Creativity Blog

How to Choose One Idea From One Hundred and One Ideas

Posted on January 23, 2012 by Pam

A few weeks ago I wrote about artists generating new ideas. In that blog I said most artists have a lot of ideas. Choosing one idea from many may be challenging for some. Then on the other hand, sticking with an idea and following it through to completion may be difficult for others.

Today I’ll write about choosing one idea from the many creative ideas an artist may have.

1. Recording ideas:
Hopefully you will have recorded your one hundred and one ideas. I write mine down on post-its, calendars, pieces of notepaper and in the last few years, recorded them on stickies on my laptop or in notes on my i Pad.

2. Journal:
I journal every morning. I start with Julia Cameron’s Morning Pages from The Artist’s Way. Then I proceed to organize and prioritize. Here’s where my lists come in handy. I review what I’m still interested in and I cross out what I have lost interest in or decided against. Usually this is a process where I am exploring and researching for a period of time learning what my ideas may entail.

3. Prioritize

Actual choosing boils down to what I consider doable and realistic. That doesn’t mean giving up my dreams. It just means I need to take steps towards that dream and start at the beginning. I want to see success and accomplishment so I keep that in mind as I begin to prioritize.

First, I ask myself if I need to research or explore any of my ideas. Do I need new skills? Is there training or education involved? Are there classes or workshops I can take?
Secondly, I consider my time. What can I accomplish in a reasonable period of time? My reasonable time may be a month. That means I need to see some positive results from my choice within that time frame. Others may want a shorter period of time to see results or longer depending on the idea and your preference.

Some ideas are directly related to projects that have a built-in time structure. For example, entry dates for contests, publications, exhibitions and so on have established dead lines.

Since I am self-employed I can be flexible with some projects, rescheduling time for exploring and completion. Others with day jobs may have set limits to their free time. This all needs to be considered.

Third, start a list numbered from #1 to #10. Have more then ten? Leave those in your notes. You can always go back to them months later. More then likely, some will die out naturally and others will keep resurfacing until you give them your attention. You will see a pattern of recognizable themes and ideas that repeat themselves in various forms over time.

4. One Choice
From the list of ten, choose one from the top three. By now, you will have researched your ideas, asked questions, and spoken to those who are experts in the subject of your ideas. Coaches, teachers, career counselors or people who work in the field (related to your idea) are good sources of qualified information.

You will also have estimated the time involved in following through on this project and know if you need additional training. Most importantly you will have reflected on your personal values, acknowledged your limitations and recognized what motivates and sustains you. You will have answered the question, “Am I willing to devote the time and energy to this idea to make it work?”
Sounds easy, but it often entails so much more!

Next time, I’ll write about developing a plan for one idea.

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

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Interview with Filmmaker, Eve Ma

Posted on January 10, 2012 by Pam

Eve Ma is an international filmmaker residing half the year in California and half the year in Spain.
Her films include documentaries, narratives and experimentals. Her subjects are music and dance, ethnic diversity and other work with cultural content.
On Friday, January 20 at 7:30 P.M. there will be a Release Party for the screening of the documentary, A Zest for Life. Visit here for more information.

Eve Ma interview:

Can you give us a brief background pre filmmaking?
Brief background: I started off as an historian. I got an MA in U.S. history and a PhD in modern (post 1368) Chinese history, then worked first as a historical consultant (clients included Golden Gate National Recreation Area, U.S. Army Corps of Engineers, various private clients and some museums), next as a history professor (Cal. State Hayward and then Mills College, where I taught both graduate and undergraduate courses). After “doing history” for 20 or so years, I decided on a career change and a friend recommended law school. I attended Hastings, planning to go into public international law (treaty writing, etc.) but a week after I received notice that I’d passed the bar, there was a family emergency which made it impossible for me to travel and work long hours, so I had to give up my goal and instead, opened a little one-woman office. I maintained that office for a few years but found “normal” law to be boring, and so started a non-profit cultural organization which I ran for 6 years, bringing its budget from $3,000 to $75,000. But administration is not for me; it gives me nightmares, so I turned the organization over to someone else. One of the programs of the non-profit had been to interview people on television, and I found that extremely interesting, so when I left the non-profit, I moved into producing and hosting my own television series and from there, into filmmaking.

1.You started filmmaking later in life. Can you tell us what motivated you to go into filmmaking?
SEE ABOVE. In addition, I’m very visually orientated, I enjoy working with a crew, and I enjoy editing. It’s kind of like molding something with your hands, like clay. NOTE that I didn’t start out doing my own editing. I had an editor, but she walked out on me in the middle of editing one of my programs and I had to pick up the pieces, so was forced to learn.

