Travelling without Knowing

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Landfall. Mixed media on panel. 20×20″ Framed

A post on my inspiration for Landfall and Harbour Light.  Two paintings currently in my portfolio and available from Number Four Gallery St Abbs.

Exploration

I’m interested in exploring, and this includes both our inner and outer worlds. As a psychotherapist  in my other work, I spend my time with people helping them explore their inner lives. And for myself this has been a continual process of discovery.

I have always loved the sea and travel,  as I explore the outer world.  My love of the sea is such that it has even taken me beneath the surface.  For two or three years I was a keen scuba diver exploring the underwater landscape with as much enthusiasm as I explore above. Art and painting feels like it is another form of this exploration.  One in which I am bringing together these two types of exploration, both inner and outer.  In my work I am often inspired by the places I have seen, their history and how I have experienced them.  This post is a reflection on the experiences of travelling and coming back to the familiar from the new.

Travelling

There are two paintings in my current work that were named in connection with these experiences of travel and exploration. Landfall and Harbour Light both have shapes and colours in them that remind me of being out at sea and approaching land from a distance. They remind me of being on a boat, standing on deck and seeing land approach.  Distantly at first, the first shadows and shapes emerging slowly, then with more and more definition.  During daylight as cliffs, buildings and fields become visible. Or in the evening, when the harbour lights are shining out.  My fantasy is that the lights winking in the distance guide boats in as they return home. That might have been the case 100 years ago these days I expect that technology plays a much larger part in bringing ships home.

Harbour Light
Harbour Light. Mixed media on panel. 8×8 ” framed.

There is also a metaphor  in the naming of these works.  The sense of an exploration of colour and shape and the resolution of that exploration as forms are discovered in the process of painting.   A form that resonates and brings a settling in the artist.  As something emerges in the process of laying down paint and marks that brings sense of familiarity or meaning to something that can be a chaotic process, without a clear direction or intention. So for me, that was when the ideas about harbours, land and sea became apparent in these paintings.

When I begin a new painting it is like setting out on a journey and one where I do not know the direction of travel.  To go forward I must be willing to suspend my need for knowing as I explore and find my way.  the work becomes about responding in the moment to what is happening rather than planning or thinking about an end goal.

How do you approach your work?  What are the challenges you face in following your creative process.

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This Week Colour

If last week was all about value, then this week has been all about colour.

After a few months of consolidation I feel like I am in the middle of another period of development in my art practice.  I’ve been aware over the last three months or so that I’ve not been as keen to go into the studio, the work hasn’t been flowing quite as easily and I’ve been feeling slightly dissatisfied with the paintings I have been making.   Reflecting on this, it seems that I’ve not been that excited by what I have been making. It hasn’t felt that new, but more of a variation on a theme that began about a year ago.   And I haven’t quite known how to change that.

So I have been thinking, and painting and getting feedback, and painting and thinking some more.  And then I watched one of Nicholas Wilton’s short videos on Colour and something clicked.  I already had knowledge and awareness of how to de-saturate colour to reduce it’s intensity.  As we do this the colours adjacent will then be seen with greater contrast. But like many things that are part of ongoing learning and development we can come at something we think we already know and with a new context experience it differently.  We can find a different perspective and discover something new or that we hadn’t quite grasped.  Sometimes we experience a greater level of understanding and integration.  So, the video was something of a light bulb moment as several things fell into place and I understood why I’d not been liking my work.  I began to get some ideas about how to change it.

Working with Limited Palette

Firstly I had been working with limited palettes. Generally no more than three colours, with variations of light and dark.

I had also been wanting to bring in a sense of space and simplicity to the design of my work.  But because the colours were so limited, the paintings were feeling too simple. As a result I was then using lots of texture to compensate and create more interest.  Resulting in work that was beginning to feel the same or certainly very similar.

When I did use more colours, because I was working with paint that was only slightly de-saturated the work would feel garish.  And rather than think to de-saturate the colour further,  I would paint over it and go back to the limited palette. And round again.,

 

So, armed with a greater understanding  I have playing with de-saturating colour and it has felt very different. I think  I have a lot still to learn about how to do this, make it work effectively with how I paint. Design takes on a whole new set of exciting challenges.  I definitely feel a sense of lightness and space that wasn’t so easy to attain before.  And I am experimenting in new ways with new ideas.

Does this experience sound familiar to you?  Have you found something in your art practice that you revisit and gain new understanding each time?

Useful Links

See some of my work at the Chatsworth Exhibition during January and February with Peak District Artisans.

Sign up for my email challenge which has a exercises all geared to support you in boosting your artistic confidence.

 

 

 

 

 

 

 

 

 

On Capacity and Connectedness

This post is about some discoveries about capacity and connectedness that emerged from a recent period of struggling to paint.

