Sammy, Detail, Oil on canvas, 24 x 36” / 60.96 x 91.44 cm, ca 2003
The ‘sensitive artiste’ is a meme, almost, a trope, a joke ~ if I say something along the lines of ‘but it’s true, though’ ~ that just adds liquor to the flambé doesn’t it XD
But anyway, my objectives for writing this post are to maybe
1. Help you understand artists more If you’re not an artist (but have to live with one or more of them, or work with them, e.g. you’re an account manager at an ad agency and you have to deal with graphic designers)
2. Help you understand yourself or your fellow artists more if you are an artist (but somehow I get the feeling you already do anyway ^^; )
3. Also maybe help myself / indulge in a little self-therapy (because now that some time has elapsed since I went in for some actual therapy, I now know that no one can help me, actually, except myself).
Because in keeping with the recent trend on the jillablog, this post comes in the wake of what’s happened to me in the past few weeks since the last jillapost.
Ja~in the words of J Worthington Foulfellow, ‘On to the theatre!’ XD
An Artist’s Best Friend
First of a series illustrating a story told to me by a co-worker way back when,
Oil pastel on paper, approximately 8 x 8” / 20.32 x 20.32 cm, ca 2005
Today, I was hanging out with my beloved cousin, my most beloved sister and my future brother-in-law, and we were having coffee at this fancy coffee place. They were connoisseurs, and me, I couldn't tell the difference between a bottled Starbucks frap and a five-buck 3-in-1 ^_^
Unlike aficionados like Junes, Bassints and Chito-kun, I regard coffee as a means to an end, not the end ^_^
JillA's BrillAs, Detail, 44.5 x 18" / 113.03 x 45.72 cm, Acrylic on Paper, 2017
Well, why do you think Vincent had his yellow house? (Guess he thought it was a good idea at the time, lol.)
Artists’ communities have been around for like, forever~speaking of Van Gogh, they say he didn’t much care for the one he left behind in Paris; point is, they were there.
Come to think of it, I guess you could say all the movements were communities, which I’ll define rather loosely here as a bunch of like-minded artists hanging out and working together. Like the folks at St Ives, for instance.
Of course, it’ll be a cold day in hell before we ever even begin to run out of artists’ communities over here: there’s the Saturday Group, the folks at Tam-Awan, pretty much everyone at Angono, Ang INK, and bajillions of others.
I’ve never really been a ‘community’ type, so, this is a bit awkward for me to write, honestly. I’m thinking this was brought on following my first online co-working studio session with an artist based over in the States, which I felt compelled to document because I’d never really done anything like that before ^^;
So in this post I’m just doing a little surface-level reflection on the importance of being part of an artists’ community, why I’ve never really been in one, and how being in one can really be a great idea.
What influences your art making?
A guy in one of my favourite forever movies put an ad in the paper trying to put a band together. As soon as each prospective band member showed up at his door, he’d ask, ‘Who are your influences?’
I think only God is capable of creating from absolute scratch, and all of us have influences on our creative processes, many, if not most of which lie outside of the ‘art world’ itself.
So I’m not here to talk about other artists (I already did that in my last post, lol) or movements, but the other things that might go into your ‘blender’, mainly by talking about what goes into mine.
Shiraz, Detail, 20.4724 x 28.3465" / 52 x 72 cm, Acrylic on Paper, 2014
Because of current goings on in the jillalife, I find myself returning to a subject I touched on two years ago~ how art is, in fact, a real job. As in, if you were to reply to someone who might tell an artist to get a real job.
By ‘real job’, I mean the kind that you might go to an office for, own a company for, or, get paid regularly for, or what a lot of people might call a ‘day job’.
On the Level with Online Exhibits
28 Candles, Detail, 48 x 36” / 121.92 x 91.44 cm, Acrylic and Oil Pastel on Canvas, 2003
Last weekend, I had the pleasure of attending Ang INK’s 30th anniversary exhibit opening which took place online. That was something special and I’m glad I was able to make it.
The opening made me think a bit about how ‘the current situation’ kind of ‘forced’ exhibits to go online ~ I mean, online exhibits were already starting to become a thing even before ‘the situation became current’ ^o^
With the world starting to open up again (or some of it, anyway) I can’t help wondering whether online exhibits will be here to stay (they’d better, since I’m going to have one next year ^o^**), and what people think of them. For what it’s worth, here’s what I think of them, having had one of my own already and participated in one or two.
How do you do Art on the road?
A World Filled With Love, Detail, 36 x 48" (with frame) / 91.44 x 121.92 cm, Watercolour on Paper, 2006
My posts seem to be a lot more, ‘reactionary’ these days—I understand being reactionary isn’t considered a good thing in general. In any case, this post comes as the result of the ‘happiness meeting’ we had at my nice new job last Thursday. That ‘happiness meeting’ is one where we get together and talk about stuff that made you happy over the last week.
Very briefly, in a previous post (and other posts since) I’ve spoken about how I’m also a writer (the kind that works in advertising and marketing). And very recently (eight working days ago, to be precise) I started another job that brings people together from literally all over the world on the internet.
Anyway, during that meeting, Erikka, one of my new co-workers (who’s the only other one of us from the Philippines) shared how she was currently country-hopping all over Europe. And one of my new bosses (who’s from Germany but is currently ‘digital nomadding’ all over South America) remarked on how, once we were able to meet, I could maybe do like a company painting out there or something.
Perry, Dot; 40 x 40” / 101.6 x 101.6 cm, Acrylic on Canvas, 2019
You are what you are and there’s no denying that, really. I mean you know how people are so hung up on authenticity these days. I think that’s twice as crucial when you’re an artist.
Tessa's Poem, 12x 9" / 30.48 x 22.86 cm, Watercolour on Paper, 2005
I’m going to start by saying I suppose you could say every time I blog I offer unsolicited advice ^__^
And I suppose you would be right ^__^ Although, if I might make a lame excuse for myself, I kind of like to think of it as me just sharing—on the off chance anybody finds anything useful, or helpful amongst my incoherent ramblings ^__^
Because advice, for me, kind of implies that 1. Somebody asked for it, and 2. The person giving it is an authority of some kind and is in a position to give it.
I can’t say I have either of these things, but I figure if somebody who wasn’t asking for, say, cupcakes happened to run into somebody who was giving them out for free… I hope you get what I mean (unless the somebody was on a diet or something, I guess) ^__^;
99 Red Balloons, Detail, 51 x 51" (with frame) /129.54 x 129.54 cm, Watercolour on Paper, 2010
1. The ability or skill in your ten finger tips (or toes) (or lips) (or tongue) (your whole body) (or whatever it is you use to make art in any form)
2. Your heart and mind (because that’s what you use to make art)
3. Even if they take away your tools, your instruments, or whatever that isn’t a part of you physically or spiritually, you will always have the means to make art (unless they surgically remove your heart and mind, fingers, toes, etc.)
4. The tools and instruments, materials, equipment, studio, etc. that you do have