2. How do you generate new ideas for films?
My problem isn’t how to generate ideas; it’s how to keep the number of ideas down to a reasonable, “do-able” level. For documentaries, I love ethnic and cultural diversity as well as the arts (especially music and dance) and there are an infinite number of possibilities out there. For narrative, if you take a relatively simple story idea and try to imagine what you’d need to do in order to get it to resonate with others, there are also an infinite number of possibilities, especially when you add in the elements of dialogue and exactly how you’d create the appropriate images. After I’ve finished principal photography and edited a rough cut, I try to listen to my audience and find ways around any problems they point out, without being too specific and heavy handed in the process. I’d rather have people think and feel, instead of getting everything handed to them on a plate. This means that for the time being, I prefer endings that leave an open, unanswered question.

3. What do you consider the most difficult part of filmmaking?
The technical part, which breaks down into capacity and funding, is the hardest part for me. In terms of capacity, since I am essentially self-taught, I have made LOTS and LOTS of mistakes. I have tried hard to learn from these mistakes and believe I’m starting to see the light so that the technical quality of my current work is adequate and often, a lot better than adequate. In terms of funding, well, to put it mildly, there is not much funding out there. And if you don’t have enough funding, it’s really hard to get good, clean sound. It’s hard to get the image you want not only because of problematical lighting but also because your camera person or your actors may not have gotten it right the first time, or you as a director may have left out an important element, and you need to go back and do it again but might not have the money.

4. What do you consider the most enjoyable in filmmaking?
I like imagining how a scene should look and solving the many problems related to that. This is a challenge you’ll find in documentary as well as in narratives or experimental work. I also like working with actors. I do like working with the interview subjects for documentaries, but working with actors and creating the story is even more fun for me. I like most of the production part and the editing part (with the partial exception of putting the film into the computer, which can be time consuming and for me, pretty boring). What I don’t like but as an independent, underfunded filmmaker, must do is publicity and especially, marketing.

5 .How do you sustain/maintain your creativity?
Again, I have more of a problem picking and choosing from my ideas than generating them. That said, sometimes I have a rather vague idea but to make it concrete enough to turn it into something that will communicate is another and sometimes very large step. I have to discipline myself and just force myself to do it.

6. When filmmaking, what strategies do you do use to break though frustration, overcome stress and become more productive?
Mostly, I just tell myself it’s got to be done. Another strategy I use is to go for a long walk, or go out for a glass of wine, or go to a movie – get away from the problem(s). Every once in a while, I try to write down a list of things I need to do with the idea that I will then prioritize, but the lists grow so fast as to be totally unmanageable. When that happens, I try to approach the matter from a different angle. My latest idea is that I’ll try to set aside specific days in which I’ll tackle specific tasks. The problem is especially acute with respect to marketing, which I don’t like; find to be unending, and tiresome.

7. What are your plans for the future?
My immediate plans are a) to do right by my soon-to-be-released documentary, A Zest for Life: Afro-Peruvian Rhythms, a Source of Latin Jazz (I want to do right not only by the DVD but also by the CD of the musical track), b) to complete and then get out to the public my dramatic narrative Domino: Caught in the Crisis, c) to finish production on the flamenco CD I’m co-producing with a company in Spain and d) to decide which of my half-finished projects I should work on completing next. Funding will be a key element in the decision.

8. Do you have any advice for new filmmakers?
Go to a good film school, if you can. You’ll learn a lot of things the easy way (instead of the hard way, like I did) and you’ll develop contacts that will serve you well (contacts that I am only just starting to develop).

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

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Creative Ideas

Posted on January 2, 2012 by Pam

”Ideas are a dime a dozen,” “it’s not how many ideas you have, it’s what you do with the ideas you have that makes a difference.”

leaves grow in a light bulb

Leaves Grow In A light Bulb Have Buterfly

Most artists I know have few problems with generating new ideas. It’s choosing which idea to follow, sustaining the enthusiasm to complete the project generated by the idea and discipline to keep from moving from one to another without completion of any, that can cause a problem.

There are many articles on the Internet that address artists who have too many ideas. I have read blogs that contain strategies for overcoming indecisiveness I’ve attended workshops that teach organization, marketing, goal setting and business planning. I have even read books on how to overcome resistance. Even so, when it comes to ideas, I often feel like a kid in the candy store. What do I choose? As an artist faced with unlimited possibilities, I need to form a perimeter by which I can select a reasonable number of projects. My choices will be made on experience and confidence acknowledging that as I do this to get started, I will while remain open to discovery and detached from the outcome.
That’s a lot to consider!

Where to start and how to choose are familiar issues artists face on a regular basis? As one of those people with a busy mind, I have found several ways to keep focused. Starting with those creative ideas….

1.   Journal every day.
2.  Keep notes, post-its, lists, a recorder, iPad or smart phone
3.  Prioritize
4.  Organize and plan
5.  Discipline and time management
6.  Meditate

Make choices based on what is do-able, time, energy and finances.

I will expand on each one of these strategies in future blogs. I’ll be asking other artists how they handle their creative ideas and report back to you on them.