I’ve been having a tough few weeks. My art; often a refuge, delight and source of energy has not been going well. I have been feeling frustrated, irritable, comparing my work to others and feeling self critical. As a therapist and coach I recognise this as being in a defensive pattern because I am feeling vulnerable.  I am feeling vulnerable because there is a lot going on in my life at the moment, both good and not so great.  Across all areas of my work I have been very busy.  We have had really successful start to the year in my psychotherapy training business (TA Training Organisation).  In my art a new gallery,  Number Four Gallery in St Abbs, have taken eight pieces of work for their Christmas Show. I have been accepted to join Peak District Artisans. I exhibited at the local Artist and Designer Fair in Buxton.

However, in the midst of these positive events, there have also been some difficult things happening that are affecting me emotionally and psychologically. So I have retreated from myself and others in a protective way that is an old unhelpful pattern. Which brings me to the point of this post and the learning I’ve gained from this experience.

So, what is the learning I’m wanting to share?

Firstly about connection. If we are making authentic art this is an expression of part of self. Then it seems to follow if we are not fully connected to ourselves we will be disconnected from our art.  As I think back over the last couple of months this is what I have been experiencing.  In my art making, in the studio in front of the painting, I was going outwards to what others were doing and looking to repeat what I had already done, rather than looking inwards at what I felt inspired to do. My choice of colour, mark making and ways of painting were not what I truly felt in the moment because being disconnected from myself meant I was disconnected from what I felt.  How important it is then to our art making to stay connected to ourselves and the personal choices we want to make.

Secondly scaling up and scaling down.

During this period the only thing that felt “like me” were some colour studies I was working on.  Using an exercise from Louise Fletcher fellow artist, (see Louise in This Painting Life on Facebook) I had about 15 different small colour studies I was playing with. What I was noticing was that the bigger works (a couple of 20×20 inch paintings)  were not resolving themselves.  Again, on reflection, I can see that it was almost as though I didn’t have the capacity to do anything bigger.  That not only does making bigger work require us to scale up in terms of the tools,  materials and composition, it also requires us up to scale up in terms of our process as well.  Being able to hold and contain the experience of something bigger takes capacity.  For larger work to be successful it needs to feel integrated as a whole rather than something that is almost a collection of smaller works on a bigger canvas.  So in the process of making larger works the artist needs to have creative energetic capacity to conceptualise the whole.  Which is not about planning the outcome but more about having mental space and energy for the art-making process.

Are there any useful “how to’s” from this experience? Well for me a recognition that I have a busy life and so there will be times when I don’t have capacity for major works. When that happens it’s ok, and that art making can still happen, just on smaller scale. The “how to” from this is acceptance of personal limitations.

Does this tally with your experience of moving between larger and smaller works?  I’d love to hear how you maintain your connectedness?

All colour studies will be available to buy at my next exhibition in Buxton at the Pavilion Gardens on Friday 23rd, Saturday 24th adn Sunday 25th of November.

How to support your artist mindset.

davBelief in Ourselves, or Believing Ourselves.

Do you have belief in yourself? Or, do you believe yourself when you are repeating some unhelpful or critical inner dialogue?  This post is one of a number I will be writing over the next few weeks on how to support your artist mindset.

I’m a member of a few art groups on social media. I have been noticing quite a few conversations about how people experience themselves in making their art. People post about their successes and also their struggles. Often the struggles seem to be about mindset. What I mean by this is anxiety about the work, what people might think, fear of success, risk taking or being seen are just a few examples of how our personal psychology can interfere with the process of art making with ease.

Psychology and Art

As a qualified psychotherapist in my other work I’ve long thought how important personal psychology is in making satisfying and authentic art.  Part of the training to be a therapist means years of personal therapy. As a result I think I know myself pretty well these days, and I have been able to work through a lot of my insecurity, self limiting beliefs and confidence issues over the years. When I first started painting I was struck, and I continue to be struck, by how important the psychological process of art making is in making authentic work.  I think because the experience of art making is deeply personal and revealing of self the experience of art-making intensifies and heightens our psychology in ways that other types of activity doesn’t.

Believing Ourselves: The Unhelpful Mindset and How to Work With It.

Fear and anxiety: Fear and anxiety are such common experiences for people. In our evolution they were responses to danger and to keep us safe. In modern living we often have this response to more everyday activities. One of the common patterns of thinking and feeling in anxiety states is to overestimate the “danger” or impact of the things we are feeling anxious about and to underestimate our capacity to cope with it. Therefore some simple reality testing is a very helpful way of reducing anxiety. By reality testing I quite literally mean checking the basis – the evidence – for the fears and anxieties we hold. This is a cognitive approach where engaging our thinking in a positive and self supporting way can assist in assessing the action or activity we are anxious or nervous about. Taking regular time to relax and de-stress is also very important as this will make us generally less susceptible to an anxious response.

Comparing to others: When we compare ourselves others we can diminish ourselves . Finding something in another person’s work we like or are inspired by is very different to making ourselves not ok in some way because we think we are not as good as the other. It’s useful to check in with ourselves when we are making comparisons. To ask ourselves the question – am I inspired or am I making myself less.

Unrealistic expectations: having unrealistic expectations or seeking perfection are ways that we can be not support ourselves. The trouble with unrealistic expectations or perfectionism is that we can set the goal so high that we never actually begin. Or we get so lost in the process of trying to be perfect that we lose contact with the overall aim of what we originally set out to do. Sometimes good enough is the thing to focus on.

