Studio Mysteries

February 7, 2010

Aaaaaalmooooost…

Filed under: Drawing — Tags: , , — Anya Galkina - Studio Mysteries @ 10:08 pm

My camera has the vapours, and I cannot show, but only tell for the moment. But what I have to tell is that after MONTHS of work, my big drawing (see posts below) is just about done. It’s amazing how little there is left to do. It’s that moment when you round the corner of the track and you see the finish ribbon flapping in the wind.

It’s amazing how good it feels and how much it felt like this moment is never going to come. I must have put in no less than 400 hours and probably more like 600 into this drawing. I pushed pencil as far as it can go. It’s probably the biggest size that I will ever work in pencil and my subsequent works will probably be a bit smaller, in the 3-4 foot range rather than in the 5 foot range. But I am glad I went there.

The figures emerge out of velvety texture like ghosts. I was going to call the drawing Friends and Family, but now I have rechristened it Formal Occasion.

November 21, 2009

Goals For The Next Stage

Filed under: Being a Professional Artist — Anya Galkina - Studio Mysteries @ 1:23 pm

I remember reading somewhere that being an artist is sort of like crossing a river one stone at a time. You only see as far ahead as the next rock. Sometimes, you don’t see ahead at all, but that’s usually due to the looker’s vision, not to lack of available stepping stones.

The last stone I saw in front of me was the necessity to plug my technical skill gaps, by studying academic drawing, painting and artistic anatomy. I can’t say I am done learning, because that would be silly, but I do know that I accomplished my goal of focused study at a world-class atelier for several months. (I would have preferred several years, but several months are still absolutely and utterly invaluable).

Now it’s time to set new goals. Broadly speaking, they are:
- cement and apply my recent learning via creating a new substantial body of work (paintings and drawings).
- take steps to move my professional practice forward, by generating new teaching and exhibiting opportunities.

Here are specific steps I am going to take in order to accomplish these goals.
Body of work
1. Produce a series of small paintings on the theme of beach, water and people.
2. Complete the three large multifigure drawings currently in my “in progress” pile, improving them with the techniques I learned.
3. Begin composing one new large multifigure drawing.

Professional practice
1. Become a member of a coop gallery.
2. Design and produce a website dedicated strictly to my art portfolio and practice, and enabling people to buy my work and associated merchandise online.
3. Prepare a course outline and materials to teach a course entitled Artistic Anatomy 101.
4. Apply to participate in the following annual art festivals: Riverdale Art Walk, Queen West Art Crawl, Toronto Annual Outdoor Exhibition.
5. Create an exhibition proposal and distribute it to publically funded venues.

Man, I’m excited.

November 18, 2009

Empty Panels, Full of Promise

Filed under: Painting — Anya Galkina - Studio Mysteries @ 11:25 pm

I am at a particularly delicious moment in my studio life. For the past 8 months, I have been doing nothing but classroom studies and the never-ending, all-consuming Big Ass Drawing. The drawing is on the verge of being finished! (I can’t believe I am saying these words). And so I am beginning something new! Something painting! Something small and spontaneous that I can do lots of quickly!

The first step is to prime some boards. It’s a palate cleanser, kind of like eating sliced ginger between different types of sushi. I can’t wait to mark these boards all to hell. The eggshell surface of a freshly sanded panel is just begging for something to break it up.

Movable… Something

Filed under: Being a Professional Artist — Anya Galkina - Studio Mysteries @ 11:16 pm

I strongly recommend avoiding life crises and extreme change to anyone who wants to do art. Crises, both personal and international, are a huge interference with regular art-making.

My journey to LA turned into a series of scary misadventures, forcing me to return to Canada in a hurry and under a lot of stress. Nevertheless, I am proud to say that I had this drawing up on the wall and got in front of it in no more than 72 hours after the flight. My cat and I are couch-surfing (or rather, guest-bedroom-surfing) in a kind friend’s home, but I refused to let this situation interrupt me any more than was absolutely necessary. Luckily, my friend was willing to share a dining nook with what I will loosely call a movable feast.

Sometimes the studio isn’t even a physical place. But it travels with you. So long as you are willing to cross the threshold, the threshold is wherever you are. It’s that simple.