To avoid feeling overwhelmed confused or suffering a complete melt down where there is no creative functioning at all, meditate. This helps me not only relax, and focus, but reminds me to trust in the unfolding of the creative process. It can happen naturally and effortlessly if we let it.

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081 or email pamfingado@fingadoartgallery for information.

Visit Http:/www.pamfingado.com

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Creativity and Community – The Gift of Art

Posted on December 24, 2011 by Pam

I attended the Berkeley Art Center Annual Members Holiday Exhibit, Shine, over the weekend. Over two hundred fifty artists participated. Many art organizations have celebrated the holidays by displaying their members’ art and craft works. Just a few examples are Point Richmond Arts Collective, Oakland Pro Arts, and The Richmond Art Center Holiday Arts Festival and The Berkeley Artisans Holiday Open Studios. This is the time of year when we think about giving gifts. There is no better way to support artists then by purchasing a gift that is one of a kind! If a gift is not your choice, consider contributing a donation to the many non-profits in the San Francisco Bay Area.

giving a gift

Giving a gift

Artists and art organizations form a symbiotic relationship, one of a cooperative, mutually beneficial bond. Giving and receiving gifts is by its very nature a similar connection. People give because they care about someone or something and want to help or show support. When the recipient accepts a gift, they acknowledge the feeling and intention promoted by the exchange.

During the last part of the creative process, the artist prepares to share her work with others. She is fed and nurtured by the dialogue that results from sharing her piece with friends, other artists and the public. Another acceptance of her art is in the purchase of the art or monetary exchange.

This holiday season support artists and the art community by purchasing a gift from them. Insure that final step in the creative process is a positive one. Encourage creativity in your neighborhood by donating to an arts organization. Give a gift of a handmade, original work of art and receive the joy of supporting a local artist.

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Interview with Kate Peterson – Community Support and Creativity

Posted on December 14, 2011 by Pam
jewelry tree

Jewelry Tree in "adorn & flourish"

Kate Peterson opened adorn and flourish at 7025 Stockton Avenue in El Cerrito this summer. As the “new kid on the block” I wondered how community support and creativity were helping her business succeed.
Below are questions I asked during an interview with jeweler, Kate
Peterson.

1. How long have you been making jewelry?

I’ve been making jewelry on and off for many years, as a hobby, but I began taking classes and being serious about it a few years before I started my business in 2006.


2. How did you get started? What motivated you to start?

As long as I can remember, I’ve been creatively exploring different mediums in art and continued, throughout school at California College of Arts and Crafts. But I didn’t find my niche in jewelry until much later when I realized I could incorporate my love of gemstones, metal, color and design in a tangible work of art you could wear! I started taking classes and had a natural ability and talent for making beautiful jewelry. I learned the skills of beading, wire-work, firing precious metal clay and then soldering, fusing and metal smithing. The compliments on my work were overwhelming, and I knew I had found my place in the world of art-something I had been on a quest for since I was in art college.

3. What inspires your designs?

Over the years, I’ve designed simple signature components made out of different types of metal that work as a backdrop for the gemstones. I developed collections that reflect my love of certain places and experiences and within those collections I use certain component styles and shapes and specific material colors. Each collection exudes its own emotional response in a customer. Designing is my most favorite part of the process. Figuring out what components work with the certain gemstones opens the creative floodgates in me. In addition to working with gemstones, I also include pearls, glass, shells, wood, rocks and various other natural materials in my pieces. Using my signature silver and gold components, gorgeous gemstones and other materials in beautiful monochromatic combinations, I’ve defined a cohesive and recognizable style.


4. How do you use creativity to connect to your customers?

Custom orders are a significant part of my business. Pairing a customer’s vision with my style is both challenging and rewarding. The opportunity of creating a meaningful piece of jewelry for a customer allows me to stretch myself out of the normal jewelry production box. When I present a custom piece to a customer and it’s “just what they wanted”, it’s a reminder that I’m in the right place with my creative life.

5. How do you use your creativity to sustain your business during economic downturns?

The significant fall in our economy has been very difficult for my business. People just don’t have the extra dollars to spend on a luxury item right now. I waited a few years before making any significant changes, sticking to using expensive metals such as 18k gold and sterling silver. I continued offering higher end pieces consistent with my signature style. I noticed two things in what was selling and what my customer was asking for: 1) jewelry pieces in a specific price range and 2) smaller pieces made with premium materials. So recently I’ve adapted by changing those two specific things. I’ve begun working with less expensive materials such as brass, copper and steel to bring my customer a more affordable material choice when shopping for larger kpd jewelry pieces, and now I offer a much smaller version of my signature style while still including precious metals and gemstones. It’s a win win!

