She will be presenting her new book, The Woman in the Photograph
AUTHOR EVENT AND BOOK SIGNING, THURSDAY, JUNE 21 7:30 (free)
at Pegasus Books 1855 Solano Ave in North Berkeley.

For information about her book, read her blog, see upcoming book events,
and order The Woman in the Photograph, visit her website.

This interview includes questions and answers about the writing of The Woman in the Photograph…The Search For My Mother’s Past.

1. What motivated you to write this story about your mother?
I loved my mother very much and felt close to her, especially after my father died when I was eight. However, the way this closeness played out was that she treated me as her confidant, and turned to me to share her pain and her frustration. When she passed away in 1987, I believed our relationship was over. Then, many years later, I found a photograph of my mother and her sister taken in Germany just before Hitler became Chancellor. I realized my mother once lead a whole life I knew nothing about. I felt a great urgency to find out whom the woman in the photograph was, before she became the pragmatic, cynical, sometimes bitter woman I knew.

2. What obstacles or challenges did you come up against while writing?
My prior book, Journey from Anxiety to Freedom, was a self-help book and the information had an inherent structure. This book is a memoir and it is fueled by strong emotions. I sat for hours at my computer letting all my images and feelings flow onto the page and often found myself weeping, or laughing, or going off on a related memory of my own. But “The Woman in the Photograph” is not a journal. I had to go back many times and revise the material to keep the flow of the story, often called the arc of the narrative. There is a delicate balance between the writer’s private relationship to the subject and the process of creating an art form you can share with others.

3. I understand there was a lot of research undertaken to complete the story.
Can you say something about that?
By the time I embarked on my search, I had only two family members knew anything about my mother’s past. Fortunately, I visited them in the early ‘90s, because neither of them is still alive today. But with the fall of the Berlin Wall in 1989, a whole chapter of my mother’s past was opened up to me. Her history included a property in Leipzig, Germany that was stolen by the Nazis in 1935, and then restored to me fifty years later. The sale of that property allowed me to buy our home here in El Cerrito. There were also several strangers, including a young man in Germany, who heard of my search and came forward to help me in ways I never imagined.

4. What joyful discoveries did you find in writing this book?
What a perfect question, because in fact the process did bring me joy. I found a photo album my mother had put together in her youth, but never showed me. It told me, in her own handwriting, of the joyful, luxurious, adventurous life she once led. The things I learned helped me realize that my mother’s life had suffering but it also had joy. I had a better understanding of my mother’s choices, and my discoveries made it possible for me to make choices my mother couldn’t, or didn’t make.

5. What did you learn about yourself through the telling of this story?
I have always thought of myself as a mostly positive person, but I began to realize how much of my mother’s discouragement and broken expectations I had absorbed. I had an edge of “Why bother trying. You lose it all anyway.” I don’t mean that in the Buddhist sense of impermanence. It was more a fear of success, and an unwillingness to dream of possibilities. This book, which took me twenty years, is proof that I no longer think that way.

6. What would you do differently next time?
No answer comes to mind. It really took that long to gestate and become clear. The published version that will be available in June is really the fourth draft. I needed to say everything without editing or censoring, and then I needed to “let some of my darlings go” as one writing coach advised. Some of my favorite lines didn’t further the story and I cut them out for the greater good.

7. Do you have any advice for new writers?
Write, write, and write. We think of writing as solitary but it needs airing out and witnessing. Read your writing out loud to someone else. Find a writing group, or a memoir group, or go to meeting of the California Writers Club or the Bay Area Independent Publishers Association.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Gallery services include coaching, consulting and mentoring.
(510) 593 9081 or pamfingado@fingadoartgallery.com
Visit PamFingado.com

Mani Feniger"The Woman in the Photograph"

Even though I have exhibited for many years, it’s been awhile since I produced twenty pieces of work…a typical series for artists to show potential galleries. It’s also a different theme and subject matter then what I’ve done before. How do I include these on my website that holds different and older work?

