Professional Practice part 11

Final Instalment to common questions re my professional practice.

How important is your studio space to the work you produce?

Very important, but less so as I gain more skills and confidence (apart from the fact that I need one to do the work- how it is set up and where it is becomes less important to me). It was important for me to invest in myself as an artist - I spent the first year or two after graduation painting from a garage - as many artists do. I went to Bundanon and had all this space. I still didn't think I could afford it, and one of the other artists quoted someone famous (de Kooning???) who said, "when you can't afford a studio, rent two!). It's a statement to the world that you are serious (but only good if you turn up to it! -there are many studios waiting for their owner day in and day out....). The financial commitment means you may be more likely to actually do the work - otherwise it's an expensive accoutrement!

As for the way it is set up - it's important to have ventilation, considerate neighbours, and a re-inforceable policy by the owners that protects the environment; and that, preferably, non-toxic chemicals or odourless solvents only be used. A dream, but worth fighting for! I can't work if people are splashing turps around (too many years of not worrying about the chemicals - it builds up!) A good studio complex is also worth it as the energy generated by happy, working, creative artists is palpable and contagious!

How important is your studio space? What do you think are important considerations when choosing a studio? Post your comments and ask any questions here

Image; Gabrielle Jones Stand 2009 Oil on Canvas 30 x 30cm

Professional Practice part 10

Further instalment on the most commonly asked questions re professional Practice for artists.

Is your choice of materials intuitive?

I have to say that I love making stuff with anything around! Sculpture was out as a long term practice - I have a bad back and hate depending on tools to get things done (wasn't taught to weld etc as a little girl) -painting seems more direct. That applies to print making - like to mess around in acid etc but not laboriously draw, etch etc first. Like drawing - but usually prefer the wet materials - so probably a painter at heart! I respond to colour and beauty (who doesn't) and it's important to me. My choice of colours is definitely intuitive.

Do you return to painting for any specific reason? I guess, to be honest, in this day and age it's important to brand yourself to some degree. I started as a painter (it was easier to concentrate on one thing - and I wanted to get really good at it - still trying) so am known as one. I return to it in part because it's "what I do". It's only recently that I am more sure of being an artist first - so I will continue a varied practice. I enjoy the variety more than just painting. My regional gallery show (Goulburn, 2010) will hopefully contain drawings, sculpture, photography and paintings.

How do you choose materials? Why do you do what you do? Post your answers or ask questions here

Image: Gabrielle Jones Reflection 2 Oil on Canvas, 40 x 30cm

Professional Practice part 9

More on professional Practice

How do you begin a new work? I usually try to start 3-4 in a day so I have a problem to start on when I come into the studio the next day, and so I don't get stuck on one painting. Usually working with a different pic allows me suddenly to see the solution I was searching for in the first.

Do you ever face artist’s block? Not often, because of my process - it's meant to keep me working! Having a problem to solve and keeping a few on the go at any one time means there is usually something to do.

If so, what do you do to deal with this? I recently had the first in my career - after ten years. I think I was bored with my own work, had no money to afford the size canvases I prefer, hadn't been in the landscape for a while, changed studios- always an adjustment period -and had already painted enough for my solo show but felt guilty about taking time off (talk about a work ethic!) So I changed mediums - drawing and sculpture. No pressure! Found I was enjoying myself, which renewed the love of what I do - and then found I wanted to paint again (rather than just turning up and going through the motions).

How do you handle painter's block? How do you face a blank Canvas? Post your comments and questions here

Image: Gabrielle Jones, Trees Wollombi 2009 Oil on Canvas 40 x 30cm

Professional Practice part 8

Almost there- another instalment, answering artist's professional practice questions.

What is your artistic process? (Do you sketch, work outside, take photos, write etc)?

I do all of these. I find a camera seems to help me focus on seeing - frames the view, assists composition etc. It provides a record of the experience only - I print the best photos, but rarely refer to them when starting a painting other than to flick through the collection - it gets me into the "Right brain" and fills me with a sense of the landscape. If I use pics, It will usually be after drawing from them and drawing from he drawing etc.

I need to periodically get into the landscape to refill - even if not a stretch at a time. And then I like to look a lot - no talk in the car! Every two years or so, I need to spend time there to internalise the structures and refill the soul.

How do you work? Do you have a routine? Post your comments or any questions you have here.

Image: Gabrielle Jones, Billabong 2009 Oil on Canvas 40 x 30 cm

Professional Practice part 7

The next instalment in commonly asked Professional Practice Questions.

Do you practice as an artist full-time?

Yes - I am in the studio about 4-6 days per week (nearly exhausted!) However, I have had jobs in between- one was 4 days per week- so I was in studio 3: and the other was 5 days per week (in studio 2 days).

