Archives for October 2013

John Austin Hanna Interview

Mr. John Pototschnik · Oct 28, 2013 · 4 Comments

Winner of the “Donors’ Award of Excellence” at the 2013 Oil Painters of America 22nd National Juried Exhibition, John Austin Hanna discusses his illustration background, his transition to a successful fine art career, and his current work.

Illustration as preparation for the fine arts

John Austin Hanna believes his 20-year commercial illustration career in New York and Dallas prepared him well for what has become a successful career in the fine arts. The Fredericksburg, TX artist enjoyed working with many types of professionals, included among them, Bill Neale, an important Dallas artist and art director who was “largely responsible for me going to New York. Illustration taught me to communicate ideas effectively. Even though those ideas weren’t always mine, decisions had to be made that communicated clearly and creatively those ideas. You really won’t make it if you can’t draw and have a good sense of design”, he said.

Hanna and I were both illustrating in Dallas at the same time. Although I never met him at the time, I was a great asdmirer of his work…from a distance. He was recognized as one of the best in Dallas at the time, and stories I heard of his abilities always amazed me.
Transitioning from illustration to fine art was not that difficult for him. “The kind of painting I do is not that much different. The major difference though is not knowing if anything will sell. At least in illustration I got paid, most of the time, for everything I did.” Hanna seems to have a laid back, relaxed approach to his work. He paints anything and everything he is interested in, and does it well, with little concern whether his style will be unique…and yet, it is. Maybe this lack of concern, the variety of subject matter, and the large quantity of work he has produced has been a contributing factor.

He doesn’t call himself a plein air painter but he does believe painting on location is important because it teaches us to see…to see what things really look like.

Selection of subject and working method

The ideas for his paintings come from things he has observed. “The subject pretty much selects me,” he says, “it’s something that just hits me.” When blocking in a painting, his method is loose and free. Normally, he dives right into a painting with very little preliminary work. He prefers to work out his ideas on the canvas during the block-in phase by moving elements around until he gets what he wants. He is not a slave to any set rules of composition. “I should spend more time attempting to simplify and minimize value masses, for I really admire those who do it well.” Even though he pretty much knows what the completed work will look like, he keeps an open mind, always willing to change direction if it will result in a better work. However, when asked how he knows when a painting is finished, he quipped, “When I’m halfway pleased.”

“Brick House on Bowie Street” – 18″x 24″ – Oil

When working from photos he is aware of their distortion and lost details, but he also believes they have value in that they can help the artist to simplify. “The most difficult part of a painting for me is the middle…and putting enough paint on the palette. I do hope however, when all is said and done, that the end result will be paintings that stir feelings of personal importance in others.”

Hanna’s paintings are not “pretty” pictures. They do not romanticize, sanitize, or glamorize the subject. There is a gritty reality to them. When walking through his fields you’ll need boots for you just know those fields could be full of stickers, cockleburs, and grasshoppers. Knock on the door of one of the old houses and you might very easily encounter a crusty old guy with a shotgun.

Art…an enriching experience

Getting Hanna to define art proved difficult. “It’s the age old question. It is what man has done since the beginning of time. A lot of fads come and go. What was considered illustration years ago is now bringing big bucks…as fine art. John Canaday’s book, ‘What is Art?’ is the last and only answer to the question. However, whatever its definition, it is an inexhaustible enrichment for life.” Whatever art is, it is a definite part of the Hanna family. His son and wife own a beautiful little gallery in Fredericksburg called the R.S. Hanna Gallery. They represent some very fine artists, including a nice selection of John Hanna’s work.

Bull's Eye — “Bull’s Eye” – 30″x 24″ – Oil

“Summer Cool” – 12″x 16″ – Oil (Donors’ Award of Excellence-OPA National)

When asked what advice he would give first-time collectors…”Buy original art; read about it, and go see it. Buy what you like; it’s a learning process” To become a successful artist there is only one way: practice, practice, practice, along with perseverance and a lot of luck. He also suggests the young artist/painter should “paint more, talk less; look at everything: galleries, museums, etc…and observe.” Asked which three artists have enriched his life and with whom he would like to spend the day…his answer: Richard Schmid, John Singer Sargent, and Joaquin Sorolla.