6. As a small business owner, do you feel being creative is an asset?

Absolutely! My business is constantly faced with challenges. An open mind and creative approach to problem solving is number one on the daily to-do list of a small business owner. I recently had the challenge of creating wall hanging display space in my new shop. A few re-used fence panels, a couple coats of paint and the help of my trusty handyman (my dad!) and we had a cool rustic wall of space to hang handmade beauties!

7. What do you consider was the biggest risk or scariest move you made regarding running your business?

Every step forward can be a risk. The craziest move I made was quitting my regular, full-time, well paying job as a retail manager for a major home and garden company to explore making and selling my jewelry. Yikes! At the time, I didn’t know exactly how I would do it, but I had the passion, commitment and faith that I could make it happen. I went from selling out of my home studio and online to a successful retail shop in 4 years. Having the vision, drive and commitment to push me through these scary times developing a business, was one thing, but I also had lots and lots of help-help from an ever-supportive family and very good friends! When you come in my shop, you will see me running it, but I wouldn’t be there without the consistent effort and encouragement of many others. My dream of owning a little shop, making and selling my jewelry in my community, while helping others to do the same, actually happened! I believe, if you really want something, hold on to your vision and find a way to try to bring it to reality.


8. How do you define community support? How do you see creativity and community support working together?

The merchants on Stockton Avenue have shown me, as a new business, that the support of our community can have a huge positive effect on both the financial success and pure emotional craziness that one goes through in opening a brick and mortar store. In particular, my next-door neighbor, Kathleen Glenn of Glenn Custom Framing, has been a ‘Goddess send’. Her wise words of advice, humor, generosity and welcoming support transformed my experience. Jen Komaromi from down the street at Jenny K organized a marketing advertisement campaign in our local magazine with four of the merchants on Stockton including adorn & flourish. As I’ve gotten to know my neighbors, they have become my customers and wish me the best in my new location. The Stockton Avenue space has exceeded my hope of finding a location that would feel comfortable and friendly.

As a manager of a retail store in my previous life, I know that my success is measured by the success of those around me. The simple idea of people coming together to do a little bit to help each other succeed, makes us all successful as a group… a community. When I had the vision of my shop, adorn & flourish, it was all about community! Having challenging experiences over the years of where and how to get my jewelry seen and sold, I knew that my purpose in this new venture would not only be to have a place to sell my own jewelry, but provide a lovely space for other artists in my community. This enables these artists to get their work out of their home studios. Adorn & Flourish is not a gallery, where sometimes items are high priced and unattainable, but a comfortable place where everyday locally handcrafted items, like casual jewelry, accessories and small home goods can be admired, appreciated and SOLD!!! The difference here, is that all our products are handmade, and most by someone in our community. I talk to customers about a particular artist’s process, where they’re from and materials they use. This helps the customer make a connection with the person who crafted what they’re about to purchase. It brings us all together. The community loves it, and even the tiniest of sales makes a huge difference to a small business. It’s not a new idea or a complicated idea, but one I’ve wanted to do for many years! Help others to thrive, and you will do so yourself!

9. What plans do you have for your business in the future?

I’d like to focus on making my shop even more successful by adding in a few more artists, raising the bar on what we can offer at affordable prices, while staying locally handmade. And I’d also like to implement an online shop for the store, furthering sales of local artists’ handmade goods. The bigger vision is to be a part of bringing more creative people together, possibly to Stockton Avenue, as part of a larger collaborative movement keeping dollars flowing in the El Cerrito community.

adorn & flourish (the store)
7025 stockton avenue
el cerrito, ca. 94530
www.adornandflourish.com

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081 or email pamfingado@fingadoartgallery for information.

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Interview with Kathleen Glenn Creativity and Community Support

Posted on December 8, 2011 by Pam
Kathleen glenn

Kathleen Glenn with award for sculpture, "Man With Hat" at the ECAA Annual Art Exhibit

Creativity and Community support

Creativity is a necessity in running a small business. Entrepreneurs are creative people and risk takers who are constantly adapting to the publics’ needs as well as fulfilling the desire to be in charge of their own destiny. Small business owners must think outside the box and be proactive problem solvers. They also need to be hard workers, focused and have support from their community in order to be successful. Kathleen Glenn of Glenn Custom Framing and Gallery is one of those creative problem solvers and small business owners. Her business has been in operation since 1971. She works long hours, is dedicated to her customers and focused.

I asked her about creativity and community support. I was specifically interested in how she used her creativity to reach the public, gain support for particular projects and sustain herself in business during the ups and downs of a long career.

1. Can you give me some examples of how you thought outside the box by creatively engaging and connecting the community in art and framing?

Revisiting the gallery idea and including local artists was one way I thought “outside the box.” After visiting First Fridays in Oakland (four years ago), I wanted to reinstate the gallery at the Glenn. I decided the second Friday would be better for El Cerrito. This gallery idea pulled together the Glenn Custom Framing, the El Cerrito Art Association and the community of El Cerrito. It helped with sustaining the business during the recession.

