercises in that class. I kept a notebook, of course, and filled it with observations, insights, and comments as we went along.

The heart of the class was learning and practicing how a good artist support group works. The main premise is:

The greatest gift you can give a woman is to listen to her…*

(NB. Times are changing, somewhat, so maybe we can now include “artists” or even “creatives” in this premise.)

And the corollary:

Because…We already know what to do.

We all know what is right for us.

We need to listen to that little voice inside. Not the loud, buzzy, snarky, critical lizard-brain-voice that tells us we aren’t good enough, or not smart enough, or not deserving enough.

We are here to find the quiet little voice that knows we are doing our best. The one that knows “we are already ‘enough’.”

We must not override it with too much logic, too much preparation, or too much self-doubt.

To discover this voice, we need people who will ask the right questions.

We need people who will ask, and then listen to what we say.

We need people who keep listening, and questioning, until we come up with our own answer, our own truth. 

It’s actually a scary place to be… because this process is unlike most conversations we ever have with other people. 

This premise (and corollary) is why today, I believe everyone has a place in the world. Everyone has a story. Everyone has a voice.

And everyone’s place, and story, and voice, is unique to them.

Every day, we are told we aren’t good enough, pretty enough, strong enough, lucky enough. Every day, we are told we’re “doing it wrong”. Every day, yet another social media site swears it will catapult us to fame and fortune. Every day, there’s someone who promises they have the secret to success (usually for a hefty price!) Every day, it feels like everyone else “gets it”, and that we never will. 

This is why you need people who will have your back in your support group.

    

Years after that life-changing workshop, Deborah again guided me to my truth: It’s not about the technique. It’s about the story. And I’m not done telling my story.

Did you do your homework last week?

Did you think of a handful of people who might be willing to do this with you? And who, in return, are willing to be recipients of the same process?

Do they accept you, flaws, faults, and foibles, as just another human on their own unique journey? They don’t have to be your best buddies. They don’t even have to be people who have known you a long time.  Heck, they don’t really even have to love your creative aesthetic. They just have to believe we are all capable of moving forward and achieving our dreams.

Do they treat other people with respect and patience?

Do they have an open heart, open to trying something new?

Do they want you to succeed, to achieve your definition of success?

Do they have their own goals and dreams? And do they understand you want the same for them? Because they will get their turn, too.

Reach out to them. Gather them together, meet up. Tell them why you chose them.

Don’t be afraid to jump in. You may have some mishaps.

Some of you may be at different points in your life. That’s okay. Beginners, experts, pros, all have something to offer.

The only requirement is to respect where people are, right now, and to respect where they say they want to go next.

The exercises you will participate aren’t about telling people they’re doing it wrong. It’s about helping them clarify where they want to go, and how they’re going to get there…on their own terms, at their own pace. 

It’s about shining a light on self-blaming, self-denigration, insecurity, and the (incorrect) notion that we don’t deserve to dream big.

And it’s also about holding someone’s feet to the fire when what they say they want isn’t reflected by what they’re doing. (Ow!)

In the weeks ahead, I’ll share powerful exercises we learned in that workshop. They can be hard at first, if you haven’t learned to push back against that lizard-brain. It can be heard to share your true heart with others, if you’ve never been deeply listened too.

Some of the exercises are so simple, you’ll smack your head and exclaim, “Why didn’t I think of that?!” Some will be fun.

And everyone’s experience will be different. You will learn from each other, too.

It’s not about being a saint.

It’s about having, and being, an ally.

Stay tuned for more columns on this! Next is how to put a little fun into the mix. After that, a simple exercise to have more confidence in yourself and your abilities to grow and change.

MESSAGES WE CANNOT READ

One of the memes in my artwork is best explained by a quote from one of my favorite books about Ice Age art, called Painters of the Caves by Patricia Lauber. She discusses the many theories about the purpose of ancient paintings in caves like Lascaux and Chauvet, most of which say more about our times and culture rather than theirs. She says the cave paintings and art are messages that were not addressed to us.

This concept says so much about our humanity. When presented with something we don’t understand fully, we create a story that explains it to our satisfaction.

But sometimes the story is wrong, or outdated, or simply cruel. I’m learning it takes great courage, and a willingness to be humble, to learn the true story. (Or perhaps I should say, the truest story.)