All these questions and concerns needed an impartial, professional artist, gallerist or art consultant’s advice. As luck would have it, I received an invitation on my Facebook page from the Cal Art Alumni Group for a new program called “Spring Training”. Offered on Saturday, April 21st from 9 – 12 and 1 – 4 PM.  A group of generous and supportive mentors offered a one on one 20-minute consultation to artists who made prior appointments online.

Artists could ask questions or obtain advice about a new body of artwork, their website, presentation materials, or grant and residency applications. They were able to tap into the experience and practical advice from a group that included, gallerists, curators and art critics.

I went because as I mentioned above, I have a new body of work and I’m looking for galleries that might be interested in showing this style of work. I also had questions about online art sales. I wanted to know if I should provide PayPal on my websites, and how that application would affect the traditional gallery presentation I have already established. Getting an opinion on how to update the art on my website, my artist statement and other similar material were equally important concerns.

One of the most beneficial aspects of this program was in the preparation before the actual appointment. A preliminary email from the College Art Association suggested a format to follow that included time for presentation of our professional goals, a review and discussion by the mentor and then prepared questions while using our materials (artwork) as reference during the remainder of the session. While this format could be taken as a limitation on the spontenaity of our discussion with the mentor I found it helped me focus on what I wanted to get from this session. I imagine it was a way to be more efficient and remind both parties to stay focused on the allotted time. In either case, it reinforced what I have been writing about in previous blogs. “Success comes to those who know what they want. Once you know what you want, then ask for help if you need it.”

I was seen on time, got my questions answered and became clear on what I needed to do with my website; galleries that could be interested in my new work; recommended reading and suggestions on adding more to my art statement.

These types of consultations are so necessary for gaining clarity, identifying areas that need improvement, objective feedback, and acquiring up to date information. Even though I provide coaching and I marketing workshops, I still need advice from professional curators, or critics from time to time.

Bravo, and thank you to the mentors for donating their time and the Cal Alumni Association who organized this.

The generous and supportive mentors :

Lucinda Barnes, Chief Curator, Berkeley Art Museum, University of California
Brian Gross, Brian Gross Gallery
DeWitt Cheng, Art Critic, Independent Curator, and Artist
Indira Morre, Co-owner of Martina Johnston Gallery; University of California Berkeley Department of Art Practice Visiting Lecturer, Artist

Good Advice

Fortunately creative individuals are blessed with tenaciousness, imagination, faith and of course, imagination. They are capable of finding beauty in all parts of life. Usually they have a day job that keeps a roof over their head and food on the table. Being a creative person often includes values like courage, sensitivity, uniqueness and acceptance. Many people with expressive characteristics love change and variety, are naturally curious and enjoy challenges. Possessing the ability to provide enriching and enhancing experiences through the arts is often recognized as an enviable skill. Appreciating the gift of art is even more respected. These traits add depth and meaning to the lives of artists. So where extrinsic values may be short in coming, intrinsic rewards abound.

If your aim is to sell your painting, publish that book, or
record that new song; there are more possibilities out there then
ever before. Self publishing and publishing online books can be done through through Amazon, Blurb, LuLu, Barnes and Noble (to name a few). For a fee, some can sell and market it too. Check out the list of online publishers to get an idea of what is available today. If you are a visual artist, there are many websites and apps that will upload your art images and sell it online. Some are fee based and others are free. Some take a percentage of sales; some require a yearly or monthly fee. There are any number of combinations for listing, exhibiting, selling, fee based and free sites. For crafts and art see Etsy, Fine Art America, Art Slant, Art Span and Zazzle,

"The Road" by Molly Rosenthal

to name a few.

What happens if you are not clear on what you want?
How can you become clearer? Start with some of the activities listed below.
1.) Write down all those experiences where you were at your best.
2.) Make a list of what you do in your spare time.
3.) Define what motivates, moves or inspires you.
4.) What would you do if money were no object?
5.) Visit a career counselor or coach.

