You realize that you are an artist when you try to do something else and it feels strange and unnatural.

[Show as slideshow]

Small Connected World

Searching Deeper Within

David

Three Roses

Tell me a little about yourself
I’ve always loved to draw, paint and create. I can’t really imagine doing anything else. You realize that you are an artist when you try to do something else and it feels strange and unnatural. You realize that you can’t stop, so you must be an artist.

How was your experience of art college? Did it leave you feeling 
inspired or scarred (or even scared)?

I went to Staffordshire University which is a great place to study art. I learned a great deal and I enjoyed my time there. However no art course can completely prepare you to be an artist. There is always so much to learn. You need to learn about how different galleries operate. Therefore you need to learn about business. You need to understand the nature of the art market, so you need to grasp some economics. You need to understand your rights as an artist and copyright law. You also need to understand marketing and promotion. The list goes on and on. It would be impossible to learn these things in a few years and also learn the necessary artistic theory, while developing your practice. So, when you leave there is still so much to learn. This can be very daunting.


How has your work changed over time? Has there been a shift in ideas?
My work is constantly changing and evolving. It makes the process extremely enjoyable for me. As I grow as a person my work is always going to reflect that growth.



How do you feel about exhibiting your work and how do you prepare
 yourself for it?
Exhibiting is important because it is very much an act of sharing your work. It also shows others that you are a serious artist. You can be painting all day to put a body of work together but until that work is exhibited no one will be aware of the work you do.
Different levels of preparation are needed for different kinds of exhibitions. There isn’t a single way to prepare. There are different types of exhibitions and all galleries have a slightly different way of operating. 



Have you exhibited your work regularly?
My work has been exhibited in United States, Canada, Australia and the United Kingdom. I’ve had 16 exhibitions in the past year.

If so, do you sell any of your work? How do you feel about selling your work?

Yes, I do sell my work. I am pleased that it finds people who connect to it. If I received nothing for my art I would still be painting. It isn’t about the money. It is an act of being.
I think it’s important for an artist to disconnect the work from its financial value. The art market isn’t based on the standard of the work. It is influenced by lots of different factors. It does include the quality of the piece but price is not set solely by that factor. I’ve come across a few artists where I have realized that the art market has been slow to recognize the significance of their work. It is also worth remembering that Van Gogh sold one painting during his lifetime and his work is excellent.


How do you promote your work? Do you think you could do more?
Your work can be amazing but if no one sees it, it’s irrelevant. I research different methods of promotion. I’m constantly looking for different ways. It’s a learning process. I could list some websites here but in many ways that isn’t useful. You have to learn the methodology. If someone gives you a magic solution it is only a temporary aid. If someone said, I’m going to give you £10,000 for you to promote your show that would seem fantastic at first. Then the money would be spent and you would have learnt very little about how to advertise. Everything is a process and research is the most important part of comprehending that process. Thankfully, promotion does become self perpetuating because people become interested in what you do.


Tell us about a project that you worked on that you felt was successful.

Each project is an exploration. It is a process of discovery. Each piece is a part of the whole and it evolves and influences the entire body of work. They are successful for different reasons. It is a separate project but it is also a single piece of a much larger project.


How has the work of an artist you admire influenced what you do?

There are so many artists. I don’t choose to be consciously influenced by their practice but they influence your comprehension of what is possible.


What materials do you use and why?

I mainly use acrylic paint. There isn’t a lot of difference between acrylics and oils because you can add things to acrylic paint in order to make it behave like oils. I think it is good to try different materials. Even Picasso experimented with house paints.


What materials would you like to learn to use and why?

Any experimentation with materials would have to be explored on a parallel course with painting. I wouldn’t ever stop painting but I would include other materials. 


When did you last go to an art exhibition? What was it and why did you go?

I went to the Walker Art Gallery in Liverpool in order to see, A Collector’s Eye: Cranach to Pissarro. It was an amazing exhibition featuring the work of some great artists including Rubens and El Greco. It was the second time that I had visited the exhibition and it was magical.


Anything else to add?
There are a million ways to become an artist. I can only reveal my own process. There are many different kinds of artist and how they establish a career is reflective of their own specific practice. What works for one artist, may not work for another. It is important to keep this mind.

More about the artist
Jina Wallwork has exhibited artwork in galleries across the world with such names as Jeff Koons, Yoko Ono and Grayson Perry. As well as exhibiting with John Baldessari, she was also featured in one of his artworks. Jina was born an artist and developed her craft over time. She has a BA(Hons) Degree in Fine Art from Staffordshire University in England and has trained with other art establishments.

You can see more of Jina’s work at jinawallwork.co.uk

Copyright
All images on this post are copyright Jina Wallwork and are reproduced here with the kind permission of Jina Wallwork.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

A couple of ideas that I’ve found useful in the book are as follows:

Anchors

An anchor is essentially an internal or external representation that triggers another representation.

Presuppositions

Presupposition is the quickest, easiest and most effective means of persuading the unconscious mind, when used by a skilled communicator.

Read more about the Guerrilla Marketing Revolution on how-to-be-a-bad-artist.com

US readers can order from Amazon US or click on the image below:

Thei Zervaki is a writer living in New York, who gets invited to many events and parties. She has recently published a book: Get Invited, don’t crash it:, which gives tips on getting invites to events and networking.

Any tips for artists wanting to network or market a show?
Artists can be very “artistic” and they forget completely about marketing and promoting their work. First of all, make your message clear. When guests visit your studio, gallery or any other space where you exhibit your paintings (or any other work), say that it is for sale! It is so simple, but artists do not say it.

