Falling in love?

Last night I fell in and out of love. With a painting.

Creativity

You may remember that I have recently completed a 12 week online art development programme (CVP) with  Nicholas Wilton, from Art2Life. One of his phrases about painting, and one that has stayed with me is  “Don’t fall in love too early”

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Too Early to Fall in Love.

What Nick was talking about is the inclination to get attached to parts of our art work in a way that stifles or stops our creativity. If we become overly invested in an idea, an aspect of the work, a corner with some lovely texture, paint marks etc then our creative exploration can be be halted.  I notice this in myself.  if there is section of a piece I am working that I really like I can get a bit precious and tight not wanting to inadvertently paint over something I love.  Then that tightness will often stop me exploring and creating freely.  And the work loses energy and can feel unexciting and habitual.

The impetus for this post was this painting. I was working on it a couple of evenings ago.  It was very early on in the process that the landscape forms began to emerge.  Possibly as early as the second pass so in the photograph it hasn’t had a lot of development and there isn’t a lot of history to it.   At this point my inclination was to stay with it pretty much as it stood.  This may also have been because it’s one of my first large pieces in this new series and with an exhibition coming at Art in the Pen in August I’m keen to keep on moving forward with pieces.

A day later as I was working on again and taking a moment sitting in front of it thinking what next?

Risk

I was noticing a lack of excitement in the painting  and found myself thinking “have I fallen in love too early?”  I was aware that it felt like there wasn’t anything new in this piece. So I started asking myself the question “Am I willing to risk what’s there and go in another direction not I knowing where the piece will develop.  How can I push this further? What would a risky move look like?

So, I took a risk, not as big as some but I did take some big moves in a new direction.  I took my used paper from my palette and pressed it onto the painting in a few places and I also introduced orange as a complementary colour to the blues which I think has resulted in a new feeling in the work, a new energy and vibrancy.

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In a long term relationship!

I’m much happier with this piece, in fact we are in a long term relationship!  There are a few more adjustments I will make to this before final finishing but the essence of the work is there for me now.

Is this process something that you recognise?  How do you deal with this your own art practice?

Abstract Landscape Workshop: what can you expect?

IMG_20180610_180428We’ll be spending the day together at a lovely venue, The Old House Studio in the middle of open countryside about 3  miles from Glossop.

We will begin with some simple ideas about how to compose abstract paintings, as well as spending half an hour looking at abstract work to get some ideas of why these works are successful.

To loosen up and get us in touch with landscape we will then spend an hour or two sketching and painting outside. The Old House Studio is ideally situated for this as it is overlooking part of the Pennine Way with stunning views up and down the valley. There is a useful terrace outside the main studio where we can assemble with all our gear, making it easy for us to paint outside without having to carry lots of materials with us.  The sketches will form a loose reference point for the paintings we will then go on to make.  We my even use some of the sketches later as collage materials if that is the direction the work takes.

IMG_20180610_180857Having connected to the scenes around us, we will move to beginning our final paintings.  For these we will be using wood panels as it allows us greater scope for creating surface texture.

We begin on a gessoed panel with intuitive play. Laying down paint in a free and spontaneous fashion to both cover the surface and provide an initial jumping off point into a more finished composition.

Finished with play,  we will begin to bring intention into the composition creating landscape forms and shapes.  I will be demonstrating how I make decisions in my painting and sharing my thinking with you.

Along the way I will demonstrate various techniques including how to use oil pastel, line, scratching, sanding and scraping paint, collage.

The workshop is for people with some previous experience of painting but this is not essential, and absolute beginners are welcome.

With a few places left,  if you are interested then please use the contact form below.

 

Preparing for Derbyshire Open Arts

I am in the throes of preparing for Derbyshire Open Arts which is happening this bank holiday weekend.  There are 6 new paintings upstairs laid out in my studio, with the varnish drying and I’m about to measure out a 9ft x 6ft space on the floor of my living room so I can plan the layout for how I am going to show my works.

Love of Art

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This year I’ve decided to tell the story of my development as an artist in the work I plan to show.  I’ve been painting consistently for about the last 8 years now.  This began with a holiday workshop in the Isles of Scilly with  modern impressionist painter Imogen Bone.  It rekindled a love for art that had been dormant for about 10 years.  The last time I had a long period of creativity was when I was running a small craft business with my first husband.  After my marriage broke down there had been a long gap whilst I was off training to be a psychotherapist, and once qualified busy building up my practice.  I had reached a point of recognising that whilst I do find my therapy work to be creative I began to feel like I wanted a different experience in my life and that that I wanted to express my creativity in other ways.

