The Messy Studio with Rebecca Crowell

Today’s episode is thanks to Valerie Allen and Armin Mersmann, producers of the podcast, Art Ladders: the Creative Climb. In May, they interviewed Rebecca about her background as an artist, her process, development, teaching, and ideas. Their conversation also delves into the unique characteristics of cold wax medium, and why Rebecca was drawn to develop techniques for its use. Both Val and Armin are artists themselves, and their thoughtful questions led to the wide-ranging and insightful conversation that we are pleased to share with you on this episode. Rebecca’s exhibit that is mentioned in the interview, at Slate Gray Gallery in Telluride, CO. is currently on view through the end of this month. Art Ladders podcast is available on Apple podcasts, Spotify and Podbay, and via their facebook page and Instagram. So let’s listen now to the Art Ladders interview with Rebecca, recorded in May, 2024.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

And there's more exciting news! Rebecca and Jerry have just announced the first ever online international exhibit of work created with cold wax medium. All styles and formats are welcome. The juror for the show is Dan Addington, of Addington Gallery in Chicago. To learn more, go to www.coldwaxacademy.com-- and click on the Call for Art button. While you are on the website, check out all the information abut cold wax medium and how you can join the monthly membership.

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All artists are influenced by others, but when an artist has an authentic voice, their influences are well-integrated with their own unique vision. But sometimes the influence from another artist is so strong that the boundaries between the two are blurred. Today we’ll talk about being influenced by other artists -- when it is too much, and what it means when another artist is being copied. We’ll also mention ways that influence can constructive and positive and part of an authentic creative voice.

Influence itself isn’t a bad thing—in fact it’s a given as part of creativity. Creativity doesn’t exist in a vacuum, and as artists we are naturally inspired by other artists past and present, and interested in and inspired by what they do. But there is a point when influence is too much, and you are taking liberties with someone else's work. While over-influence is somewhat expected when you are in a learning phase, as you mature as an artist it is expected that you move into your own territory.

Some strong resemblance to another artist's work can be understood as unconscious and even as parallel development. But if you want your work to be distinctive, you need to confront the possibility of being mistaken for the other artist or vice versa. And if you're consciously copying, it's not fair to you and your development, and not fair to the artist whose ideas you are replicating. You may rationalize this as being less well known than the other artist, or even as flattering to them. There are other problematic reasons such as not wanting to put in the work necessary to develop your own voice or wanting to ride into the art market on someone else's path.

To avoid having your work resemble someone else's work too much, it's helpful to have a large mix of influences rather than taking too much form any one artist. In that way, your influences can be compared to the various flavors you combine when cooking a complex dish, which has a unique taste as a result. You can also work with ideas that you perceive or interpret in an artist's work rather than adopting the look of their work as a whole. This is an important way to synthesize various influences so that you avoid too much visual resemblance. And most importantly, remember that your strongest influences should be the most personal, coming from your own thoughts, interests, and experiences.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

And there's more exciting news! Rebecca and Jerry have just announced the first ever online international exhibit of work created with cold wax medium. All styles and formats are welcome. The juror for the show is Dan Addington, of Addington Gallery in Chicago. To learn more, go to www.coldwaxacademy.com-- and click on the Call for Art button. While you are on the website, check out all the information abut cold wax medium and how you can join the monthly membership.

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What sorts of boundaries do you put around your studio practice? What new ideas are you willing–or not willing—to explore in your work? We all have limited time and energy, so how do you decide where to focus? Which new materials, media, or directions are worth pursuing? It’s a part of learning to sometimes spend time and resources on things that are off track or don’t really suit you. And a basic openness to change and growth is a very good attitude. But, letting yourself be pulled too often in different directions can keep you from committing to deeper involvement. Today we’ll talk about boundaries that are useful and encourage growth, along with thoughts about those that are either too tight or too loose.

When do boundaries make complete sense, and bring about focus and development in one area, and when is it good to let go of some of them and open new phases of our work? The answer is unique to you as an individual, but a key factor is if you have a solid base from which you can branch out. Every creative idea potentially has multiple forms of expression. Is it the right time to explore some new aspects of your work?