November 2, 2009

5 Things To Make My (And Your) Art Seen & Bought By More People

Filed under: Being a Professional Artist — Tags: — Anya Galkina - Studio Mysteries @ 2:38 am

I posed this question to myself and the universe at large recently, and here are some things I have come up with!

1. Research coop galleries in Ottawa, Toronto and Montreal and apply for membership to galleries on the resulting list.
Coop galleries are a good way to get exhibitions and your work in front of people independently of the commercial gallery market.

While commercial galleries can be a good thing, I struggle with them on a couple of fronts: I have not had any good responses from them to date, and I also find that the work they show tends to be totally poisoned by the need to be The Next Hot Thing, which in turn is dictated by the need to sell. While I wish to have my professionalism and the caliber of my work recognized and paid for, I am not in the business of making wallpaper and I refuse to be anything less than authentic in the images I make. The way I understand and approach art seems to be at odds with the world of hipsters and being-seen people. I deal in matters of the soul, they sell art the same way they sell jeans.

Coop galleries are a great antidote to anyone at violent odds with commercial galleries, and they work thusly: you apply, and if the selection committee likes your stuff, or at least doesn’t hate it, you pay a monthly membership, may do some volunteer work, and get to participate in group shows and have a solo show once in a blue-ish moon. I like the idea. The members split expenses and get to run the show instead of kissing curator ass. I am terrible at kissing ass, and I like to run the show.

2. Research publically funded art festivals and fairs where self-representing artists can participate, and apply to the ones on the resulting list.
I already know of two excellent shows in Toronto, the Toronto Outdoor Art Exhibition and the Queen West Art Crawl. TOAE draws literally thousands of people. QWAC draws hundreds. All those folks come very hungry for art, appreciate the hell out of it, and buy it. At my booth during QWAC, I received the most gratifying thing an artist can have, and that is people tearing up in front of the artwork. I am not kidding. People responded so strongly and put so much mental energy and heart into engaging with the work that even if I never get a single line of print reviews or a single commercial gallery show, I have still done what I wanted to do as an artist and truly reached people.

So, the answer to my question is in part “do what has already worked wonders” and that is, participate in art festivals and fairs. Incidentally, I have sold work every time I have done so, at the price I wanted, and paid 0% commissions on the sale.

3. Write an exhibition proposal and submit it to artist-run centres in every Canadian province.
Artist-run centres are not quite the same beast as coop galleries – the centre administrators don’t exhibit there, if I understand correctly, they simply curate. So basically, artist-run centres are actually curator-run centres, but are not commercial in purpose and usually publically funded. The nice thing about those is that they often pay the artists to show there, as opposed to the artist paying to be shown. (A nice reversal, that! Imagine if actors had to pay to be in a movie or a play, or athletes paid out of their own pocket to compete at elite sports events – the fact that it works this way in the artworld is a thing that is Wrong and Should Not Be).

The less nice thing about artist-run centres is that they consider viewers coming from something as plebeian as the general public beneath their notice. They are designed to impress other curators, which means that everyone is knee-deep in art matter that cannot be understood without an accompanying essay, which must be no thinner than 3 inches and must use no fewer than five of each of the following terms: “strategy”, “interrogation”, “anthropomorphic”, “codifying” and “to critique”. When you mention things like “soul” and “emotion” and “heart”, these folks put a bag over your head and duct-tape a bell to your hand so that people can flee from you whenever they hear you approach.

It’s still worth trying, simply because they have to come up with something year-round, and have spaces that must be filled. I’ll just have to run my proposal through the artspeak generator until I can no longer understand it myself.

4. Complete an art portfolio website that doesn’t have to scrounge for space from my design portfolio site. Enable an ecommerce function while I am at it.

5. Compile a list of public galleries and submit the exhibition proposal to them as well.
Public galleries are yet a third type of beast. They are regional art and cultural centres, library galleries, local museums that exhibit contemporary work and so forth. They are funded by tax dollars as opposed to grants, and have both a higher visibility to the public than artist-run centres (every opening I went to at an artist-run centre was attended only and strictly by other artists, and was depressing), and also higher accountability, because if utter bullshit is on display, someone is likely to complain.