While I make my work, I’m constantly working in sets of numbers, colors, patterns–how many dots on this horse? How many lines? What is my favorite pattern of dots this month? How many beads in this color on this necklace, or on this decorative ‘drape’ on the sides of a wall hanging? I love odd numbers. Four is good, and five. Fourteen bothers me.

Afterwards, when I look at the finished piece, I see echoes of other patterns, some ancient and still unknown. The number of knots I put in a length of waxed linen remind me of the knotted cord language of the Incas.

When I see the dot pattern I’ve etched onto an artifact, I can almost remember what was inspiring me at that moment. When people ask me what the dots and markings mean, I ask them what they think. And their answers are always thoughtful, beautiful, wistful. “I think they’re constellations”, from a child. “Musical notation”, from a musician. “A map, a journey”, says another.

I use sticks from beaver dams to hang my fiber work. I’m fascinated by the patterns of their teeth marks. The pattern suggests a written message, a message we cannot read.

Beaver-chewed sticks, bug-chewed sticks, and lichen-etched sticks.
Beaver-chewed sticks, bug-chewed sticks, and lichen-etched sticks.

Today I came across videos of birds in flight. This haunting video of starlings in flight, for example. And this equally intriguing video of of birds’ flight ‘tracked’ in time.

So, two memes, or motifs, in my work:

So many hidden, mysterious messages around us, some random, to be sure. But others full of meaning to the creatures who make them, though certainly not made for us. Something that seems ordinary, that upon closer examination, is an exercise in wonder. An opportunity to see ourselves as just a small part of a world of daily miracles.

And the power of the stories we tell to make sense of our actions, our choices, our lives, the lives of others, and the world around us.

TWO SENTENCES IS ALL IT TAKES: Lessons from a Michael’s Ad

I don't know what the story of the red stag is yet, but I'll figure it out eventually.
I don’t know what the story of the red stag is yet, but I’ll figure it out eventually.

After reading all my articles about artist statements, are you going to tell me you still don’t like to talk about your art?

Then tell me about YOU.

Yes, I’m going to rag on you about your artist statement again.  (I’m never too busy for that!)

I’m getting ready for the League of NH Craftsmen’s Fair, and I should be doing a bajillion other things right now. But I got up early. I’ve got half a cuppa coffee in me.

And as always, I found a little artist life lesson in today’s email inbox.

It’s an e-newsletter from Michael’s. They asked six of their employees how they use picture frame to express themselves in their own homes.

I think they’ve taken a online peek at Oprah Magazine, but I took a look.

And here’s your takeaway:

Everyone said what they needed to say in two sentences.

Yes, in two sentences, you learn what these folks’ passions are. What’s important to them. What they chose to display in their homes, and why.

Melissa, like me, loves to shop for vintage eclectic stuff. Jenny has an artist’s eye for the tiny, beautiful details around her. Susan uses her photographer’s eye to capture unforgettable moments in her family’s life.

Yes, it’s a Michael’s ad.

But it’s also an intimate peek into the minds–and hearts–of six creative people.

And they did it in 25 words or less.

Now, it’s not easy to crystallize who you are into that short a sentence. Yes, I struggle with that, too.

But it’s worth it.

People have made art for over 50,000 years. It’s part of who we are. I explore what it means to be human and an artist, in the world today, through ancient stories retold with my modern artifacts.

(I know, it could be better. It’s always a work in progress!) Editor!!

HEY! I know…..
Tell me what you think MY 25-words-or-less could be!

BE AN ART HERO. JOIN AN OPEN STUDIO TOUR.

Rarely this clean, but always interesting--my studio.
Rarely this clean, but always interesting–my studio.

Last year, a fellow artist and I put on Keene’s very first open studio tour, the Keene Art Tour.

Few things in life are harder than getting a couple dozen artists together (figuratively), collecting checks (Paypal button next year!), gathering images and artist statements for the brochure (“Just take it from my website!”) and everything else entailed in creating a city-wide event. Fortunately, it was hugely successful, for visitors and artists alike.

The only thing harder?

Doing it again.