Keeping a daily journal, and reflecting upon what you have written can usually identify what you don’t want. When looking at what you don’t like, you can (with more effort) identify what you do want.

Finally, meditating where you learn to let go of thoughts can help you be more in touch with what you really want out of life. In meditation you find stillness and who you really are. Both beneficial for fulfilling those desires and dreams.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Gallery services include coaching, consulting and mentoring.
(510) 593 9081 or pamfingado@fingadoartgallery.com
Visit PamFingado.com

Over a dozen artists are participating in this show displaying a variety of media. Lisa is exhibiting works she painted outside or more traditionally labeled, Plein Aire. I thought it would be fun to find out more about plein arie painting and how and why she chose this medium.

Can you tell us a little about plein aire painting?

The French expression, ‘en plein aire’, means in the open air, and refers to the notion of leaving the art studio to paint outdoors. The Italian Macchiaioli (1850’s) preceded the French Impressionists in doing this by a few years, but the primary motivation for all of the artists was to try to paint the spots of color that one actually sees in the outdoor light. Another reason was the development of tube paints, which enabled the artists to paint en plein aire . Originally, paintings were made in the studio where the paints were also made- by grinding pigments and mixing them into an oil vehicle. Once tube paints were invented, the art studio could be made portable- and so the desire to paint outside was met with the new technology. This is now ancient history, but artists are still pursuing painting outdoors, and I believe it is because of the degradation of the environment. I think artists are sensitive to the need now to preserve the beauty that is still unspoiled. In this particular partnership of artists with the Solano Land Trust, contemporary artists are using contemporary art mediums as well as plein aire painting to make statements about the value of land preservation.

When and why did you start plein aire painting?

I started painting outdoors a few years ago. Prior to that, I was used to working in my studio using photographs and drawings for reference. Then I challenged myself to try to work directly from life, painting still life objects and nude models. When I tried painting landscapes outdoors, I felt overwhelmed by too much information and the constantly changing light. I felt the need for a teacher. I found a great teacher and after the past two years of studying with Camille Przewodek up in Petaluma, and reading Henri Hensche, and Charles Hawthorne’s books- I am finally finding my own way to see the color of the light and interpret that in my plein aire paintings.

What artists have influenced your work and why?

I love Monet’s haystack series, and the California Impressionists, like Guy Rose, and William Ritschell. I don’t know if they directly influence my work- I don’t think about that.

Are there particular places/scenes you prefer painting?

I am attracted to places where water and land interact. The California coastline and the Solano Land Trust lands are perfect for this. When I paint on location I walk around for a while searching for something that moves me to paint, like the myriad of colors in a rise of hills as they recede into the atmosphere. I’ll set up my portable easel and stand in that one place for a few hours, working quickly to paint what is before me until the sunlight changes too much to continue.

What do you find enjoyable and uncomfortable about painting outdoors….and why?

Schlepping and setting up the gear, especially if I have to trek up a hill or over bumpy ground and the exposure to bugs, sun, mist, very hot or cold weather and overly talkative passers-by can be a bit uncomfortable. Once I get my gear set up and settle on what I want to paint, I love the meditative feeling that comes and the sense of being in communion with the natural world really makes up for the discomforts.

What would you recommend to artists who are interested in learning more about plein aire painting or want to become plein aire painters?

If one seriously wants to pursue plein aire painting I highly recommend finding a good teacher and sticking with it, as it’s like learning a foreign language in the beginning. I would also recommend reading Carlson’s Guide to Landscape Painting by John E.Carlson (a classic), Hawthorne on Painting, from student’s notes, collected by Mrs.Hawthorne, Hensche on Painting, by John W. Robichaux and there is a new magazine called Plein Air (has an online version too) that is very informative.