Well. I have some work to do, don’t I?

Actual Size

Filed under: Uncategorized — Tags: — Anya Galkina - Studio Mysteries @ 2:05 am

anya_bigassdrawing

Sometimes it’s fun to put things into visual context. It’s not quite actual size, er, actually, because I am standing a couple of feet in front of the painting, which makes it look smaller in relation to me. It’s the same visual trick they used to make hobbits look smaller in Lord of The Rings, where the camera flattens the perspective so that a person standing some feet behind someone looks to be standing next to them but small-sized. If you know what I mean. Basically, I am saying that this drawing is really effing huge.

October 26, 2009

A Studio Dialog, Of Sorts

Filed under: Uncategorized — Tags: — Anya Galkina - Studio Mysteries @ 1:39 am

Dear BigAss Drawing,
Just because I don’t have workable fixative, doesn’t mean I don’t love you.

Love,
Anya

(See?)

October 25, 2009

Big Group Portrait, State 3

Filed under: Drawing — Tags: , , — Anya Galkina - Studio Mysteries @ 11:28 pm

I have spent the past month going to class and trying to beat this drawing into coherence. That’s it. It’s easier to reconcile myself to leaving LA because if all I do is scrath at this drawing, I can do so anywhere, even in Alaska. There is really no point to all this beach if I would rather be in front of my easel anyway!

(There, that seems to be working).

The thing I learned since the last time I posted about this drawing is that  sharp vs. diffuse edges make almost as much of a difference in the composition as value. I kept reducing value in certain areas until I noticed that edge contrast has an equal amount of power and focus as value contrast. Now if I want something to shut up, my first step is to examine edges rather than how light or dark something is in relation to everything else.

It’s been a beast of a project, some kind of a dark abyss that sucks in labour hours and bends the laws of physics, but it’s amazing how much I have learned from it. (But it will be a while before I no longer hate its guts).

I am still a bit away from finishing, but the drawing is starting to be a lot less of a din, which is all I want from it at this point.

bigass_drawing_state3

I cannot, for the life of me, take a good photo of a graphite drawing.

Side-by-side comparison of the previous state I posted (the right side of the drawing looks brighter in #2, but only because there is a lamp right next to it):

bigass_drawing

October 24, 2009

A Small Celebration And A Question

Filed under: Being a Professional Artist — Tags: , , — Anya Galkina - Studio Mysteries @ 4:53 am

2002_painting_cold_windowsillSometimes, artists, by which I mean me, like to moan about how it’s ever so difficult to make a living as an artist. Sometimes, in response, life does something that makes further moaning completely untenable!

Recently, a friend from my home town in Ukraine emailed me completely out of the blue, and told me that someone she knows wanted to buy a painting. The sale has gone through, and Aleksandr Shatsky of Odessa now owns this piece, called Cold Orange, which sold for USD$500.

It’s not a huge sum, but then it’s not a huge painting, and it is a wonderful windfall considering that the sale fell into my lap with no effort on my part whatsoever.

In light of this happy event, I have decided to kick my own butt and do something proactive to further my professional standing as a fine artist. Here is a question I am putting to myself as well as to fellow artists:

What five steps can I take in order to get my work seen by, and hopefully bought by, more people?

Universe and Anya’s Brain, I humbly await your advice.

October 15, 2009

Towards A Definition Of Art As Effing The Ineffable

Filed under: Uncategorized — Tags: , , — Anya Galkina - Studio Mysteries @ 1:29 am

vangogh_starrynight

Ever since I saw an action figure of Roy Batty in a Santa Monica toy shop two weeks ago, I have been thinking about this character. Roy Batty is a painfully Viking-like android who goes on an existential-despair murder spree against his makers, in the film Blade Runner. The film is abrasive and has troubling sartorial issues, but the final scene, in which Roy Batty finally greets his death, makes it something very much like Art.

Roy rages in all our hearts as he confesses to a random wet dove he holds in his hand:

“I’ve seen things you people wouldn’t believe. Attack ships on fire off the Shoulder of Orion. I watched Sea-Beams glitter in the dark near the Tannhäuser gate. All those moments will be lost in time, like tears in the rain. Time to die…”

And then the dove flies away, because the android hand is no longer capable of closing.