Artists forget how good the crowds were, how much they sold and how much fun they had. That’s normal. Artists, being human beings, are sort of hard-wired to only remember the hard work, the studio cleaning, and how much we hassled them for said images, statements and money.

I’m learning that as a show organizer, “getting an early start” this year really means, “Let’s spend longer trying to get the same components together as last year.” That’s a good lesson to learn.

Some of the cold feet-itis is understandable, too. The last few years have been hard for creative folks. Some have hunkered down, some have moved on, some have diversified, and others are in that awful stage known as “transition”–moving on from what we’ve done while not quite knowing what’s next. Change is hard, and rarely fun.

“I don’t have anything to sell!” says one artist. Another says, “The kind of work I do, I don’t have ‘things’ to sell. So why would I want to have an open studio??” “I don’t have any new work!” says another. “I might be busy that weekend. When do I have to let you know?” (The answer to this question, by the way, is “Two months ago.”)

So here’s my response to all these questions:

An Open Studio isn’t just about selling your work. It’s about telling your story.

It’s the strongest way to form a powerful connection not only with new customers, but also with current customers, your community, and with future artists. And it’s a way to revitalize your own connection with your art.

There’s one artist who does murals for public places. No ‘things’ to sell in their studio, so they don’t want to participate.

What a lost opportunity! Now, I have no desire to buy a mural. But I’ve always wondered what’s entailed. How did they get started doing this? How do they find out about proposals for public art, especially internationally? What is the design process like? Do they hire other people to help? How long does it take to paint a mural? What kind of paint do they use? How long does a mural last? Where is their work displayed? Do you get to travel a lot? What are the fun parts? What are the downsides? What the heck does their life LOOK like???

There’s a couple who are working on a graphic novel. No ‘art’ to show in their studio. People would be bored.

Really? I can think of a few dozen young artists who would give anything to know that that process looks like. How do you get started? Are you self-published or are you working with a publisher? What does that look like? Do you do the writing and the drawing, or do you collaborate? Is it possible to make a living doing this? Do you teach classes?

There’s an artist in transition who needs to sell their old work before they can can make new work. And they’re not very far along in the new work.

Artists go through transitions? Just like other people?? Is it hard? What made you stop making your old work? What would you like to do next? What do you think will stay the same, and what will change? What inspires you and sustains you through this difficult time?

There’s someone who has new galleries, and may not have any work available for sale.

Actually, this is one of the best problems to have. Do you have earlier work that you’ve kept? Do you have works in progress? And the finished pieces you’re ready to ship–can we just LOOK at them? If I want one, can I commission you to make one? There’s a waiting list?? Oh my gosh, I better get my order in NOW!

Meanwhile, in your horde of visitors (and everyone had hordes of visitors), there are people who wish they could do what you do. They want to meet the people who ran away to join the circus. You are actually in your studio, making incredible stuff every day–how fabulous! Be their art hero.

There are people in transition who need to know there’s a ‘there’ after ‘here right now.’ That perseverance and vision and hard work will get us through. Be their art hero.

There are people who hope someday to be in your shoes. There are artists-in-waiting who need to know that it’s possible to have that life, to make their own work, to carve out a place in the world for themselves. You are living proof that it can happen. Be their life hero.

There are all kinds of creative folks in a community, artists of all sorts who make this town a better, richer, more beautiful place to live. We do more than just fill art galleries or people’s homes with our work. We teach, inspire, enrich, model our values to our community. Be that community hero.

Open your work space, that incredible place where the magic happens, where your vision for your art becomes a reality. Let people see what your life looks like, for two precious days in November. Be that art hero.

Give yourself the gift of seeing yourself through other people’s eyes–the people who see you as creative, gifted, exciting, interesting, fortunate, blessed. Because we are. It’s easy to forget that in the slog of making our way in the world. Let our community help you remember.

Be your own hero.

POLYMER ARTIFACTS APPEAR IN POLYMER CLAY DAILY!

Today I saw an update in my inbox from Cynthia Tinapple’s delightful blog, It was titled Polymer Artifacts so of course I had to take a peek.

Even more delightful, it turns out it’s about MY polymer artifacts!!

It’s an honor to be featured in PCD, as Cynthia scopes out the best work in polymer clay around the world. Thank you, Cynthia!