Some people are very drawn to whatever is novel. New materials, processes, techniques, and ideas can be a strong pull. But any change in your process takes time and energy, and it's worth giving some time and consideration to whether to take on something new. Are you avoiding commitment and going deeply into your ideas? Or you may be a person who sets very narrow boundaries about what new approaches you will explore. There may be a fear of losing sales or simply of failing at a new venture. A good middle ground is being open to change and willing to follow through on changes that seem worthwhile. Understanding your own position about boundaries requires looking at yourself honestly, and you may find a solid base that you didn't even recognize.

It’s a challenge to find the right balance of being open to new directions and being committed to certain ideas. But that point of balance is also very exciting and rewarding. It means you are heading purposefully in direction you've identified as helpful but there are surprises and good energy along the way. You’re excited by new challenges but also understanding how various ideas fit together, and seeing that the basic connection you have with your ideas is solid.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

And there's more exciting news! Rebecca and Jerry have just announced the first ever online international exhibit of work created with cold wax medium. All styles and formats are welcome. The juror for the show is Dan Addington, of Addington Gallery in Chicago. To learn more, go to www.coldwaxacademy.com-- and click on the Call for Art button. While you are on the website, check out all the information abut cold wax medium and how you can join the monthly membership.

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It's once again the time of year when many of us make resolutions and set goals. We’ve talked about goals and plans at the start of the year in previous podcasts, but in this episode, we would like to recognize that sometimes having questions about what lies ahead is just as important. The nature of creative work means focusing on what we don’t know as much or more than what we do know. Most goals and resolutions are based on a logical evaluation of what we want to accomplish—and there’s nothing wrong with that. But today we’re going to talk about the importance of generating questions as much as we do goals and resolutions.

We base many goals for our life and work on assumptions about what seems like the right thing to do according to outside standards. But as artists we have a lot of independence and autonomy, and a big part of setting your own course is considering what’s right for yourself as an individual. It's also important when setting goals to leave plenty of room for the unexpected, and for exploring things you haven’t even thought about.

Underneath any practical goal or resolution is a question about why it is important. What is the motivation for making this resolution? Is it something you truly want, or is it instead something you simply believe is expected of you? It’s interesting to go to this deeper level with questions and see what you discover. You might find a clear and honest reason for your resolution, or you may discover that you lack a personal connection or motivation.

There is also a problem with setting precise goals and resolutions in an art practice in that there are always unexpected changes and opportunities. The conventional approach may keep you from exploring the more meandering path that many artists find valuable.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

This is the traditional time of year to focus on gratitude for the blessings in our lives. And while gratitude can and should cover a lot of areas of life, since this podcast is mainly aimed at artists, today we’re going to consider some of the ways that we as artists can be uniquely grateful. These include being thankful for being able to do our work, for those who appreciate it, for opportunities that come our way, and for the personal growth we gain from creative practice. Art adds a dimension to our lives that is deeply satisfying and affirming, whether we do it mainly for ourselves or whether we bring it to the wider world or even make a career of it. Today we want to focus on gratitude for the ability and the passion we have for making art.

Spending some time to write about what your art practice means to you is a meaningful way to explore your grateful feelings for your art practice and the creative aspects of your life. We can all get caught up in the ups and downs of the daily situation in the studio but taking a pause to acknowledge its special importance to you is uplifting. This can include looking back to times when challenges and difficulties in your creative life have led to positive outcomes, and the ways that you have grown as a person as a result. Perseverance, trust, and belief in yourself can build up over time as you involve yourself in your work.

Gratitude can extend not only to what comes to us in personal ways but also to what we are able to share. Making art can be seen as a way of loving the larger world when you do it with a sense of gratitude and when you offer others a bit of your sense of beauty and rightness. Whether it is through exhibiting, teaching, writing, or speaking about your work, you can be grateful for having something meaningful to share with others.

The list of things for which an artist can be thankful is long; each of us has our own specific or personal thoughts and experiences, but there are also more universal aspects of the creative life that can be acknowledged. No matter what role art plays in your own life, it enhances your life now and on into the future with its benefits of ongoing involvement and healthy aging.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

By the way, you don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information --including effective use of the visual elements and composition, personal voice and intentions, mentoring topics like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

Podcast: Studio Tours

Being part of a studio tour is a unique opportunity to show your work in the one place where you feel most at home with your work, and where you have total control over what to show and how it will be displayed. It’s a time when you can meet people who are excited about what you do and of course, make direct sales and helpful connections. Especially when your open studio is part of an organized and publicized regional event, you can expect a steady flow of visitors, and the sales that result can be significant. What do you need to do to prepare for being part of a studio tour or open studio event? How can you maximize sales and connections, and keep your energy during all the preparations and planning? Today we’ll talk about some tips and considerations, and ideas for making things run smoothly.