2013 Summer Online Showcase Winners Spotlight – Nikolo Balkanski

Oil Painters of America · Oct 21, 2013 · Leave a Comment

Nikolo Balkanski received the First Place Award of $3,000 cash for his painting of “Sophie” entered in the OPA Summer 2013 Online Showcase.

Nikolo Balkanski’s paintings bring his European origin and training ot his art, and his post-impressionist interpretations carry a distinctive quality that easily captivates the viewer with his portrayal of the subject using sophisticated color and remarkable draftsmanship.
Balkanski, and internationally recognized portrait and landscape artist from Sofia, Bulgaria, lives and works in Colorado. Since his move to the United States in 1984, from Helsinki, Finland, his work has undergone a natural metamorphosis.
“Unfettered by self-imposed limitations, Balkanski applies his well-developed skills to subjects as disparate as landscapes, nudes, portraits, still lives and more. His style, technique and especially his use of color result in images that are more painterly than the art that most collectors may be accustomed to seeing.” – U.S.ART
“Of the many exceptional features Mr. Balkanski’s work displays, none is more commendable than his command of atmosphere. This is an elusive quality that all too many otherwise quite competent painters lack the virtuosity to achieve. Balkanski demonstrates an extraordinary understanding of light and depicts it in an altogether convincing fashion. The viewer senses at once the kind of light falling on Balkanski’s subject and is aware of the atmosphere, the weightiness of the space surrounding them.

Sophie by Nikolo Balkanski — “Sophie” by Nikolo Balkanski, 20″ x 16″

This control of atmosphere gives each of his paintings a distinctive mood, an emotional quality independent of an narrative element and even the subject matter. The subtlety this kind of painting requires is mark of uncommon facility and itself would qualify Nikolo Balkanski as a Master.”
One sees at a glance that Mr. Balkanski is schooled in the techniques of the old masters and possesses the exceptional talent to employ their methods in creating thoroughly modern paintings. It is therefore of no surprise that he is so highly regarded by his peers, museum curators, and prominent art collectors.

Moving Beyond The Receipt Shoebox: Practical Accounting And Administration For Artists

Oil Painters of America · Oct 14, 2013 · 2 Comments

Presented by OPA Signature Member Kurt Anderson at the 2010 Oil Painters of America National Exhibition.

General Rules for Good Organization

All artists should keep track of their expenses. They are deductible and will save on taxes!
Keeping track of expenses should be made a priority. If the artist says instead that he will work on the expenses when he has time, that time will never develop. Develop a habit. Set aside a certain number of hours per week or a day per month to do your administration and accounting.
The artist has to multi-task and be organized as he is running a one-person business.

The Well Organized Workspace

Kurt uses two bulletin boards.

One is a gallery board. He provides a spot on the board for each gallery where he is exhibiting. He attaches prints or 4×6 photos of paintings he has in the gallery. He includes the size, title, and price on the back of the photos.
On another bulletin board he attaches announcements and prospectuses for invitational shows. He posts workshops, shows and mailings that are pending.

Inbox Files

A separate file box is set up by Kurt for each type of accounting activity. They are labeled “To Do”, “Receipts and Statements”, “Address Updates”, and “To File”. He uses an accordion file for the receipts and statements.

Art Income and Expense the IRS Way

Records should be maintained in such a way that they can be easily recorded on income tax forms. Kurt uses two files..one for “entered” and the other for “not entered”. He uses the accounting program “Quicken”.