There’s a nice balance between focusing your work and being inspired by others’ work. The last few years, I’ve been hunkered down, focusing on keeping my vision clear, and trying not to envy the incredible work being made by other artists. Lately, I realized I’ve hunkered down too much. Cynthia’s blog helps me see a bigger picture of the world. It’s time to explore and see what else is out there.

I also see it’s time to update my images on my website. My beloved photographer, Jeff Baird, died of lung cancer three years ago. I owe a big chunk of my success to his beautiful images of my work. It’s been hard to admit that he’s gone, and I’ve been reluctant to switch out the pics. But Jeff would be the first one to tell me it’s time to do that. Wherever you are, Jeff, know that you are deeply missed.

Enjoy!

Shaman mask pins in faux soapstone–polymer clay
Unmatched shaman mask earrings, in faux ivory–polymer clay
Gaia artifact with faux soapstone bird–polymer clay
Ivory and green soapstone artifacts–polymer clay
I love mismatched earrings!
Ivory bear and pendant, soapstone pebble–polymer clay artifacts

QUESTIONS YOU DON’T HAVE TO ANSWER

I have a good series going on at Fine Art Views, an online marketing newsletter. The series is called “Questions You Don’t Have to Answer” (when selling your artwork.) Check it out!

I’ll try to post a series of links to all the articles later today. Six months later…..

1. How Long Did It Take You To Make That?
2. Do You Have a Website?
3. Why Is Your Work So Expensive?
4. Where Is This Place?
5. How Did You Do That?
6. A Question From An Art Teacher (You Don’t Have to Answer)
7. Where Do You Get Your Supplies?
8. Are You As Good As….?
9. Can You Do Better On The Price?
10. How Long Have You Been Doing This?
11. Why Does This One Cost More Than That One?
12. Do You Teach Classes?

COLLECTING STAMPS & MAKING ART

Trust me, your artistic self is just as powerful as a postage stamp. Maybe more.

Fresh off my first Open Studio tour of the year, and boy is my studio CLEAN! I love open studio events for many reasons, but more on that later this week. I have something else on my mind that has to come out today.

As you may know, my soapbox speech is about finding out what makes you, and your work, unique.

We hear all about how no two snowflakes are identical, and how our fingerprints and DNA are unique to us.

You’d think, with all this unique-ness pouring out of us, we could a unique way to talk about our work.

I’ve been in a lot of group shows this year, seen a lot of lovely work and talked to a lot of passionate artists. What strikes me is how everyone says the same things about their art.

We talk about our compositions. We talk about why we love pastel, or oil, or clay. We talk about light and shapes.

If I hear “I just love color!” one more time….. Well, it won’t be pretty.

So let me share an ‘aha!’ moment I had years ago.

I was doing a mail art project, and wanted old postage that would reflect the theme of my piece. I found an older couple who ran a stamp collecting business out of their home.

As I scrabbled through the trays and books of postage, we talked about stamp and the stamp collecting biz. They shared stories about stamp collectors. I asked her what kinds of stamps people collected.

The woman said, “You know, in fifty years of selling stamps and doing shows and talking to collectors, I’ve never seen two people collect exactly the same thing.”

Never?

Now think about that a minute.

There is no creativity per se in collecting stamps. Collectors don’t make the stamps, nor are they handmade by other people. Stamps are produced en masse, and have been in production for years.

Collectors simply….collect.

But how they collect is so strongly individual and personal, each collection–each act of collecting–is as unique as….well, the human being who put it together.

Some collect by country, or region or language. Some collect by subject matter. Politics, places, people, animals, plants, themes, designs, plate designer…. There is simply no end to the possible combinations of appeal.

If we could get away from the mundane–what our materials are, the fact that we love certain colors or lines or compositions…..

If we could dig a little deeper and think about why we make the art we do….

If we could tell a richer, more personal story about our art…..

If we were willing to go the scary, deep place of who we are, and who we yearn to be in the world…

People would see our work as the miracle in the world it truly is.

Sharing ‘unique’ processes, ‘unique’ inspiration, ‘unique’ love of color/shape/style, separates us from our audience.

Discovering what makes us tick as a human being, sharing what is truly in our hearts, connects us with our audience.

Be brave. Be YOU.

Some of my postage stamps