Blog Archives

THE LANDSCAPE REIMAGINED

31/3/2021

Although at first, some people describe my drawings and paintings as abstract, they are in fact born from intense observation. I need to spend time with the subject matter, and experience it with all my body, not just my eyes. So, yesterday I wandered through Hatfield Forest, played with paints and did a bit of drawing, but if I'm honest, I was mostly sitting. And looking. And breathing. And listening. And touching. And looking again.

Here are a few of the quick studies that were a result of the looking. I only had limited materials, and for some reason neon paints and pastels had found their way into my little travelling tin ... but the sun was shining, and I tend to focus on the hidden colours in the landscape anyway, so I think it must have been a happy happenstance.

A lot of artists can find it overwhelming drawing outdoors, as it is hard to 'edit' the vastness of the scene. All too often a composition can end up over complicated and crowded, as the painter tries to draw or paint it all. But there are different things you can do to combat this instinct. The way I tackle it is initially to sit and look for as long as my attention is held (up to 20 minutes). I then set a timer (2 to 5 minutes maximum), and work fast. Really fast.

The limited time, means there is definitely no space for 'faffing' about. I set my timer, and go. Colours are chosen on instinct, and I haven't got time to twist the lid off another stubbornly stuck tube, so just go with what's in my hand. Having a limited palette in my travelling tin helps, and as with the accidentaI neon, I always think it's exciting to have some colours whose job is purely to 'clash' and upset things a little bit.

Another advantage to working fast is it allows for instinctive editing. Confronted with a huge landscape, and only a few minutes, there is little choice but to edit the scene. To adequately draw one tree in 2 minutes is a big ask, so it goes without saying, that the rest of the forest will have to wait for another time.

My favourite outcome of this method of working though, is in the quantity of sketches and studies that I can produce. In one short afternoon I can come away with a pile of works, that will provide food for thought for the work that is done in the studio. Many are disastrous, some have a few things in them that I like, but better still, there is usually at least one or two that make my heart sing.

And, happily I'm not alone in this approach. As songwriter Jonathan Reed has explained, the truth is whatever you're trying to produce, 70% of your attempts will be mediocre, 20% will suck, and 10% will be amazing. If you only produce one drawing or study, it is likely to fall into the 70% mediocrity pile, but get 10 or more studies done, and at least one will be a success.

If you are interested in finding out more, I will be running a short course, The Landscape Reimagined in June 2021. Please click the button to find out more x

THE LANDSCAPE REIMAGINED

0 Comments

Why open submissions are good for you

23/3/2021

0 Comments

With so many people picking up their paintbrushes in recent months, how do you succeed in getting your painting (or print, photograph, sculpture etc.,) on a gallery wall? One of the best pieces of advice I can give is to start entering Open Exhibitions. All of them. As many as you can. Treat them as an aspiring actor does their many auditions. Keep entering. Don't get disheartened if at first you don't succeed and definitely don't take it personally. Oh, and have I said to keep entering. But, there are some things you can do to give yourself a fighting chance.
Here are my 5 top tips for a fighting chance at success. Good luck!