	BUSINESS EXPENSE WORKSHEET:
	Art Income:	This is separated between Form 1099 Income and Non-1099 Income.
	Supplies:	Includes office supplies, postage stamps. It is not necessary to keep an inventory for Schedule C. All materials should be posted to “Supplies”.
	Communications:	Internet, Biz and Telephone, Biz.
	Advertising:	Printing and Reproduction Ads
	Travel:
	Meals & Entertainment:	Divide between 50% (travel. Only category that is not a dollar for dollar expense for IRS) and 100% (company parties)
	Legal & Professional Fees:	Includes dues
	Contract Labor:	Models, limited services
	Misc. Expense:	Postage & Delivery Subscriptions.

	HOME OFFICE EXPENSE WORKSHEET:This provides information for determining percentage use of certain expenses which may be deducted for IRS.
	Maintenance & Repairs:	House and studio
	Utilities:	Gas and Electricity
	Improvements:	Studio only

VEHICLE EXPENSE:Either of two methods may be used. The artist should keep track of miles driven in the car for each place he goes and record which are for art purposes. At the end of the year he should add up the total art miles.

The easy way is to use the “standard mileage” method. This involves calculating the total art miles times an IRS approved rate per mile.
The other method involves calculating all vehicle costs. When there are sizeable repairs it is possible that this way will provide a greater deduction than the “standard mileage” method.Â This method involves keeping track of expenses by categories of: Gas, Oil, Tires, Repairs & Maintenance, Insurance Year End Mileage, Business Miles.

Non-Business IRS Records

In order to prepare the IRS income tax records, it is necessary to keep track of a number of non-art income and expense items.

Spouse’s W-2
Interest Income (from form 1099-int)
Dependent Care Expense (separated by provider. Need his EIN or SSN.) These expenses should be separated by each dependent.
Donations and Tax Credits (donation receipts, private schools (scholarship organization), public schools)
During audience discussion of “Donations” involving artwork, it was suggested that if the artist has received a check from an auction and then writes a check for the commission, the commission m ay be listed as a contribution to the sponsoring organization. Another suggested option was that an artist could swap a painting with another artist and donate it, thereby being enabled to take a deduction for the full amount of the value.
Homeowner’s Expense (Property Tax, Homeowner’s Insurance, Mortgage Interest (form 1098)
Auto Registration Fees (artist’s car and spouse’s car)
Medical Expenses. (All receipts added by category of Prescriptions, Medical Professional Fees including Dental, Eyewear and Eye Exams and Health Insurance)
Quarterly Estimated Tax Payments are normally required for an artist.

Methodology for Maintaining Records

Several package programs are available for maintaining accounting records such as Turbo Tax Online or Quicken. Kurt enters all cash expenses as well as check and credit card expenses. Downloads may be made from online banking and credit cards to Quicken
Income and expenses may also be recorded in a spreadsheet. At the end of the year, data can be transferred from Quicken to an Excel spreadsheet.
Keep an inventory of art. (See “The Well Organized Workspace” above). While not needed for IRS, it is essential that the artist keep an accurate inventory of available work.
Maintain good Gallery and Customer Relations.
Have a website and keep it updated continuously with new work.
Make a Business Plan. Have one for One Year, Five Years and Ten Years.

Check List for your Administration Day:

Update Email – respond/file
Update Inboxes – To Do, Receipts & Statements, Address Updates, To File
Update Calendar
Update Bulletin Board
Update Gallery Board. Contact Galleries.
Update Organizer
Update Spreadsheet Program. Download Bank/Credit Card Data. Check against Receipts/Cleanup
Update Website
Review and Update Business Plan

Bryce Cameron Liston Interview

Mr. John Pototschnik · Oct 7, 2013 · 4 Comments

“Being an artist and painting the human figure is what compels me. It wakes me up at night, it’s what I love and I drive myself to do it very well. Art is my lifelong obsession, pleasure, and torment.”