Now I have a number of casual/contract jobs - this week two days teaching, one day making presentation to corporates next week two days presenting to corporates. But this isn't always the case - you need to take the paying work when you can whilst still maintaining the studio practice and your sanity! (Protect the studio practice at all costs, or you end up NOT being a practicing artist!)

Do you see this as something you would like to continue doing long term?

I am determined to - when you focus on what you want, it's more likely to happen (in my experience, the Universe does find a way - mostly a way I would never have thought of!) I feel I am on the brink of something better in my art and my career, so will hang in there until I can't pay my bills.

Is it better to practice full or part time? How do you juggle income earning with artistic practice? Post your comments or Ask any questions you would like to see answered here.

Image: Gabrielle Jones, Crossover 2009, Oil on canvas, 40 x 30cm

professional Practice part 6

Another instalment where I answer commonly asked Professional Practice questions.

You often paint landscapes. Would you say that your work is about the Australian landscape specifically? Is your work about your personal response to a landscape or memory of a landscape?

Because I am Australian, I understand the landscape here better than other places. Tahiti, where I had a residency, was too beautiful for me. I found it hard - but could have done something unusual, but was not given the time to explore. (It was like being a performing monkey for two weeks, on show to the guests!) I am applying for one in Spain - I am sure that will be great - and I want to see if I can respond to a different landscape.

Definitely my painting is about personal response and experience - not so interested about it objectively - I would use a camera for that!

Why do you paint? Do you paint from Life? Are there any questions you would like answered? Post comments and ask questions here.

Image: Gabrielle Jones, Underbrush 2009, oil on canvas 65 x 50cm

Professional Practice part 5

Continuing the answers to most commonly asked questions, here's part 5

Where do you draw your inspiration from?

I am essentially a process artist - i enjoy painting, want to do it as often as I can, love to experiment with what paint does. That's my real inspiration, and somewhere along the line, I realised that landscape provided me with the structure to hang the paint, so that's what i do now. (I love the landscape as much as most people do). I am also interested in expressing the spiritual, primal, monumental - and landscape seems to provide the device to do this.

As for the day to day - best way to get inspiration, for me, is in the studio painting. Just start and see where it takes you! I am lucky to have had a residency in Bundanon and internalising that landscape structure over the 5 weeks I was there (working every day!) has provided a great base, so I can remember it and call on it at will. (I need to get back out there now, as I am waning in inspiration! ie I need to fill my soul again for the next lot of work.) I often start from a drawing, then draw from that drawing, then paint from the drawing, then let the painting talk to me as to what it needs. Thus, I waste a lot of paintings, but the good ones reflect something in me that isn't on the surface, that i can't get to otherwise (the "other" in art) and is unique (I hope).

Where do you draw your inspiration from? What is your process?

Do you have Professional Practice questions that need an answer? Post your comments here

Image: Cherry Blossom 2009 Oil on Ply 30 x 30cm

Professional Practice part 4

Here's Part 4 which answers the most common questions regarding professional practice I have received.

I am interested in the relationship between the gallery and the artist. What benefits/drawbacks are there in being represented by a gallery?

Gallery usually takes at least 40% + GST- some are 50% and others, apparently are going to 60% for emerging artists. That's the financial drawback, along with their restrictions on where you can sell your work. Top galleries may ask for exclusive dealing in Australia, but most are exclusive for the state, some only for your city. When starting out, there isn't a lot left after commission from your sale price, so restricting your selling elsewhere has severe financial consequences - and some lesser galleries are restricting sales as if they were top galleries - don't let them. Unless you get a top gallery -which is worth it no matter what (they build your name quicker than you can, get your prices up etc - for which you should be forever grateful to them because they have just saved you a bout ten years work) - it's financially better to start independently so you can build your name quickly by having more shows and increase your prices gradually (this isn't what I did, just what i learned).

Independence requires dedication - there's a lot of work in doing your PR, mailing lists, photography, hanging the work, ads, arranging grog, plinths, d rings, transport etc etc. And you risk a lot, financially - you may not sell anything, whereas a gallery usually does (tho' not necessarily in today's climate). Thus you should work out a "self promotion" budget and stick to it, so that it is money you are willing to invest in your art career; and not do it if you are not an organised person and willing to dedicate yourself to your art career.

Is this the same as your experience? What do you think are the rewards and drawbacks of exhibting with a gallery?

Do you have questions you would like to see answered? Post your comments and questions here.

Image: Gabrielle Jones "Sunset" 2009, Oil on Canvas 110 x 83cm

A Gallery Owner's view-Professional Practice

Here's a link to a blog I visit occasionally. This interview says it all for professional practice. Amen!