Brief description of Seeing Solano II
Solano Land Trust Exhibit:
Sun Apr. 1, 2012 – Sun May. 6, 2012
Benicia Public Library, 150 L St, Benicia
707-746-4343
This is the second in a series of exhibits by over a dozen professional artists called Seeing Solano: Solano Land Trust through the eyes of artists. All the paintings and photographs in this growing collection are inspired by protected lands in Solano – the tidal marsh, oak woodlands, vernal pool grasslands, and working farms and ranches that make our region unique. Artist Reception April 1st, 2:00 – 5:00p. The reception is free and open to all. Guests will have the opportunity to enjoy music, light refreshments, meet the artists, and learn about the lands that inspire their painting and photography.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved

Gallery services include coaching, consulting and mentoring.
(510) 593 9081 or pamfingado@fingadoartgallery.com

Visit PamFingado.com

Originally I had planned on writing about recognizing the difference between exploring and being stuck in extended exploration. This first stage in the creative process involves research and once that is complete, moves on to the incubation phase. As I was exploring on the web, however, I discovered all sorts of great articles and posts on innovation, exploration and discovery. So for today’s post I’m letting you know what I found that was interesting and new on these subjects. There is a wealth of blogs and sites that affirm the need to explore and discover. Being curious seems to be part of human nature. So if you are interested in becoming more innovative, developing new problem solving skills, or just want to learn to think “outside the box” check the websites, articles and blog posts I’ve listed below. Next week if I’m still exploring, I’ll address creative blocks, and the art of extended exploration.

First related article on innovation, exploration and discovery was found on the Creativity Post website. In “There is No Such Thing as Failure” Creativity expert and author, Michael Michalko essentially says that mistakes can be good thing. He sites several examples of failures including those made by the Wright Brothers, Thomas Edison and Henry Ford. It maintains the theory I used in teaching art, that there are no mistakes, only discoveries. In art classes, I often used Picasso and Van Gogh, as examples of artists who made mistakes. I would ask, did these artists start their process with the end result in mind? Then, I’d point out the change and differences in their art from the beginning to the end. I’d call attention to what has been recorded as esthetic or academic flaws in these artists as well as others art. I gave examples of how these flaws (?) often led to new ways of looking at form, composition; and, often changed the way in which we perceive art.
All my art lessons started with this premise. These observations eliminated the fear of making a mistake while making art and cleared the way for fun and discovery. For additional studies on perceived failures as actual discoveries check out the article by David Galenson:Michelangelo’s Doubt: A Portrait of the Sculptor as an Experimental Artist in the Huffington Post.

Next, I found Science and art Share the ‘aha’ Moment: Lecture Kicks Off Princeton’s Pi Day Celebration Here, author, Nathan Serota writes of the connection between humanities and science. While teaching, I found that the subjects of math, science and art were often the noisiest times of the day. Why? Because students were busy exploring, thinking and problem solving. In math they relevant were focused on different ways of solving equations and using data. In science it was a scientific method of investigation. First in defining the problem, then in developing a hypothesis and finally experimenting to prove that hypothesis right or wrong. In art it was developing new ways to express with color, line and form and whether they were able to convey that message clearly. In all three subjects students conversed and collaborated to problem solve as well as learn from each other different ways of looking at their topic.

For information on how artists interpret science along with an exhibit of artists work, visit the Vast and Undetectable Panel Discussion: Visual Languages of Art and Science on 3/21/12 at SFAC gallery held at the San Francisco Art Commission Gallery on 3/21/12 from 6 – 7:30 PM, the Veterans Building, 401 Van Ness Ave. room 110B. The exhibit runs through April 14 2012.

Visit Bridges Math Art Galleries to view the many possibilities of mathematics in art.

