Fall 2013 Newsletter – The Post Exhibition Blues
Many artists work extremely hard and go full speed for months (sometimes a year) in preparation for an exhibition.
There is a vast commitment of time (intense deadlines included), money and emotion over the preparation. So understandable, after that exhibition comes to an end, there’s that great sigh of relief.
Of course artists enjoy the down time and the new “lack of stress”… because exhibitions are very demanding and take a lot out of you. But eventually all of that wears off and we find ourselves looking for the next challenge or project.
In my case I went back to a few reference photos that I had wanted to work on. I was excited, prepped all of my materials and went right to it… but those pieces didn’t quite turn out how I wanted them to. I wasn’t pleased with them at all.
So then I went back to what was very familiar and even those pieces didn’t’ turn out as expected. Now some 4-5 pieces in I find myself trying to figure out what’s wrong… why am I going backwards… I want to put all of these “wanna be art pieces” in the trash…I wasn’t quite sure what was happening at the easel… paintings don’t paint themselves after all.
And on top of that, when you are working with materials that are costly and scarce, you don’t take lightly to what may feel like wasting materials… dollar signs start floating out the window which in a recession is not a pretty sight. I’ve got wasted materials, nothing to show for it and some massive frustration, and some fear of failure mixed in there too. To sum it up I have the “post-exhbition blues“.
I read an interesting article within the “Professional Artist Magazine“, written by Matthew Daub entitled “How to Turn the Page” which talks about how an artist can work their way through the post-exhibition blues by focusing on three things:
“Being lost and adrift can be positive because it means we must find our way once again. It is a break in whatever course we may have been taking…
Thoughts such as, “I should be doing this or that, are counterproductive. I have learned to give myself permission not to work if that’s where I happen to be psychologically…
Make no mistake – the creative process can be greuling, show or no show. We are not on a factory assembly line with artworks slipping off the end of the conveyor. Even a factory needs to shut down for repairs once in a while…
It’s difficult not to have specific expectations of yourself every time you approach the easel so I find I need to relax a bit more and truly enjoy the process. When I find that I’m not enjoying the process I would like to remind myself to stop, take a break and try again some other time.
I tend to feel uncomfortable with leaving a piece alone if I can’t see where it’s going but such is the struggle of an artist. As they say this isn’t a production line right! Can you too relate to this concept in other areas of your life?
“A time of stepping back can be more than beneficial; it can be our creative salvation… When you find yourself in the doldrums, some time off may be the cure, and you can come back refreshed and excited…
For our work to be meaningful, it must emanate from the centre of our being, from a pristine and driven inner motivation, not some routine obligation.”
Pretty good point here! Maybe take some more time to think things through and write about what my next project or series will be so that whatever I decide has been thought through and has a lot of vision and planing behind it…. versus I need to put out something new asap. And of course even that has to be done without the overwhelming expectations right… that’s difficult but I see it’s something to work towards.
“We have to be certain that our assessment proceeds from an internal search for meaning and not the external desire for recognition.”
Assessment with the aim to understand the meaning…versus recognition. What do you think of this suggestion? Perhaps it’s an encouragement to focus more on understanding the process versus focusing so much on the acceptance of the output especially by others…
Post exhibition blues, have you ever gone through something similar after completing a large project?
I’ll take one day at a time and let life simply take it’s course. In the meantime some good news came my way! Last month I applied for membership with the Pastel Society of America.
The application process required the submission of a CV and 5 digital images of recent work. Each submission went before a jury panel. I submitted 5 pieces from my “Commonplace Beauty” exhibition.
I’m excited to say that my application was successful and I have been juried in as an Associate Member!
Founded in 1972 by Flora B. Giffuni, The Pastel Society of America (PSA) – the oldest pastel society in America – is largely responsible for the current renaissance of pastels in American art.
The Pastel Society of America is a professional association. The aims of the Society are as follows: To set standards of excellence and to encourage the use of pastel. To unite outstanding pastelists through membership in the society. To establish separate pastel categories in major art exhibitions, with jurors qualified to evaluate pastels and prizes commensurate with the quality of work. To focus attention on the renaissance of pastel and educate the public regarding the permanence and beauty of the medium. To offer workshops and demonstrations as part of an educational program.