2. In your business, what are some of the small ways in which you use your creativity on a daily basis?

I find creative ways to see what the clients’ connection is to the art so I can design what they need. A lot is involved in getting people to open up to you. There is just a short amount of time to focus on what they need. On the phone there is even a shorter amount of time to get to find out what they need. I ask questions, explain framing and in this way form a relationship with the client. I try to educate.

3. Do you consider being creative an important part of a small business or do you see your business as a creative endeavor?

Yes, my business deals with displaying a creative piece. My business is about using the creative endeavors of artists. I prove that when someone brings the art to me.

4. Do you see yourself as a creative person?

Yes, I have to help my client choose something or design something which they own and then claim as their design. I have to help them find their creative ability to design and then they can claim ownership for it. They take an active part in the whole thing. I help educate them to make a good choice based on what they value. So it’s getting them to talk about what it is they value in the art piece. I help establish a dialogue to find out what goes along with and why the art was chosen. Was it for status, or are they acting as a guardian of a family heirloom or was it something that “spoke to them”- an emotion that made them select the art. My job is to help them find words that express what it is about the piece that made them purchase it in the first place. Then when they choose a frame and a design to beautify the art, they know why they picked it. They won’t take the framed piece home and say someone made all the choices for them. They’ll know why they chose the colors, the mat and the style of frame. They’ll also know more about the art piece, because we will have talked about it.

4. What particular projects have you helped with or initiated that proved a successful collaboration between the gallery and the public?

(See # 1 and the gallery idea revisited). With the shifting economy people need to see more art even though the art is the first thing to go. Art should be the last to go. Framing is expensive. It’s my job to see how to make it possible to own art and afford to frame it. The unfortunate thing for me is I’m not in framing for the money. Fortunately, I am about serving the community and building relationships. The hope is both can meet and both our needs will be met.

In small business, you follow the guidelines or follow your gut. Business is about establishing relationships for the future. Rules are set in stone. Sometimes we have to establish new relationship with a client and community. Helping people drives me and makes me creative.

5. How did you start…what propelled you into the framing business?)

After the first six years of working in a framing shop, I just did it and started my own business. I was 24 and borrowed money. There was a need to have a framer in the community and I met that need.
Relationships with clients were building from the very beginning. The feed back from the community was that I had talent and creativity. I bought a business from Oakland and started. I seized the opportunity and felt I had the support of the community. I felt the community had so much to give me and I felt they were feeding (encouraging) me.

6. What future plans do you have for your business.?

I am going to move and re-create Glenn Custom Framing in a smaller more intimate center. I am moving across the street (Stockton Avenue) in 2012 to re-establish myself on Stockton and to ride out the rest of the recession. I’ll be next to Reflections Hair Salon. This will be my sixth move in forty years of being in business in El Cerrito.

7. What would you advise for new entrepreneurs and start-ups?

Connect with your client. You need to establish relationships. Don’t forget yourself and put something away each week

8. Finally if you had one suggestion for artists who come to you with their framing needs, what would it be?

Be realistic….

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081or email pamfingado@fingadoartgallery for information.

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Interview with Sandi Potter

Posted on November 29, 2011 by Pam

Lines of Transmission, an exhibit of monoprints by Sandi Potter will be shown at 95 3rd St. @ Mission in San Francisco, CA 94103
The artist reception is on Thursday, Dec 1 from 5:00 – 8:00 PM.
Take part in “First Thursdays” by visiting galleries in downtown San Francisco.

This exhibit is a culmination of Sandi’s Visual Arts studies taken at San Francisco based UC Berkeley’s Art and Design Program. I was curious about her reasons for returning to school and what she learned from the experience.

1. An artist statement tells us all about your work in academic terms. Can you describe your work to us in a less formal manner.

I make drawings, paintings, and mixed media images that are inspired by the landscape. I focus on man-made structures in the natural environment and am often drawn to monolithic structures such as towers and power lines. I’m interested in how these structures mark the surface of the land and how they mirror our modern relationship with the natural world. I offer a cautionary tale about the vulnerability of nature and warn about technology and consumption beyond our control.

2. Your exhibit is titled Lines of Transmission.
Why choose telephone poles for imagery?

monoprint

Portola Middle School Diptych by Potter (c) 2011

I’m drawn to these structures because they are ubiquitous, they are so common that we often fail to notice them. Also, they are usually considered unsightly. Aesthetically I see them as abstract lines and forms and I enjoy the repetition of structures. Conceptually, the power lines and communication facilities stand out as monument to our modern industrial life.

3. Most of the works in this upcoming exhibit are prints. Will you be doing any similar themed work in another medium?

I started this series making large-scale ink and charcoal drawings and I am continuing to explore the subject matter using a photo-transfer monotype technique. I’m currently working on a series of etchings that feature radio towers and airport navigational facilities. I will continue to explore these gritty urban landscapes using whatever media feels most appropriate to convey my idea.