One thing I have learned about Bryce Liston during this interview process…he’s a very professional, dedicated, and responsible artist. But why should I be surprised? Except for a short time at the University of Utah, he has directed his own educational path. It’s been a path of very focused, hard, persistent work, and he believes that the lack of formal art education actually helped him discover his “voice”.
Freed from the influence of the so-called “sophisticated voices” of college art departments, that tend to scorn illustration, or anything representational for that matter, Liston fell in love with the works of Pyle, Wyeth, Rockwell, and others. These great illustrators of the past proved to be instructive and immensely inspirational.
Liston knows what it takes to succeed in this business, but he also knows it takes more than just hard work. In a recent blog posting, he closed with a quote from Edgar Payne, “Great patience is called for on the hard path that I have entered on.”
I’m pleased to bring you this wonderfully informative interview with Bryce Cameron Liston.

Why are you a figure painter?
Great figurative art is an enduring depiction of the human experience. The human form completely inspires me. People are beautiful, mysterious, ever changing and completely individual.
I grew up looking at the wonderful art of the great illustrators, like Howard Pyle, N.C. Wyeth, Frank Frazetta and Norman Rockwell. In school I spent hundreds of hours pouring over the images created by those great artists. I guess that’s not such a great thing to be doing in math class…maybe that’s why I never “got” math. I think back to those wonderful and powerful Frazetta paintings, and how he painted the human form. His characters were alive, dramatic and VERY sexy– it really stimulated my imagination. I’ve been focusing on the human form ever since.

What training did you receive in order to pursue your career?
I have had little to no official training. I’ve gathered information and training in my own manner. Growing up in a rural area of Utah in the 70’s and 80’s, resources and financial backing were very limited for me. So with that facing me, the local university seemed to be my best option. Boy was I disappointed! It only took a little over a year to decide it was not the right fit for me. I wanted to learn about the craft of art. I wanted to learn to actually produce art, not just discuss it. I wish I could have found some solid training back then, but can you imagine finding about far flung art schools without any internet and very little money? My only connection to the art world at that time was an institution that had no patience for traditional art. And then, I was fortunate enough to find a world class sculptor living in my area that needed some help in his foundry. So I spent 15 years working for sculptor Edward J. Fraughton. Ed was very liberal with his advice in the arts. Many times it felt more like I was in a school than a foundry. I learned a lot about anatomy, gesture, line and composition, not to mention being on the receiving end of some great lessons in art history. It’s funny, I learned about painting from a sculptor- I don’t think that’s something that happens every day. Obviously for painting there were certain gaps, such as color, value and edge. Since my time in the foundry I have worked very diligently to increase my skill up in those areas.
So, you really don’t think you received sufficient training to be an artist?
No, not even close. I continue to learn every year, every week, every painting. It’s what drives me. Degas said it best I think…on his death bed it is reported he said, “Damn and just when I was starting to get it.”

Knowledge and procedure

Does one need to have a thorough knowledge of anatomy to be a good figure painter?
I live by and teach this quote by Robert Beverly Hale: “First you draw what you see. Next, you draw what you know, and only then, will know what it is that you see”. It’s a brilliant statement; it’s stated so simply, but behind those words lie a lifetime of study for anyone. So yes, anatomy is very, important. In fact, coming at art partially through sculpture, anatomy is paramount. The sculptor works with form first (anatomy), and he knows his form is correct by the way the light falls on it. The painter approaches it in almost the opposite direction (albeit a complementary one). And that is, he paints the light and when he gets the effects of the light accurate, the form will read correctly.
How much of your work is done from life?
I have always worked from life, be it drawing, painting or sculpture. I continue to work from life each week as many times as my schedule will permit. But I must admit that I’m not the fastest painter. So in order to obtain the finish needed in much of my work I also need to use photographic reference. Many of my paintings are a collaboration of both life work and photo reference. My studio is also my place away from the world, it’s my refuge. I would find it difficult if I had to share all this time with a model.
What’s the key thing you’re trying to capture when painting the figure?
I guess it depends on what my particular subject is and how I’m feeling at the time. Many times it’s just the desire to turn the form. That is, making something look three-dimensional on a two-dimensional surface. It’s that sculptor in me I guess. I love the lines of the figure, especially the female figure, and trying to capture the subtle lines and gestures in a figure can be extremely challenging.