The most important thing to remember is to pace yourself, because there’s a lot to do to get ready, and many different tasks to keep track of. But doing a little each day for about four-six weeks ahead relieves a lot of stress. Small accomplishments add up! The following is a list of tasks and the suggested schedule for getting ready for the big days.

Starting 4-6 weeks ahead

About 2 weeks ahead—

The week of the event:

Day before the event:

During the event:

After the Tour:

Wrap-up—this is a long list and a lot to consider but taking things in small steps makes the process enjoyable. Getting ready is also an opportunity to take stock of your work overall what you feel good about, and seeing old work can generate new ideas. The contacts you make during an event like this can have immediate rewards like sales but also longer-term effects—what someone is impressed by this year may bring them back next year ready to buy, or some other door may open because they appreciated your work.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

By the way, you don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information --including effective use of the visual elements and composition, personal voice and intentions, mentoring topics like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

We may think of abstract painting as exploring the visual elements and the process of painting strictly for their own sakes, but that’s only one kind of abstract work. Many abstract artists have a more personal approach, in which aspects of their lives, memories and experiences fuel their work. They want to feel a direct connection between their inner lives and what they create. But finding ways to interpret these personal sources in abstract terms is a big challenge. Without obvious subject matter, how can you express an experience, tell a personal story, or evoke a memory? Today we’ll talk about some approaches to abstraction when very personal expression is the goal.

if you are an artist seeking this kind of personal involvement with your abstract work, a key is developing a meaningful visual language that feels connected to your own experiences. Personal visual language means the way you use the visual elements and composition that are most expressive to you. This can include certain color combinations or textural effects, kinds of mark-making, and considerations of scale or format. This is the result of lot of practice, building up aspects of it over time.

Working in a personal way with abstraction has limitations in how specific you can be in conveying your ideas. You might think of the process as setting a stage that invites your viewer into a certain evocative realm, for example something organic or nature-related, or a something that seems architectural. But a challenge in developing abstraction with personal meaning includes avoiding literal depiction and insisting on a particular interpretation. It's very easy to slide into imagery even if you decide you want to avoid that; finding a context for your ideas that is consistent in its degree of abstraction is important.

Finding the essence of experiences, places, objects, or other subject matter is an important aspect of personally expressive abstraction. Essence means the most basic and pervasive qualities of something, the distillation of an idea. It’s typically the motivation behind wanting your work to be more abstract, because it helps your own responses to your subject be more powerful. You can express essence via any of the visual elements that seem related, and you can use them freely in compositions that are not literal in their depiction.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

By the way, you don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information --including effective use of the visual elements and composition, personal voice and intentions, mentoring topics like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

It’s what so many artists work toward—a solo exhibit or small group show-- when a large body of work is shown at its best, to an appreciative audience. Preparation for an exhibit like that can take months, even years. Slowly you produce the work, experiencing everything from panic to satisfaction as the finished pieces for your exhibit accumulate. It can be both a draining and exhilarating experience as you head toward the finish line. Finally, your show opens, and then what? You have a few weeks or a month of receiving congratulations and feedback, hoping for sales, celebrating when they happen, and then rather suddenly, it’s all over. Today we’ll talk about the aftermath of an exhibit, a time to process what you’ve accomplished and consider what’s next.

Exhibits are milestones in your art career, and it's important to take some time to process your accomplishment, by observing how you feel about the work that was exhibited. Take some time to appreciate seeing the work as a body, hanging together, and to consider what might be next. What has changed in your vision and intentions?

Many artists also experience a lull or creative block following the big push of having an exhibit. Although this can be frustrating, this downtime can also be beneficial as a time to rest and find your way back into your work. You may need to step back to gather new ideas and energy. Keep your long-term goals in mind but allow yourself some time off.

