(Cartoon from The Oatmeal. The expression on the guy’s face is exactly the same expression I have when sitting in my studio, although my feet tend to reach the floor www.theoatmeal.com)
I’ve read a number of times the advice that an artist without an established art career needs to have another source of income for a) practical reasons b) to keep them free from making art decisions based on the hunt for money to pay the bills. Unless you have family money or a huge repository of savings this means that you are going to have to get a job. This is especially true if you live in one of the expensive cities where all the art stuff happens. I say ‘job’ because you don’t want to accidentally end up with a ‘career’. A job can be part-time and can be left behind at the end of the day, a career requires your full commitment which means you’ll have nothing left for your art.
I spent 20 years with a ‘career’, in fact I did my MFA while holding down not just a ‘career’ but also a career in my own business! If you think a career in someone else’s business sucks you dry, then multiple that by 10 to experience the dedication and commitment required to ownership of a business where you are the sole director. No, what an artist needs is a job. Somewhere you can go that you enjoy, or at least don’t detest, that has flexible hours, pays you enough money to live and that will also take you out of your own head for a while so that you don’t go crazy spending hours worrying that you have all this time but aren’t making enough art.
I’m lucky enough that I’ve found what appears to be a very good balance: because I have so much experience from my design career I’m able to work on-call as a contractor in ad agencies. The very problems with the creative industry that have made it increasingly difficult to run a small design business (eg the fluctuation and uncertainty of clients and income) have created the perfect niche for someone like myself to be flexible high-end staff resource for other companies. I have an agent who finds me work, negotiates my rate and who is well aware of my art practice and the fact that I don’t want to work full time. I can go into agencies and take an ‘all care, no responsibility’ approach to the job where I aim to do the best possible job for them, but at the end of the day I don’t need to deal with the clients or chase unpaid invoices.
There was a month or two after I closed my design business and before I started getting regular contract work that I had a lot of spare time to work on new art. Instead of rushing into a frenzy of art production I froze up and became overwhelmed with the fact that I had all this precious, precious time and I wasn’t using it properly! Now that I am working part time I’m somehow more productive, I don’t worry about not making any money and going to work takes me out of myself so that I don’t get stuck in a loop, sitting in my little studio wondering why I’m so useless. I also feel that because I’m not desperate for income I can make the choices with my work that I want to rather than feeling I am grasping at every straw.
There is the other issue of needing money for making and and for travelling to do art things. After speaking at City Gallery Wellington I was invited to speak at Steinhardt NYU! How exciting! Problem was that I only had a month to organise the trip and NYU weren’t paying all my airfares etc Getting anywhere from New Zealand is an exercise in being bled dry, so it’s important to have a fund that you can draw on when you get unexpected awesome invites and opportunities. I now have one.
So go forth artists! Find non-life-consuming-part-time jobs!
The NASA announcement today of their new solar system discovery immediately made me wonder how Carl Sagan would have felt on hearing this news. There are 7 Earth-sized planets orbiting a small star 40 light-years away in the constellation of Aquarius, they could hold life, they could even support our life. Sagan said it was time for us to ‘venture to the stars’ if we manage not to destroy ourselves.
Because of my interest in working in the zone where science and mysticism overlap, I find Sagan a continuing source of inspiration.
We’re made of star stuff. We are a way for the cosmos to know itself.
Sagan, Carl (1990). Cosmos: A Personal Voyage
Science is not only compatible with spirituality; it is a profound source of spirituality.
Sagan, Carl; Druyan, Ann (1997). The Demon-Haunted World.
We are like butterflies who flutter for a day and think it is forever.
Sagan, Carl (1980). Cosmos
Something about remembering your own tininess and insignificance along with acknowledging that you have the ability to create something wonderful despite only ‘fluttering for day’ is infinitely liberating. A bit hippie, but there you go.
Saunatonttu – the spirit of the sauna
Last night I had my first opportunity to use the sauna at Arteles. It is a traditional Finnish sauna with a wood-burning heater and water boiler. The sauna is a central part of Suomi life:
“After centuries of temporal use, the sauna acquired spiritual significance. The sanctity of the sauna was supported by ritual and strict propriety. “These stubborn people,” wrote an astonished Swedish economist in 1776, “even connect the sauna with their theology and think the sauna building is some kind of shrine.” An old saying, still heard in Finland today, says, Jokaisen on kayttaydyttava saunaaa samalla tavalla kuin kirkossa.” (“In the sauna one must conduct himself as one would in church.”) This strict reverence protected the Finnish sauna from the corruption that befell most other bathing institutions in Europe.”
The sauna provides an egalitarian venue for unencumbered discussion. It is a place to be yourself amongst others and to discuss deeper matters that might not be broached on a day to day basis.
The traditional wood-burning sauna at Arteles is a small wooden building off to one side at the edge of the forest. It is comprised of three rooms: the first is not heated and so is freezing in winter! This is where you undress and leave your clothes. The second room is the washing room which has a wood-burning boiler and basins to mix the hot and cold water to your tastes for bathing. You can use ladles to pour the water over your head and body before entering the sauna. You can also come out of the sauna into this room to cool off and re-wash, which is very refreshing.
The third room is the sauna itself and consists of several benches at various heights seating 4-5 people dependent on the heat that you can handle. The sauna is generally heated to 90-100c but can be intensified by ladles of water being poured over the rocks on the top of the stove to increase the heat and humidity, this steam is known as löyly.
Last night we spent around an hour in the sauna and in coming out to re-wash or stand in the snow. On our final round we came out into the snow and rolled around! It was amazing to me to see what the body can withstand when it is warmed up enough – last night was -22˚C and I was having trouble dealing with the cold even wrapped up in my snow clothes, but somehow the sauna allowed me to come out into the cold winter night completely naked and lie in the snow. The body has such a capacity for dealing with situations and adjusting it’s functions to cope. The sauna makes you feel somewhat superhuman in it’s ability to allow a human to withstand such extremes without pain or physical repercussions (eg shock or frostbite).
That’s a very good question. My work has been called quirky on any number of occasions and every time I hear it I cringe internally and have to hold back from rolling my eyes. There is something very lazy and dismissive about the word which Eva Wiseman manages to articulate well in her article.
“When a creative man divides the critics he is called ‘surreal’ … while a woman is denigrated with the label ‘quirky’ – and that kicks the legs out from under us.”
I would feel a lot happier if my work was described as ‘surreal’. Surreal indicates that some thought has gone into it, that the artist is aiming for something, that if you look a bit harder there is going to be something interesting to see. ‘Quirky’ relegates the work to the realm of weird tics and 17 year old girls in stripey socks, with blue hair, who play the accordion.
“…in being named, you’re being rendered safe. She’s quirky, she’s harmless. Water is poured on your potential to shock.
Never has this been better articulated than with the term Manic Pixie Dreamgirl the supporting character of so many films, used to further the storyline of the male hero. She is the flighty muse whose quirkiness renders her charming but impotent. She’s not a woman (she doesn’t want a career, family, or anything scary) – she’s a girl.”
With all this in mind I also have to examine why the work is being tarred with the epithet ‘quirky’. What am I doing that is causing this word to be used as a descriptor? Is there something I can do that would steer the work away from quirkiness? Is that what I want to do? Am I even able to affect that change or are the descriptive terms used by some viewers outside my ability to influence? I want to take this opportunity to pull the work apart and examine what parts of it lends itself to this description. In the end, does it matter?
- Thank you to Sam Dollimore for the article link.