Is the popularity of the female form in art throughout history a result of artist’s being predominately male…or is there another reason?
I certainly think that aspect can’t be ignored, but it is certainly much more than that. I enjoy working with the simple beauty and the elegant flowing lines of the female form. There is certainly a sensuality and grace to the form; it’s beautiful and lovely in so many, never ending ways. It’s interesting that most of my female artist friends agree that they also enjoy working primarily with the female figure.

Working with the model

When setting up the model, what is the main thing you’re after?
Line and gesture are always at the forefront of my thoughts. Shapes come in next along with the lighting.
How do you typically select and work with your models and how are they compensated?
Beyond using my family members, the selection and use of models, quite often is a hit and miss game. I like to work with someone outside of my studio first, that is, in an open group of artists. That way I get to know the person first before inviting them into my personal space. Personality is so very important; I have to enjoy working around the person. And as far as compensation, it’s typically an hourly rate.

“Study for Le Jardin" — “Study for Le Jardin”

It’s one thing to capture a likeness, it’s another to capture one’s inner character, how is that accomplished?
I can’t tell you how many times I’ve been working on a piece and felt like it looks very much like the model, but I can see it’s technically a bit off, so I proceed to “fix it”. In the end I know that it’s technically correct, but now it no longer looks exactly like the model. I believe the painter is painting the person’s essence, their spirit if you will. I don’t know exactly how it happens; it just kind of sneaks in there when you’re not looking. That is one reason an artist’s portrait far exceeds a photograph.
Describe your working procedure.
I seem to approach nearly every painting a bit differently. I keep thinking maybe someday I’ll do it the same way each time. But the more I learn about myself the more I realize this is the way I’m wired. I guess it’s a way of keeping things fresh. Sometimes I start with a drawing of the subject or figure. I like having a drawing to refer back to in case the painting gets out of whack. But many times I just start drawing on the linen.
Beyond all of that, I first look for the overall design, flow and placement of the subject matter. A strong design is the foundation of any great painting. After I feel I have a good start with the design I start looking at the light. I ask myself what temperature is it? What direction is it coming from and what is the intensity? The light unifies all the elements in the painting. It gives the painting its mood.

The Process

“Repose” 16″x 24″ – Oil (Completed Painting)

How thorough is your initial drawing?
It depends on how complex the painting is. On a simple painting I will only indicate the drawing with simple geometric shapes. If I’m working out a more complex painting I can spend days working on the drawings.
What colors are most often found on your palette?
Titanium white, flake white, cad yellow lt, cad orange, cad red lt, perylene red, quinacridone violet (mostly I mix those two together to make a very good permanent alizarin crimson), ultramarine blue, viridian, turquoise blue, yellow ochre, raw umber, ivory black. This is a general overall list of colors I typically use; I don’t always have all of these colors out. Many times I will limit my palette or simplify it depending on what I’m painting.

Perseverance and painting what you love

How does one find their individuality as an artist?
I think in this day and age that can be a bit difficult. I mean, the whole planet is at our fingertips instantly. We can look at nearly every style and approach by nearly any artist anywhere in the world from any time period. It’s easy to maybe lose yourself in there somewhere. It’s important to ask yourself, what excites you? What type of scenes enliven and motivate you?
Do you experience dry spells, where everything seems to be a struggle? If so, why do you think that is?
Yes, it actually happens quite often for me. I have determined it can be caused by several different factors. The first is plain and simply overworking. I don’t mean overworking an individual painting (that happens too, but it’s a by product) I mean too many hours and too many deadlines back to back. The artist’s mind needs time away, time to think, rejuvenate and just experiment. I guess the saying fits “all work and no play makes Jack a dull boy”.