Critical inner dialogue: listening to the critical inner voice. Our inner critic can be loud sometimes. Whilst sometimes well-intentioned (See my post for more on this) our inner critic may hold us back . Working out an effective strategy to deal with your internal critic is another useful positive artist mindset approach.

Self limiting beliefs: beginning a process of recognising what beliefs you hold that are unhelpful is an important step in self awareness. Knowing your learning edges and how to work with the aspects of your psychology that have the potential to hold you back is another aspect to consider. Self limiting beliefs can be across a whole range of areas. Here are some examples I have come across in my therapy and coaching work. It’s not ok to be a success, to think for oneself , to have feelings, to be important, to be creative, to belong, to be seen. These beliefs can hinder us in many unseen and unexpected ways. Once we know they are there we can be more active on our own behalf in ensuring they do not derail us from our goals and set about changing and updating them to positive attributions.

Belief in Ourselves: Self Supporting Mindset.

A self supporting mindset is as much about knowing ourselves, our edges and limits and how to work with them as it is about changing aspects of self.

Confidence: Confidence helps us to risk, experiment and play. Whether this in the making of our art, in the selling and promoting of our art. Developing ways of building confidence is hugely important. An immediate and simple suggestion is to keep a journal, or record in a way which suits you, of every success so that you begin to account your achievements. This is one way of supporting your confidence, and when you feel uncertain read it to boost your confidence remind yourself of the positive evidence of success.

Self knowledge: knowing ourselves, our learning edges, strengths and how to self support. Self knowledge helps us to recognise what might be difficult. What are the things that might hold us back. Once we have this knowledge we can take action on our own behalf and make arrangements, maybe support or resources to help us get what we want.

Vulnerability: being willing to be vulnerable with ourselves and others. We are more likely to have support if we can be open and honest about what we need, where our learning edges are and the things we need help with.

Responsiveness: paying attention to ourselves and what we need to support ourselves. Then taking action, being responsive to ourselves by problem solving.

Potency: being potent on our own behalf. Different to power which can be misused potency may mean doing things with energy and vigour. Being effective and resourceful. It might also mean keeping agreements and commitments with ourselves and others. Holding our integrity.

These are some of the ideas I’ve found helpful in my own personal development and that I use in coaching. What have you found helpful in supporting your artist mindset?

Interested in learning more about my coaching? Contact me to arrange for a free 20 minute chemistry check. Or want to meet me to chat about these ideas?  My next exhibition is at the Octagon Centre, Pavilion Gardens, Buxton,  on Saturday and Sunday 20th and 21st October.

Contact me to book a chemistry check.

Why Me as Your Coach?

Choosing a Coach

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Lin Cheung

If you are choosing someone to work with as your coach it is important to find someone where you have the “right chemistry.” Chances are you will be talking about areas of your life where things might not have gone so well, and sharing some of your most important hopes, aspirations and goals.  Finding someone that you click with, you feel comfortable with and in whose expertise you have confidence is likely to be pretty important in making the relationship,  and the work,  a success.

Here’s a few thoughts from me on how my unique blend of experience and expertise might be helpful to you in achieving your artistic goals.

Achieving Goals

I am a practising and exhibiting artist.  I am engaged in my own ongoing process of artistic development.  I know what it’s like to go from being an absolute beginner to wanting to show work and how to do this. This includes the practical steps of finding suitable events and venues, deciding what work to show and how to show it.  With over 15 year experience as a psychotherapist I have in-depth knowledge in how to work with people psychologically.  In coaching this means I’m working with you to look at what you want now, how your thinking and behaviour may be helpful or counter productive and looking to facilitate you in achieving your goals.  And you can have confidence that I will recognise quickly if something is deeper than coaching and refer you on to someone who can help.

Transactional Analysis

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PAC Model

I bring 15 years experience of working with people in the field of personal development.  I know about how to support myself in being effective  as coach.  For example I have my own coaching supervision where I consult with a colleague so that I’m well supported to help you.

I have a wide range of  models and tools to draw on to help you achieve your outcomes. the main model I use is transactional analysis which is widely used in organisational development, coaching. education and psychotherapy.

Running a Business

My business experience comes from having worked in organisations in sales and marketing for over 15 years and running my own businesses for the last 15 years.  Not only do I understand the theory and principles of marketing I have had lots of practice putting them to work for myself!

I’m flexible in my approach and our sessions can be either face to face or over Zoom depending on where you are based. You can send me images of your work and we can discuss them, you might want to focus on your inner critic or how to loosen up in your work.. You may wish to move from representational to abstract painting. Or, you might want to begin selling your work and are not sure how to set up.  These are just a few examples of some of the areas we might focus on.

So, what next?  I offer a free 20 minute discussion by phone or online so that we can see if we “click.” If that works then you have two options. I offer individual sessions or in blocks of four or six. Contact me to discuss options and costs.

I’ll finish by quoting Picasso.

“Every child is an artist.  The the problem is how to remain an artist once he grows up.”