Finally I found several websites that are great for articles on creativity that span across technology, education, activism, psychology, business and so on. The Creativity Post may be something you would like to check out as well as the Think Jar Collective and
The Huffing ton Post Arts
Explore the California Arts Council for related articles on art
The National Creativity Network

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved

Gallery services include coaching, mentoring and consulting
(510) 593 9081 pamfingado@fingadoartgallery

Visit http://www.pamfingado.com

To learn more about the program that is involved with the Berkeley Schools visit this blog post by Berkeley High School’s student Nick Rio written for the Berkeley High Jacket. He explains the Artists-In-Schools Project and how it is used to help students learn skills necessary for a career in the arts.

I attended the opening on Thursday, March 1, 2012 particularly to see my granddaughter Molly Rosenthal’s art (charcoal drawing, Sofa with Guitar and a joint book project with Mikia Franklin on radiation, but was immediately impressed with not only Molly’s work, but the overall quality of all students work; the skills involved and especially the way in which the core subjects of science, English and history were incorporated in such projects as book art, digital posters, charcoal drawing and mixed media. This is the well-choreographed program utilizing the Artists in Residence from Kala, funding from a grant provided by the California Partnership Academy to include multiple skill building and artist mentoring to Berkeley High’s Arts and Humanities students. The multidisciplinary approach successfully utilized core academic subjects to present an exhibit that addresses the political, environmental and social issues of our time. Bravo!
You can view the work on the Kala Blog. Or better yet, visit Kala in person.

The show runs from March 1- 24, 2012 at the Kala Institute Community Classroom, 2990 San Pablo Avenue, Berkeley, CA

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

San Pablo Arts Gallery, 13831 San Pablo Avenue, Maple Hall Civic Center San Pablo, Ca 94806 Gallery hours: Sat/Sun 12-4pm or by app.

Pam: “Hershell, tell me about your work.”

Hershell: There are nine pieces (three large paintings and six photo and digital pieces all 17″x22″) in the exhibition. “…. A few pieces are based on my study of birds. A black and white painting (located downstairs) is a series too. “Well, this series of work has 18 pieces with a few pieces based on my study of birds. A black and white painting (downstairs) is a series too. It is a grey scale painting with the idea of doing more color on top of it. It is Homage to Ali started as a portrait that I downloaded from the Internet about Ali. I wanted to do something with Ali, the fighter because I am a big fight fan but I didn’t want to do a traditional thing and I didn’t have a copyright on the image so I thought what I’m going to do? I went through all my photographs, as well as all my series where I go out and shoot a number of nature, clouds, rocks, sand and sunset shots. I love sunsets!”

“So in my work I am incorporating elements of nature that I went out and shot and then coming in and superimposing some drawings and other things on top of it. Then I go into Photoshop and layer and work out my color schemes. So before I get to the canvas I use the tools of Photoshop as an editing process. I go in and work the images out and when I am satisfied, copy it, photograph and take it to the studio and then work on it. This one piece of Ali is such a wonderful abstraction that evolved from this portrait. It’s totally amazing and I said, Wow, gee I am excited!”

Pam: “But it is very different from the bird images.”

Hershell: “It is very different from the birds. I actually started out as an abstract painter & I very rarely, earlier, did figurative work or work that was representational, but lately I’ve been pushing more towards fanciful, representational work. I am layering it like all my digital prints with the exception of a few. Like Harriet Tubman and John Brown Above the Underground. It’s a pure shot of clouds. You can see things in there and I happen to see these two images. I am a big history buff and Harriet Tubman and John Brown are people I am familiar with, their history and biographies. I wanted to do something to commemorate you know, the spirit of Harriet Tubman and John Brown and I did that.”

Pam: “And you did that!”

Hershell: “And it worked out pretty good, you know, in the clouds above the underground. What kind of conversation would they have in that particular environment in the spiritual realm?”

Pam: “While preparing for this exhibit what obstacles came up for you.”