Landscape has been the most salable subject for years, do you see that changing?
I don’t see that changing. In fact with the huge popularity of plein-air painting right now I see landscapes becoming even more popular. I think it takes a gutsier collector to buy figurative art, and of course people who purchase nudes, are even more so. Figurative art tends to make a statement; it’s more personal. Landscapes are simply more accepted, more passive. I have been told by some people they don’t collect paintings of people because they don’t want someone they don’t know in their home. But really, when most of us think of great artists of the past…and the greatest of all work…what and who comes to mind first? Velasquez, Rembrandt, Vermeer, Titian, Michelangelo, Courbet, Sargent, Sorolla, Repin, Fechin..etc. are all at the top of the list. Great figurative art is an enduring depiction of the human experience.

Influences and wise advice

What advice would you have for a young artist/painter?
DRAW, DRAW, DRAW! Paint and draw all the time. Do it now! Do not wait. Do not think you have a lifetime because it takes your whole life to figure it out. It’s about mileage and pushing yourself to grow and learn. Learn while you’re young, you learn more efficiently. So do it now and don’t ever let anyone tell you that you can’t be an artist! Your doubt and your fear are truly your greatest enemies.
What advice would you have for a first-time collector?
Collect from your heart. Collect art that speaks to you; you’ll know it when it does. You’ll feel that little twinge in your gut when you see that painting across the gallery, and it makes your pulse quicken and calls you over for a closer look. Those are the paintings to add to your collection.
If you could spend the day with any three artists, past or present, who would, they be?
This can be a daunting question. When choosing an artist from the past I always wonder if you should take their personality into the equation. I mean, I would love to spend the day with Sargent, Zorn or even Sorolla, but I believe they wouldn’t have much time or patience with me or anyone else asking a bunch of questions. They seemed to be men with large egos, larger than life and in certain circumstances perhaps not the nicest people. But that’s a big part of what made them great artists. I do know a little bit about Norman Rockwell and I’m pretty sure a day spent with him would be very enjoyable, smoking a pipe or two and learning a lot to boot. As far as artists alive today, I would love to have some time with Zhang Wen Xin. He’s a Chinese artist that lived in the U.S. from 1987 to 2005. When he was in the U.S he would make his way up to Salt Lake City from Taos to teach workshops in the summer. I did manage to take part in some of his workshops, many, many years ago. But I look back now and realize that nearly everything I saw and that he said went way over my head. If I had the same chance now, I think I might be able to grasp a little of his genius.
You asked for three artists, so I will throw in John William Waterhouse. He is one of my all time favorites and I believe he was a humble and sincere man. I would love to know more about his process and thinking behind his paintings…but really, just the chance to watch him work…priceless!

If you were stranded on an island, which three books would you want with you?
Well first off I would want the U.S. military survival guide. Because I’m pretty sure I wouldn’t have the ability to make coconut and banana cream pies like Marianne. Beyond that I guess just about anything by John Steinbeck. Or perhaps the Lord of the Rings trilogy would be nice. On the other hand perhaps that would be a good time to try to take in War and Peace or Moby Dick.
Who has had the greatest influence on your career, and why?
Again, I would credit those illustrators I mentioned above. But perhaps the reason I was so interested in those artists to begin with was because I grew up around art. My Mother was an artist and art was always prevalent in the house. I always had the smell of turpentine, oil paint and varnish in my house and oil paints in the freezer—I mean, didn’t everyone?;-). Many times I would go out with her and her friends while they painted plein air. Although at the time it bored me to tears, I think it must have planted a seed in my subconscious. Looking back I remember how bored I was, you know kids like to be around other kids, and these were…well…OLD people! I realize now (with a smile) that many of them were probably younger than I am now.