Self Development 

After the workshop in the Scillies I started painting again in earnest.  Over the last eight years I have undertaken workshops with a variety of artists, explored new techniques and materials through reading, watched a whole load of YouTube videos and pretty much designed my own programme of self development. My paintings reflect my expanding interests.  I moved from painting in oils, to using acrylics,  and then to mixed media.  Throughout this time there has also been a movement towards firstly loosening up as an artist,  and them becoming increasingly interested in abstraction.

Art2Life

All this culminated in my being introduced to art2life by Alice Sheridan and then signing up for the Creative Visionary Path (CVP) this spring with Nicholas Wilton.  It’s a 12 week online programme with literally hundreds of artists from around the world all taking part. It includes weekly videos, coaching and an online community.  We work through a series of principles and ideas that provide a structure to allow each artist to develop their own unique style and connect with their personal and authentic expression. It’s been a totally amazing experience that is not yet over. I have access to all the online materials for the rest of this year, and I know my development will continue.  I have also made some wonderful new friends and connections through the community aspect of the programme.

Revolution

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Breaking Through: one of my new paintings.

My art has undergone a revolution. I feel like I am beginning to find my authentic voice and I now I have way to express this. There is no doubt that CVP is transformational learning at its best.  I have been challenged in terms of what I thought I knew about painting and what I thought I knew about myself. It’s the latter that has been so significant as I have identified how some of my self-limiting beliefs have been present in my work as an artist.  The recognition of these beliefs in my work has enabled me to move beyond them to new ways of self expression. As a therapist I have already done shed loads of personal  development and I can confidently say that in some ways this course has been as impactful as my original training to be a therapist.

So, the first results of this new direction will be with me this coming Bank Holiday weekend.  I’m exhibiting with 7 other artists and you can find us at the Spring Bank Arts Centre, New Mills. 

I’d love to meet you and show you what I’ve been up recently along with lots of my earlier work charting my journey.

Keep In Touch

If you would like to keep up to date with news and events please sign up to my mailing list. As a thank you, when you sign up you will also receive a PDF of one of my 100 Day Project collages as a downloadable print.

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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.”

First Steps Art Workshop: How did it go?

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Abstract exercise

First Steps in Art is a one day art workshop for absolute beginners to art.  Firstly after all the snow we had been having we were lucky with the weather.  No snow and everyone had a relatively easy journey. Six people assembled on a Friday in Buxton to take their first steps into learning about art.  Several people in the group were completely new to painting and drawing whilst  others had some experience but wanted a chance to explore and play with materials and find out more.

After a taking a little time to introduce ourselves we quickly got down to putting paint to paper and began the day with a short briefing on the materials.

Using Watercolour and Oil Pastel

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Collage

The first exercise was using watercolour, wax crayon and wax pastel. Do you remember as a child making rubbings using wax crayons of interesting surfaces. Well that is exactly what we did. Our venue, The Green Man Gallery is an old building and there are lots of interesting nooks and crannies to explore with a variety of surface textures to play with.  This was part of the first exercise –  using the rubbings and making collage papers to use later in the day.  We all made an abstract piece and then a collage before lunch.

Lunch was an opportunity to see something of the town.  Buxton is a place with lots of history and an excellent range and choice of places to eat and drink. there are cafes within walking and a deli just up the road from the gallery. And of course you can always bring your own food as the gallery has a large space on the ground floor where you can buy a coffee and sit and relax.

Acrylic Paint

The afternoon was mostly given over to looking at acrylic paint. Painting on wooden board is interesting as the hard surface allows for a wide variety of techniques to be used and because it is pretty robust you can scratch and scrape into the paint as it begins to dry.

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Acrylic on board

After cleaning and clearing up we gathered to reflect on the day.  All delegates rated the teaching style as excellent or good and here are some of the comments from the participants.

Delegate Feedback

I would definitely attend another class.

Lin, you are enthusiastic and supportive, this helped my creative process and willingness to use the various materials. the workshop activities were enjoyable and fun. Thank you. 

Great day,enjoyed having the time to explore the different media and learn some new techniques. 

Enjoyable day. Thank you. 

Perhaps you’ve been thinking about this course for a while?  Not sure if it was for you?  I hope this information and feedback lets you know a little more about what to expect.

The next date is Friday 28th September and there are still some paces left. Contact me to reserve your place and come and play with paint for the day.

Free yourself

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Plein Air watercolour and ink.

I’m thinking about new ideas in my work particularly how to join up the skills I have as a psychotherapist of over ten years and as a practising artist. Having been on my own journey of artistic development; from someone who hadn’t picked up a paint brush since “A” level I’m very interested in working with people in freeing up their creativity, whether it’s because they want to paint, play music, act dance or sing or because they want to find a way to improve their creative energy in a more general way and free themselves to be more expressive.