There are two ways to watch this scene: as an atheist and as a person with some kind of faith. The atheist would have nothing to offer Roy except the phrase “Life sucks and then you die. This fact is one of the ways in which life sucks.” A person with some kind of faith would tell Roy that death is not the end, that his life, as his death, has meaning and reason, and also possibly that he may have messed up his prospects in the afterlife by killing so many people.

I am neither type. I can’t claim that I have faith, or that I have faith in the total pointlessness of faith. Instead, what I have is hope. It’s very clear to me that the universe is a giant mystery, and that our mental equipment for comprehending it is as advanced as a snail’s equipment for understanding trigonometry. It’s also clear to me that art is part of the mystery. Our drive to make and look at art is inescapable and will not brook denial. It is built in, at a deep enough level that we can locate the reason for doing it in such wildly differing frameworks as building temples, decorating hospitals and generating the wealth of one Mr. Saatchi via the display of unmade beds.  What I am getting at is that art is unexplainable, and that it is also what we are meant to do, something profoundly necessary and right.

I would say this to Roy Batty as he soaks in the misery of imminent death and precipitated pollution:

“Roy, the problem is not that you saw these wonders and will now die. The problem is what you did in between those two events. You refused to acknowledge your own fear and dressed it in robes of entitlement, instead of being grateful for all you got to see and have.

You took revenge for your life being finite and short, and in doing so, you wasted it completely. You saw untold wonders across the galaxy, and you responded by spending all your free time afterwards killing people. What you should have done is tell them what you saw. Your vision is wasted because you, and no one else, wasted it.

I hope your soul goes somewhere after you die, and I hope that somewhere is a kind place and will be willing to forgive you for your foolishness, but that’s all it is – hope, which is not the same as certainty. What I am certain of is one thing and I am certain of it a lot: if you shared with others the wonders you had seen, neither you nor the wonders would vanish. They would transmute into something else, and become part of the great ongoing clusterfuck of life, because that is what life requires of us, self-aware monkeys organic and artificial. Life requires of us that we live it so that it is shared with others.”

I am hopeful, rather than faithful, about consciousness moving on after death. But if  I am certain of anything, it is this: when we capture the memory of the attack ships on fire off the Shoulder of Orion, or the starry night, or the beauty of a trashcan as the fluorescent office light falls on it, we take the finite material world and make it eternal. And then we pass it along to others, and neither we nor they are alone in the universe any longer.

The way plants grow, and how DNA causes various kinds of animals to happen, and the way tides come and go, all have really excellent functional reasons. “Those are the ONLY reasons,” say the atheists and the scientists, “these things are nothing but Laws and Mechanics and Equations.” But if so, why are they also Beauty? Beauty that no capital letters in the world have the power to express fully, so beautiful it is? Why does it all make us want to draw in our breath, and stop, and marvel and then race off to a keyboard, a camera, a canvas? The world is so indescribably beautiful, and it keeps being so ALL THE TIME, so how can it not be more than just the stones and the bones? When it’s ALREADY more? “But it’s only in your head,” say the atheists and the scientists. “So what?” says Hopeful Artist. Just because it’s in our heads, that makes it not real? That makes it not matter? It *is* real. It does matter. It matters to you who sees it, and therefore it matters, period. And if you tell others of what you saw, it will matter even more, and in the act of making it matter, your souls will touch and become one. The tree will make the most gorgeous sound as it falls because you two are there to hear it together. Then the tree’s fall is not waste or oblivion, but wonder, and memory, and the fire with which we burn. Maybe that’s why it is all so, even at the terrifying expense of jacked-up chimpansees running around with free will – so that nobody would be alone. So that the tree would matter to somebody. So that the fire is set off within us. So that there is light.

I guess what I have faith in is art. Because art is a conversation between souls. I forget who said it, but I am convinced he or she is right.

Now that I’ve thought about it, what I want to do the most, with regards to the dying Roy Batty, is stand next to him holding an umbrella and his hand. Wet Roy Batty is a thing of almost unbearable Beauty, but I would still do it. The world has more than enough to make up for that small loss.

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