Hershell: “It’s always a challenge when you go from a digital medium and a variation of color that you can get with the medium and translating that to a painting. Sometimes when you do something from a small scale like a 8” x 11” and blow it up to a 61” x 62 “ you loose some things and then some other things you might want to adjust. At what point do you want to make the adjustments from your original cartoon? That was a challenge in translating the bigger pieces. Some of the original color didn’t match and I had to decide if it was going to be good enough.
Then technique wise, how many layers of paint will I need? Most of the big pieces are composed of glazes and that’s a layering process. You are working fast. It takes a lot of time. If you put it down, it dries quickly. “

“Once you get to the canvas after the computer work, it goes pretty fast. Something else can come up while painting….
The beauty of painting is that it is all a learning curve…a happy accident comes up and I can use that on my next piece…”

“I keep a note pad for my recipes, glazes and mixes and write them down. Take notes and put down my mixtures. I also work with a color chart. I need to write down percentages to match the colors…when you work on a big piece you never know how much paint you are going to need and you need to keep the right color.”

Pam: “What would you do differently next time?”

Hershell: “I’ve done it for so long. I never feel totally comfortable with any approach that I do. It’s always a fight with yourself in terms of your confidence level… where you are going and how are you going to get there. That’s one of my biggest challenges. Tying to keep my sense of being open for something new.”

Pam: “Do you have any advice for artists preparing for their first exhibit?”

Hershell: “Give yourself enough time. Understand the space and the site you are working with. Determine the pieces you want to include in that exhibition? Set a schedule and try to stay on schedule and don’t get distracted. Give yourself a lot of time. If it doesn’t work out, don’t become frustrated. Every challenge is a strengthening of mind process. You help yourself physically, mentally health-wise if you sort of muddle through it.”

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

"Fatbird N The Tropics," Acrylic, 52"x62", 2012, West

Whoever said, “Anything worthwhile takes time and effort to achieve,” was correct. It took Michelangelo from 1508 to 1512 to paint the Sistine Chapel. Georges Seurat started painting La Grande Jatte in 1884 with a preparation of 28 drawings, 28 panels and 3 larger canvases. He roughly completed the piece a year later in 1885, but in a second stage, added more. So technically speaking the completion of the La Grande Jatte was just before it’s exhibition in May of 1886.

Whistler commented on the amount of time it took to complete Nocturne In Blue and Gold, “It has taken me a lifetime to get to where I can even begin to do this.”

Artists have different opinions and responses to how long it take to complete a painting? Some describe perfecting their works as a long continual process of editing and re-editing. Others think it’s just easier to prepare and complete a series in a short period of time. Still some complain of being unable to finish a piece (for a variety of reasons). You can view other comment here: Readers Respond: How Long Does It Take You to Complete a Painting?

Personally, I find it difficult to work on a piece for over a month. Most of my work takes several weeks to complete. I think about what I want to express for a long time. More often, one series follows the other in a natural progression of one idea opening up to the next idea. For example, I started many years ago with an interest in paper, it’s origins and history, how it is made and how it was used for decorative purposes in different cultures.

While teaching art in elementary school, I prepared a unit that included paper dolls. The paper dolls led to research on Victorian decorative arts. Later I learned about the cut paper designs of the Pennsylvania Dutch, Polish wycianaki, German scherenschinitte, kirigami designs of Hawaii, cut forms of China and so on. My love for cut paper developed into a paper cut series based on little people (or treeples) living in trees. Eventually my trees evolved into florals and I incorporated cut paper onto canvas with acrylic and craft material. In the meantime I took up meditation and my florals morphed into swirling curvilinear shapes of color that included paper cut mandalas.

I learn something new in each series. This propels me into the next set. This process begins with initial sketches, a studio prepared for work with standard paper and canvas sizes ready to go; and, media that includes paper, acrylic, craft material along with my signature palette.

Patience, time and clear ideas developed over time led me to a seasoned approach towards my art. So now when someone asks, “how long did it take…? ”
I say, “Well, that depends… do you want the short version or the longer story?”

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

Whirl In - Whirl Out (c) 2010 Fingado

“

Virginia Woolf – In solitude we give passionate attention to our lives, to our memories, to the details around us.