4. I know you made these prints at Kala institute in Berkeley. Can you tell us a little about Kala and your experience there?

monoprint

Cooley Landing #4 by Sandi Potter (c) 2011

I’ve been an Artist-in-Resident at the Kala Art Institute since July 2011. Kala has allowed me to expand my exploration of print-making, to participate in classes, and be part of a supportive print-making community. I will be part of the upcoming group show of Artist-in-Resident’s work (Opening on December 15th at the Kala Gallery located at 2990 San Pablo Avenue in Berkeley). Most significantly, I have had the opportunity to get to know other artists working in the Bay Area (and across the county), to learn from them, and to develop friendships. Folks at Kala are mostly working in print-making but they are also painters, jewelers, sculptures, book-makers, and musicians.

5. You returned to school after a long hiatus and your background that prepared you for your current career is in an unrelated field. What exactly prompted your decision to return to school to study art?

I’ve always studied art even when I was studying Geology. I kept a sketchbook, making drawings of landscape features. I also worked as a cartographer, making maps and drawings of important fossils and other scientific features. It was always a dream of mine to earn a college degree in Art.

Though out my life I’ve worked in many media, including photography, collage, textile, and painting. For a time I taught art at the adult school and through an after school program. In 2001 I started taking classes at UC Berkeley Extension, then in 2008 I began work in the newly developed post-baccalaureate certificate program in Visual Arts. This program has allowed me to earn the equivalent of a Bachelors of Arts degree, a dream come true for me, and a path to deeper expression and understanding. The program offers a comprehensive program in studio art, art history, critique, and professional development.

6.What future plans do you have for your art career?

I hope to continue learning new print-making techniques at Kala and to continue to show my work, expanding my involvement in the East Bay Art community. I would also like to explore contemporary topics in visual arts with groups of artists and to develop curatorial proposals for thematic group exhibits.

7.Finally, for all those potential art students, what is the most significant thing you learned about yourself in art school.

I really got to know myself – both my artistic process and my aesthetic. I learned about my strengths and weaknesses and how to work outside my comfort zone. However, the most important thing I learned was that art is not just about drawing and painting well, but about thinking as an artist at a deep, philosophical level.

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About Inspiration and Motivation

Posted on November 17, 2011 by Pam
Inspiration Point

INSPIRATION POINT

This week’s post is about inspiration and motivation. Although some artists can be inspired by travel (as in “Travel can Increase Creativity” post) or nature, politics or anything imaginable, inspiration alone will not guarantee a finished painting, increased creativity or success in your artistic endeavors.

Thomas Edison stated, “Genius is 1% inspiration and 99% perspiration.” In other words working hard carries more weight then being inspired. This also applies to creativity. Waiting to be inspired before starting any art form is not a reliable way to achieve success. Establishing a regular work routine, time spent in the studio if an artist or behind the computer if a writer, in the dance studio if a dancer, performing if an actor, or practicing on a musical instrument if a musician is the way to attain success. Success is accomplished through hard work, focus and support. Without these three elements each day would be dependent upon our mood or waiting to be inspired.

Ann Lamont in an interview with Diana Page Jordan, “Small Breakthroughs and Small Breakdowns”, in The Writer’s Guide To Creativity magazine, remarks on writing, “I learned you sit down at the same time everyday….. whether you are in a bad mood, or if you’re a little sick or don’t know what you are doing….”
“I learned you don’t wait for inspiration. That’s a bunch of crock. That’s just an excuse to not have to take yourself seriously as an artist.”

Inspiration can be the initial spark that lights the fire of creativity, but like any fire we need fuel to keep it going. Developing skills that improve our craft, revising our original vision, re-evaluating our goals and reaching out for support with our peers guarantees the fire will remain strong. That doesn’t mean inspiration isn’t needed, it’s just part of the package that gets us moving in the direction of making art.

Motivation on the other hand is having the incentive or reason to do something. It is the interest or enthusiasm that makes you wants to do something. That motivation can be intrinsic, extrinsic,
Interpersonal or personal. We choose to make art or write, dance, sing etc. because it gives us meaning and purpose in life. It can bring in money or rewards, fame or status or it connects us to other like-minded people in collaboration or in competition. It can also personally fulfill our values and give us a sense of well-being. These motivators can shift from one to the other, but the more motivators used the more inclined we are to sustain that interest and therefore attain some level of success.

In the book, the War of Art – Break Through the Blocks and Win Your Inner Creative Battles, Steven Pressfield, the author refers to Somerset Maugham’s comment on writing and inspiration,
“I write only when inspiration strikes, he replied. “Fortunately it strikes every morning at nine o’clock.”

Do you wait for inspiration to strike to get on with your writing, art making and so on or do you have a daily routine, a regular schedule, a commitment to your craft? How many motivators support your artistic pursuits? Answers to these questions could help you become more clear on why you do art and how you are approaching art making.