The issues of sales also tends to occupy you in the post-exhibit period. Friends will inquire, and your own finances may cause you to feel anxious about having some income from the show. But try to remember that sales are not the measure of a good exhibit. There are too many factors influencing whether sales happen to use them as a gauge of success.

Nobody but the artist really understands everything that goes into producing an exhibit. Your own perspective is the most important and that needs to be focused on the big picture of your work, what you've learned and where your work may be heading. There can be a lot of distractions around a show—sales, publicity, contacts, exposure. A lot of that is exciting and can lead to new opportunities, but in the end, you go back to your studio and work. You are not the same artist you were before you went through this process, and it's time to move on.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

If you’re an artist who wants to get your work out into the world to be seen, appreciated, and even purchased, you will face the need for self-promotion. If that idea makes you squirm, you are not alone --and this podcast is for you. Why do so many artists hate the idea of promoting themselves? Probably because many of us were taught from an early age to be modest, to avoid mentioning our achievements, and to be grateful for whatever life handed us without seeking more. But dealing with the art world requires a different approach. You need to let people know who you are and what you do if you want to advance your career. Today we’ll talk about ways of self-promotion that may be comfortable even if you have a reserved, humble, or quiet personality.

If self-promotion is stressful to you, you may be struggling with overcoming these early lessons. Or you may have a truly humble or quiet personality that you're happy with, but it holds you back from things you need to do to get your work into the world. However, self-promotion does not mean you have to change who you are. In fact, the best way to handle it is to be yourself, and not present yourself in a way you believe will impress others. If your true personality is low-key or reserved, that is the tone to use in your self-promotion. That doesn't mean being self-deprecating, which is never helpful, or on the other hand exaggerating your achievements. Being honest and direct is the key.

Although avoiding self-promotion may be an ingrained habit, you need to acknowledge that it is necessary to operate in the art world. Your potential collectors and others in the position to help you want to know about you and what you do. A confident attitude is important in these situations, whether you are crafting a written statement or speaking in person. If you have trouble with this, remember that sticking to facts about yourself and your achievements is a safe and comfortable entry point. Simply stating these in a straightforward manner is never objectionable to other people.

Different types of self-promotion require different approaches, so it helps to know what is expected in each situation. This can range from a formal communication like a press release to something that is less formal, like a blog or newsletter. Lots of times you have some leeway in how to phrase things or how personal to make them, and you can find a tone that suits your true self. With practice, all types of self-promotion become easier to tackle.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

In our last episode we talked about some of the practicalities of downsizing, clearing out, or moving your studio, and tips about ways to deal with your artwork, supplies, and other items that you’ve accumulated. But what about the emotional side of this? We’re going to focus today on how it feels to move out of a studio that has been a very important part of your life. You may be on top of the logistics involved in dealing with downsizing, but you are not a robot, mechanically sorting and tossing. Today we’ll talk about the fact that your studio is a very personal place that can evoke a flood of memories and emotions when you need to leave it behind. And we’ll also mention the benefits and positive aspects of going through this process.

A studio is a place to make your work, but it's also much more. It is a sanctuary and refuge, and a place of contemplation where you have spent countless hours working, thinking, and observing your work. Your studio represents your personal history as an artist and all its ups and downs. So it’s no wonder we get attached to our studios as well as fill them with a large buildup of objects and inventory. The physical objects themselves hold memories and feelings that can be overwhelming at times.

Pressure to meet moving deadlines, confronting your habits of hoarding or over-purchasing art supplies, and perhaps regrets over work that was never finished or sold that can all be stressful and bring up difficult emotions. Yet there are also fascinating and rewarding parts of the process when we see connections to older work, or are reminded of art friends, mentors, and experiences as we sort through our stuff. You may feel deep gratitude for your life as an artist when you realize the depth and breadth of your work and life as an artist.

Anyone who is on the other side of major downsizing tends to be pleased and relieved. The process gives you a fresh start and provides a sense of feeling more organized and purposeful. Instead of a jumble of bits of your past, with perhaps only minimal organization, in your new space you will know precisely what you own, where it is, and overall, you will have a good sense of what everything you’ve kept means to you. It's easy to lose sight of these positive aspects of moving while you are in the middle of this often-exhausting process, but they do await you.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.