“An Aura of Fragrances” – 28″x 22″ – Oil

What does it take to become a successful artist?
I think that‘s very individualistic. We’ve all had a completely different set of experiences and input. Some start early in life, some later. Some of us have families to support. Some artists have had great teachers or schools, and fortunately we all want something different out of art. But beyond all of that, it takes persistence. I think when you’re starting out it really helps to have support; support of family, friends, teachers and the current education system. Try to find your own voice, but don’t worry too much about that in the beginning. Just get your skills up.
How do you know when a painting is finished?
Probably about three or four hours before I think it is.
If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Wow, that’s a loaded question. If I dwell on it too much I start down that uncomfortable road of resentment. But I guess the first thing is, I would NOT listen to anyone who told me I could not be and artist, ranging from my family to the school system. I would have found a way to attend an art school or move to an area that had a great teacher, and I would have worked a LOT harder when I was young even if I had no money.
How many hours do you typically paint per day?
It can range from 2 to 14. But I prefer to paint about 6 hours per day. I find much beyond that I get a diminished return. But deadlines and pressure from galleries can make for some very long days. People who think it’s easy to be an artist should try it for themselves. Forcing the creative spirit to be there when you need it can be very challenging

Many thanks Bryce for submitting to this interview, and thank you for contributing such beautiful work to this world.

Creativity

Mr. John Hulsey · Oct 1, 2013 · 3 Comments

"Fall in the Moraine" by John Hulsey - 18 x 24" Oil — “Fall in the Moraine” by John Hulsey – 18 x 24″ Oil

Second only to language in the hierarchy of advanced survival skills must be the ability to imagine something that does not yet exist, and then make that dream into something solid and real. Just look around you as you read this, and try to find something in your house or office that at one time was not just a dream in somebody’s head. Barring plants, minerals and those things of the earth itself, everything around us is the product of a creative imagination at work. This ability is apparently blown into all of us at birth, is sometimes called abstract reasoning outside of the art field, but nevertheless is the same thing. Businesses could not survive without it and everyone probably engages in small acts of creativity everyday without being aware of it. It is a skill which can be used as a force for good or for evil with equal efficiency, but history suggests that the positive use of creativity is the natural order of things.

"Chiaroscuro" by John Hulsey - 30" x 40" Oil — “Chiaroscuro” by John Hulsey – 30″ x 40″ Oil

We are born dreamers, and we have the power to direct our dreams to create a world to our liking. Throughout history, for good or bad, the most successful people have always been those individuals who realized this power and used it fearlessly to create a new world which never existed before. The late Steve Jobs is but one example of the contemporary dreamers who used this ability to turn their private dreams into a world-changing reality. He did this even when those around him often claimed the task was impossible.

"On the River" by John Hulsey - 18" x 24" Oil — “On the River” by John Hulsey – 18″ x 24″ Oil

So it is with artists and creative people of all stripes. Creating something that never existed before, even if it is only within our own personal world, is our job description. It is our reason for being and we believe that by sharing our efforts publicly, we serve the greater good, despite cultural and economic signals to the contrary. Economic support for what we do is useful, but not a measure of the value of our ideas. Historically, culture often lags behind the ideas and efforts of the artistic community. How could it not? Ideas move at two hundred miles an hour across the synapses of the brain, and giving physical form to our ideas need not take long. The key for all of us is to keep dreaming and imagining and believing in our vision, no matter what. We are the privileged ones, whose daring role it is to look at the disparate parts of the world and “connect the dots” into a new creation. This takes some courage, and discipline. Fear is the enemy, and fear is the only force that can limit, and sometimes kill, creativity. We cannot allow fears of criticism or failure or economic losses to enter our studios and interfere with our creativity. We must carve out a sacred space or time within which we can be temporarily free of these fears and concerns, so that our imagination can be free to wander and dream. We have found meditation to be a powerful tool for sweeping the mental clutter into the corner so that we can walk around in our imaginations. Our art has improved because of this discipline. It is always the first 30 minutes of any day.