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081or email pamfingado@fingadoartgallery for information.

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Travel Can Increase Creativity

Posted on November 4, 2011 by Pam

 

Travel can increase creativity. After visiting Europe during the summer, I came home feeling energized, ready for something new, looking at life differently and definitely feeling renewed! It’s true any vacation can make us feel rested, but now there are studies that show traveling increases creativity.

According to AllPsychologyCareers.Com, travel has a number of creative benefits. Besides being away from the same old routine, it increases our ability to look at things differently. Just thinking about being away in another place, referred to as psychological distancing, apparently helps with creative problem solving.

How travel increases creativity:

1. Travel takes you physically away from stress so your mind and body can rest and recover.

2. A rested body and mind can absorb new information, and function optimally.
3. New experiences can be inspirational and stimulate new ideas.
4. Creative blocks can disappear when using psychological distancing.
5. Navigating in unfamiliar places increases problem-solving skills and creates new neural pathways.
6. Travel can change the way you look at life and people.
7. Learning a new language increases brain function.

My summer road trip with a friend, started in Vienna. After three days in this elegant city visiting the museums and learning all about the Hapsburgs, we drove to Slovenia.

Lake Bohinj, Slovenia
Lake Bohinj, Slovenia

I found Slovenia to be a land of contrasts, from the resort areas of Lake Bled and Lake Bohinj, to the mysterious Skocjan Caves to the capital city, Ljubljana. We proceeded to Venice with it’s colorful and “over-the-top” carnival- like atmosphere. We ended our trip in Salzburg where we treated ourselves to a Mozart dinner concert and the obligatory tour of The Sound of Music.

Our trip included regal and extravagant cities, the rural countryside and the Alps. I found that traveling through Slovenia is really like stepping back in time. The towns were quaint with the center of each small town in Austria and Slovenia marked by a church. Each church was decorated with folk art designs, and the baroque steeples topped with bulbous, uniquely painted tops.

I was surprised to find so many women dressed in traditional folk dress in Austria. When we braved the multitude of tourists (pre tourist season) I was reminded of the allure of Venice after experiencing a lavender and violet twilight.

Finding Lake Bohinj in Slovenia was the highlight of the trip for me. Totally untouched, backed by the Julian Alps, this lake took my breath away. The colors of spring, the early morning light, the cool air and warm sun, and the reflections of the Alps on the water were awesome! Here in the country, while driving along a one-way road, there stood in the middle of a meadow with spring wild flowers abloom, and the sun streaming down on the rooftop, the perfect Heidi house. I told my friend,

Church Steeple in Vienna, Austria

Church Steeple in Vienna, Austria

"Heidi" house in Slovenia

"Heidi" house in Slovenia

“This is where I want to be!”

 

 

 

 

 

 

 

So how does this translate into becoming more creative?
Well, folk art patterns abound. They are found in the Austrian embroidery that adorns the woman’s’ clothing, the stucco walls of the local chapels, the decorative designs inside the churches, restaurants, and on older pavement in Slovenia. Hand painted, delicately designed and decorated hollow eggs are a tradition in both Salzburg and Slovakia. So when I came home, I started recording and drawing the folk art motifs and thought about how I could incorporate this into my work.

Navigating through strange cities, towns and countries (even with GPS) challenged both of us. Finding alternative routes, learning to read signs in a different language and getting lost were all part of getting from one place to another. Communicating with only German speaking people was fun and funny. My friend found novel ways to interpret foreign city signs and I almost had a meltdown in Salzburg! I found we were resilient and able to make our way through any city, given time, patience.

More then the sights, languages, art in the museums, navigational challenges, food and people I was able to get away and outside of my normal routine. So when I arrived home, the painting I had been working on and stopped (because I ran into some problems with it) looked different. I was immediately able to see what needed to be done and promptly finished it.
I followed up on-line the history of Austria and Vienna after learning about the Habsburgs and Sisi, (Queen Elisabeth) at the Imperial Apartments at The Sisi Museum in the Imperial Palace. The German Expressionist exhibit and the Gustave Klimt collection at the MOMA in Vienna took me back to the time of the European Empire pre World War I. Artists such as Franz Marc and Vasily Kandinsky of Der Blaue Reiter were inspired by spiritual values and nature. The artist’s group, Brucke, (considered to be the beginning of expressionism) promoted community and collaboration. Both these groups held young artists who were called up to enlist in World War I. Those who returned from the war were badly traumatized and many were killed.

My view of these countries and the experience of its people, architecture and culture have helped me appreciate their contribution to the world. Studying a little history and putting into context their art and how it reflected the changes European countries were experiencing pre World War I clarified the complexities of economy, politics, those who are in power and those who are without. I was able to see how the Expressionists reflected these changes and the trauma of war in their work.