Critical Inner Voice

When I was at school I can remember how difficult art felt sometimes.  My inner voice criticising, feeling unable to express myself feely, being scared about what others might think or say about my efforts. From my own recent personal experience I can definitely say that my confidence in painting and in being willing to experiment now comes from having done so much personal development work as part of my training to work as a psychotherapist. That work has been all about understanding myself better and growing my confidence in my thinking, feeling and ways of being myself. Which has fed through into my painting in a willingness both to experiment and test out new ideas and to put myself out there, for my work to be seen and commented on.

Understanding Self

I’m not by any means suggesting that everyone who is an artist or who wants to express themselves in a more creative  way needs to undergo a course of psychotherapy – however I do think that there is something to be said for understanding how we might be limiting ourselves and then finding ways to liberate ourselves from old patterns of criticism, or insecurity in our expressiveness.

Coaching for Creativity

I work with people in just this way, whether in a small groups or on an individual basis I provide creative coaching support.  My approach is to focus on what each person wants to gain from the time with me.  So, we might explore practical techniques as well as how your thinking and feeling might be influencing your work. In my experience it is the ideas we have about our abilities and what we are doing that feeds into what and how we create.

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Mixed media experiment using collage. 

If you think you might be interested in exploring how I might be able to help then please give a call or drop my an email using the form below. we can have a 20 minute conversation free of charge to explore some of the areas you might like to work and if this might be for you.

 

Watercolours!!

Anyone who has read my blog may have picked up that I’m don’t really paint much using watercolours. I paint in oils and acrylic and I’ve been using pastels recently, but satisfaction with watercolours has so far eluded me.  I was thinking about this recently and it dates back to school.  I was using oils and acrylics when I took my A levels and I only began using watercolours about two or three years ago. Which makes sense as to why I’ve found them a bit challenging.

I am very much drawn to other artists’ work in the medium,  I love the quality of the light that is conveyed and the beautiful lightness of touch and impression of spontaneity. So having recently decided that I wanted to improve my work in this area and spurred on by a couple of book purchases (see Doodling) I’ve been spending all my painting time this week either reading or using watercolours, beginning with some doodling earlier in the week, and finishing up with a couple of small paintings.

The process has been very interesting. I’ve resisted a lot of planning in the past. I’m a “lets get in there and start painting” person.  This does not work with watercolour. I’ve proved it several times. Two or three minutes in, one unthought through, brush stroke later and the paper is in the bin/ drying for scrap and I’m sitting feeling grumpy. So I’ve planned. I’ve done quick sketches, followed by tonal sketches in pencil. Then tonal sketches in watercolour. Then planned out the palette. And taken my time. Planned which colour to use and when.  And had some pretty happy results. A good start and not feeling grumpy.

Doodling

I was in Sheffield this week and found a second hand book shop on Sharrow Vale Road.  I bought three lovely art book bargains, one on drawing for beginners that I thought might have some useful exercises for my upcoming workshops, one on painting outside as, although I sketch outside, I tend to work mainly in my studio, and one on watercolours.

There are some very talented watercolourists out there whose work I love,  spontaneous, unusual and fresh work.   I think because I came late to watercolours it has been, so far, the medium I find the  most challenging.  The work so often ends up muddy, or overworked.   I aim for spontaneity and brightness and am often dissatisfied with the results.

So, when my bargain book, Fresh Watercolours by Ray Campbell Smith suggested doodling as a way to play with the effects of watercolour I decided to experiment.

The learning has been very interesting and I have discovered quite a few things:

I have been adapting (doing as told without evaluating or thinking about my own ideas) to an artist whose workshop I attended quite a while ago who said that round brushes are “the best to use.”  In my other work I mostly use flats, I like the definite marks that result and they are flexible enough to make quite a range of different marks too.  So a change of brush to test this out for while.

Because I work mainly with oils and acrylics I tend to work quite quickly and I think I have a habit of getting lost in the work and not standing back often enough to evaluate what I am doing. This does not work well with watercolour when something I am working on can go from fresh to muddy in a couple of brush strokes.  I need to slow down and pause.

Planning in advance. I do sketch out my ideas before painting and test out colours using thumbnails.  However I have to own that for most of my acrylic and oils I mostly have a broad idea of where I am heading at best and the rest evolves as I am painting.  I think this can be a problem with watercolour as an unplanned colour or brush mark cannot be changed.  So, I need to spend more time planning and working through ideas.  I do find this quite a challenge as often want to get in there and get painting  and it sometimes feels like I might lose the spontaneity by too much planning in advance.  Although maybe that is the challenge – to find a balance between planning and spontaneity.

Finally less is definitely more.  Simpler palettes, simple compositions seem to work most effectively with watercolour.  A doorway rather than a complex street scene, a tree rather than a whole wood etc etc.

To all those dedicated watercolourists out there, what do you think?  What have been your greatest challenges?  I’d love to hear from you.