Budget. Some Open Exhibitions are free to enter, but the vast majority charge a non-refundable submission fee. This covers the administrative cost of the exhibition, and often contributes to the running costs of the actual exhibition. In the case of the Royal Academy Summer Show, the money raised through submissions, pays for the fees for the postgraduate students at the Royal Academy School. How great is that? I decide on how much I can afford for the year, and set this money aside. I then spend, spend, spend until it has gone. Without guilt. Without allowing the voice on my shoulder (you know the one!) to convince me I can't afford it. Without allowing the same voice to tell me that I don't stand a chance. I have decided to spend the money on submissions, and I intend to enjoy every penny I spend.
Past Exhibitions. When you have found an opportunity, the first thing I would suggest is that you channel your inner Miss Marple, and have a good scout around the organiser's website to see what you can find out. There may well be a link to last year's exhibition (and maybe the years before if you are lucky). Make yourself a cup of tea, sit yourself down, and have a good look through the past exhibitions. Is your work a good fit? There is little point submitting your wildly expressionistic abstract masterpiece to an Open Exhibition where the works are all photorealistic.
Judges. So, you think your work is a fit for the exhibition, what next? Keep your sleuthing hat on, as Miss Marple hasn't finished yet. Most Open Exhibitions are judged by a panel, and with a bit of rummaging, you should be able to find out who they are. The panel may be comprised of practicing artists, curators, art historians, gallery owners, celebrity collectors. Research them as much as you can. What sort of work do the artists make? What is special about the experts. What are their artistic interests. The RA Summer Show committee is headed by a different artist every year, and their influence is clearly evident in the final selection. The same will apply to all Open Exhibitions. If you like the style and work of the artist or the judge, there's a greater chance that they may like your aesthetic in return.
Photography. This year, more than ever before, you need to take some cracking good photos of the painting (or print, sculpture etc.,) you want to submit, as increasingly, submissions are online. And this year, many exhibitions may be virtual too. It doesn't matter how wonderful your work is, for if the photograph is not brilliant, you won't get through the first round. This means it needs to be in focus (obviously!), well lit, taken face on and cropped to the edge of the image (no mount or frame visible). I will be talking more about photography in a later blog post, but in the meantime, if you are not confident in your photography skills, do not have a tripod, and only have a camera phone, I would seriously think about getting your work professionally photographed.
Time. Ideally you have a portfolio full of wonderful paintings ready to be sent out into the world. But if not, then give yourself time. As tempting as it may be to 'throw something together' when you come across an opportunity with a deadline 24 hours away, the reality is it possibly won't be your best work. Never mind having the time to do the research listed earlier. Most Open Exhibitions have a long submission period, so aim for the start not the end. When you have a painting you think stands a chance, live with it for a while, and see if it looks as good after a week or two. If you still love it, and Miss Marple, she says yes, then go for it. I wish you lots of luck and please, please let me know of any successes you may have.

LEARN MORE

0 Comments

Call for entries

23/3/2021

0 Comments

I'm feeling positive, and I can only blame the much needed eruption of colour that happens as we hit Spring each year. The daffodils outside the studio are positively deafening as they shout out their 'yellowness', and so I find myself wanting to shout right back. But what to shout about? The clue is in the title of this blog post. It's the time of the year I get all excited about the opportunities and exhibitions that are open for submissions. So here are my pick of the opportunities currently being advertised. Clean your palettes, sharpen your pencils - it's time to get busy.

IEA Open Exhibition 2021
Institute of East Anglian Artists Spring Open Exhibition
Deadline for applications: 10 April 2021
www.eastanglianartists.com

Broadway Arts Festival Open Exhibition 2021
Open to any artist, in any country, in any medium including painting, photography, sculpture, drawing, ceramics, printmaking and film.
Deadline for applictions: 23 April 2021
www.broadwayartsfestival.com

Derby Print Open 2021
The Derby Print Open is an exhibition open to all, showcasing contemporary printmaking from artists based in the UK
Deadline for applications: 30 April 2021
www.derbyprintopen.org/dpo2021/call-for-entries

RA Summer Exhibition 2021
This is the big one! Submission details will be announced shortly, but if you have never entered before, you will need to register in advance.
Applications open: 13 April 2021 until 24 May 2021
www.summer.royalacademy.org.uk

SWA 160th Annual Open Exhibition 2021
The Society of Women Artists invite you to submit up to 6 works. Categories of work accepted include painting, pastels, drawing, mixed media, sculpture, original prints.
Deadline for applications: 25 June 2021
www.society-women-artists.org.uk/2021-exhibition

0 Comments

THE LANDSCAPE REIMAGINED

Why open submissions are good for you

Call for entries

About Vanda

Archives

Categories