Having fun while traveling increases creativity!

Feel free to add you own travel experiences in a post.

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081or email pamfingado@fingadoartgallery for information.

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Interview with Nicole Rubio, photographer and artist

Posted on October 11, 2011 by Pam

Interview with Nicole Rubio, photographer and artist
October 8, 2011

1. Why did you choose photography as your primary art medium?

The camera helps me capture an idea quickly, as I am thinking. Being an introvert, it helps me focus outward into the world and gives me a tool or a role to face life, to grab it my way, and show people my way of seeing things.

2. What inspires you or what aspects of a scene motivate you to photograph?

Just walking to BART I probably wouldn’t see anything special. I have to be looking for a good photograph first. It takes shifting into the right side of my brain. When I first arrive in a place I can’t make any visual sense out of it. It takes me four or five days to start getting my own reactions to it and identify themes that stand out for me. Spending time looking for photos, I get deeper and deeper into the seeing mode and my best photos are taken towards the end of my trip because by then I have a point of view about it.

3. What message are you conveying with your photographs? Can you give an example?

I want to show the specialness of ordinary things caught in small, secret, fleeting glimpses. The reflections in a puddle, the real emotions crossing someone’s face as they feel them (like the Two Women Suddenly Turning), the patterns in the shadow cast under a glass doorknob

4. How do you compose a photograph? What methodology do you follow? What type of camera do you shoot with? Do you use any special filters or lenses?

I choose only the part that first caught my attention. I use a macro/zoom lens that allows me to be far away. I do this so people don’t know I am invading the private thoughts on their faces. It also allows me to get details of architecture that are way out my reach. I blur the background so only the important part of the subject is in focus. There is a better chance of getting a compelling photo with less clutter in the frame. When I had a film camera I used an amber or pale pink filter to give the scene warmth. With my new digital camera, a 12 megapixel Olympus 620-E SLR, well I’m still learning its multitude of settings. If you want an interesting photograph, you have to take it off automatic. An Olympus is lighter than a Nikon to carry around and suits a woman’s smaller hands better.

5. What culture would you like to visit and photograph next? Why?

As of last night, I have successfully prodded my husband into going to Havana Cuba with me. It took a few months of subtle push/pull and careful timing. But why Cuba? Because I heard it hasn’t changed much since the 1950s. I love the curvy cars from that era. Plus it has Spanish colonial architecture and music which I love.  Buena Vista Social Club did so much for re-awakening people’s interest in Havana, myself included. I want to see and feel the street musicians and dancers in ruffled skirts and bandanas. Now, before it gets too touristy.

6. Your photography and philosophy are travel and culture based. Can you tell us something about how culture influences your photography?

I was a small child in the 1950s. My dad was an exporter and thrived on travel to the Caribbean. I absorbed some of his sense of excitement about airports. My mother never went with him because she was scared of bugs but she also had a wonder for “far away places.” When she died I found a small box labeled “Foreign Coins” in her fireproof box. My dad probably brought them back as change from his trips, like pennies and dimes. But to her, because they were from far away, they were a treasure. As a child you absorb these feelings. My grandmother lived with us and made wedding gowns for a living. She made me many princess dresses with hoop skirts and miniature copies for my dolls.

Loving costumes, I was also heavily influenced by the early Hollywood movies. Especially movies that portrayed different cultures, like Arabian princes with turbans and pointed slippers and exotic women with veils. The different flavors between the cultures were so clearly portrayed. My five year old mind put together these factors as far away travel + costume = magic. I still go places looking for those images. I went to Paris looking for bohemians in black and white striped boat necks and blue cobblestone streets. I went to Turkey looking for spiral domes and belly dancers. I went to Buenos Aires to find 1920s tango. When I get there I find only small pieces remaining of what I’m looking for. I’m indifferent to current modernized life and it takes me a while to find other interesting qualities of the place.

7. Besides the different locale and the colors and light associated with different cultures, what do you learn personally from photographing other cultures?

I learn there are ways to create beauty that I have never thought of and never would think of that other cultures have thought of. The table butter was sculpted into swirls in France and that made eating it a richer experience. The creamy consistency of an Italian cappuccino consumed in Rome was so different from the percolated version back home. That in a culture with only brown eyes and black hair, a blue-eyed blonde is a cause for wonder. That people with little money seem happier than us because they enjoy each other’s company and value the family. That singing and dancing and making crafts lift their spirits and help them rise above survival problems. That European people have social manners that I crave. We Americans don’t know it all.

8. How does this affect you as an artist?

It makes me feel that the more I learn about other cultures the better I will understand my own life, what is important: doing what gives you joy and valuing your friends and family.

9. Any plans for a future show?

India. Although I went there last January, all of a sudden in October I sent twenty- five photos to the printer to enlarge. I waited until I got the urge. I want to complete that trip before going on the next one, when I’ll come back with a whole new set of photographs.

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