Girl resting in a field of wild flowers

During those times alone, creative people reflect, review and refuel. This is where new ideas begin. Refreshed they are then able to return to the studio, the study or their work place to begin a new project.

Pablo Picasso -  Without great solitude no serious work is possible.

Creativity is defined as the ability to develop new and original ideas and things.

The beginning of the creative process doesn’t really start with an idea. It starts with preparation to accept the idea. If I compare an idea to a seed and the soil the seed is planted in to solitude, then soil becomes a metaphor for quiet and solitude. It is in this solitude, that new ideas are cultivated.
Actual development of the seed comes after it’s planted and nurtured. This is a slow process where it is protected, fed and watered. This is the incubation period. When it takes root during the germination stage, the seed (idea)  starts to grow and develop.

Some artists get a little worried during this quiet time, wondering what happened to all those ideas. Unless there is a definite creative block, that time ‘without ideas’  can be the most rewarding ‘down time’ in the creative process. These periodic breaks from creativity are actually necessary for the development of new ideas. When artists take a breather, they travel, go for a walk, listen to music, take in a movie, or whatever it takes, so they can renew themselves and generate new ideas. In the blog, Harmonious Living, the author, Ririan lists all the ways in which to enjoy solitude.

Take the time to unwind, relax and recognize that solitude is a natural step in the creative process.

Solitude gives birth to the original in us, to beauty unfamiliar and perilous—to poetry. –Thomas Mann, Death in Venice

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

"Second Chakra" Mixed media (c) 2012 Fingado

Last week I wrote about ways in which an artist can choose one idea from many. Now, I’ll let you know how to develop a plan so you can get started to work on that one idea.

So an artist chooses an idea. The next step is the plan. Simply stated, the plan involves an objective that supports a vision, and strategies to support the objectives. For example, my vision is to create a series of art that reflects my love of color. My reason or purpose for doing this is I am an artist who creates art to share with the public.
My goal or objective is to create a series of mixed media color studies based on the seven *chakras. My substructure conceptually is based on seven colors. Since I am working abstractly focusing on color, I start with the primary colors of red, blue and yellow, considering the triads and complimentary colors on the color wheel. I am open and explorative recording the specific feelings and sensations that come up during the meditative process. I stick to a format of circular and curvilinear forms floating in space. No angles, hard edged lines, contrasts and so on. These are calming and soft pieces.

So my plan starts with an
#1 Objective:
*I will paint seven mixed media pieces based on the seven colors associated with the seven specific chakras.
#1 Strategies (for reaching this objective)
*Set aside studio time each week for painting.
*Inventory tools, brushes, paper and paint.
*Purchase materials needed before starting to paint.
*Turn on my phone message machine letting people know I am in the studio.
*Get seven canvases/ or paper prepared and ready to go.
*Bring finished pieces to critique groups.
*Gain feedback and make any adjustments to paintings.

My time line is to have these pieces finished by May.

Since I do not have an exhibit lined up, I will be thinking about
where I will exhibit these when they are completed, and consider how I will market them.

# 2 Objective
*Market new work of color studies.

#2 Strategies (to achieve this objective)
*Research galleries that exhibit this type of work
*Place work online when appropriate.
*Purchase giclees and place online to sell.

Notice this objective still supports my reason or purpose to share art with the public. And my vision still supports the overall reason of being an artist.

This framework or plan always remains the same. The purpose remains the same. The vision is what you intend on achieving that supports the purpose. The objective or goals can change but always support the vision. The strategies always support the objective,
Finally, the time line can be broken down by weeks, months, quarters and years depending on the vision.

This is a basic plan that works for any artistic endeavor, business or achieving a dream.

*charkas: chakras are junction points between consciousness and the body. Used in charka meditation with mantras to create a tone in the mind and body that is therapeutic and nourishing. Go to Chakras/Chopra Center for more information on charkas.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com