I remember I attended the Chelsea Gallery Studio Walk last spring and when I was visiting a studio, the artist clearly stated that all her paintings were on sale, making the comment that she never did in the past! Guests do not know if an artist wants to sell or not so being honest about it, will help you sell.

Second, do not accept the common belief that artists die poor or do not make a lot of money. This is not true. There are and will always be buyers of your art, usually more affluent people. So, your job is to locate your buyers, your target audiences.

Third, have a nice online presence (blog, website, ebay site, etsy.com, facebook.com page etc). A wealthy friend of mine only buys online and his paintings are very unique and rather expensive. Finding an agent may help but maybe not, that depends on your personal situation. Overall, “see” your art as a business, not just a way to express your feelings…

Is your book self-published or did you find a publisher?
It is a self-published book. I didn’t follow the traditional path of getting an agent who then would “sell” me to a publisher. Although a safe path to sales, it is far too slow for my impatient nature, so I decided to self-publish using Get Published: Take your book from manuscript to the masses with CreateSpace, an amazon platform.

Have you any tips for anyone wanting to publish a book?
First, you need to come up with an interesting idea, not yet explored so your angle is crucial. Then, you need to actually write the book (because we all have a book inside us but this is where it stays most of the time). Don’t get stressed out with the timing, just follow your instincts but have a “first” deadline. If you want to look for an agent, just email them while you do your writing. Most of the times, a rejection will follow but don’t give up. In today’s environment, anything is possible. But this is only 50% of the job. After getting published, you have a lot of work to do to market and promote it. Be willing to spend some money as well! So, you get the picture (I am talking about non-fiction).

I found your point about constantly creating “busyness” as a way of avoiding what you really should be doing very true for me. What are your tips for avoiding “avoidance”?
First, find what you really, really, really desire. This is the most difficult step to avoid the busyness. Then, focus on this desire. Take all the actions that they will help you implement this desire. For example: you really, really, really desire to start a side catering business providing food to local events. Don’t fake it and say that I’d rather paint my house, go to the gym or book a trip to Paris (finding all sorts of excuses to support the “second” best choice). Start taking small, baby steps to achieve it. Buy the ingredients, cook, send out some sample food to local event organisers, put some adverts together etc.

I strongly believe that there are many reasons for this “busyness” or “avoidance”. Maybe we are not ready to actually “do” it, we feel insecure, not qualified enough, we are afraid of rejection or we just procrastinate. I would even dare to say that “busyness” or “avoidance” is laziness. When it comes to parties and invitations, many (and that includes me from time to time), accept invitations and go to events that they do not serve them just to say that they are out and about. Having clear objectives about your choices in life is paramount to avoid wasting your time.

I notice in your book that you are critical of shy people. To quote:

I am not personally a great believer in shy people. I know the large majority of social psychologies would disagree, arguing that shyness is hereditary, a social disorder or even a gene. I would argue, though, that those labeled “shy” often are aloof, self-centered and attention needy. Or they simply do not know how to start socializing more. They just need some help.

If someone is claiming to be shy, what advice would you give them? How can shyness be overcome?
I don’t believe in shy people. Having said that I don’t imply that human beings have the same level of “social openness”. Some are far more open and extravagant than others. It doesn’t mean that the less open are shy, they just need a little more help. I talked to a number of psychologists (with PhDs) and they do not seem to agree: some say that it is in our genes, others agree with my statement that shyness is self-centeredness. I would say that if you feel “shy” and you don’t like it, don’t push yourself too hard but make an effort: talk to a few people you don’t know during the week, smile at your bank manager, invite a friend for dinner. Slowly, you will feel better about yourself and your social skills. As I say in my book, nobody is born a socialite or a party-goer. We can all become one.

What was the best event you ever attended?
It was Harvey Nicks in London. Pure luxury! Expensive champagne on all floors, sample food, music, well-dressed guests and more champagne. I experienced something similar on a smaller scale in NYC at the Mercedes-Bentley event. Excellent food, numerous cocktails and expensive cars. The Chelsea Market After Dark event during the NY Food and Wine show in 2010 was amazing. Champagne, cocktails, mouthwatering food and some local celebrities…

What was the funniest moment you’ve witnessed at an event?
Someone who, while trying to attack a meatball almost broke a sculpture! I think that galleries should only provide wine and some mixed nuts otherwise it is a disaster. Party crashers entering parties un-invited is interesting to watch; they do it most of the time!

Have you specialized in a particular area, or do you still accept invitations to a diverse range of events?
I usually attend culinary and wine events and shows, but I go to store openings and gallery receptions. And I don’t do political events…

Do you find how events are organized and promoted in the US different from the UK?
Not really. In the UK, I was in the business world so I was attending networking business events. Some of them were luxurious, others more professional but overall very well organised with selected guests, expensive wine and food. In the US, I became a blogger and then a journalist, and I attend PR events as a member of the press so they are more casual with a different purpose. Most of them are very interesting.

The NO:ID gallery is a cool place to visit. The Total Transparency Show as well as featuring artists, had bands playing downstairs in the basement. It also gave Martin the opportunity to display his underpants.

In terms of the artistic preparation, the process of going over your own material tends to throw new perspectives upon it, which is exciting, as long as that new perspective isn’t along the lines of “what was I thinking?”

[Show as slideshow]

Martin Lau at the NO:ID Gallery

Total Transparency Show, NO:ID Gallery

Total Transparency Show, NO:ID Gallery

Total Transparency Show, NO:ID Gallery

How has your work changed over time? Has there been a shift in ideas?
Up until this past year, my focus was mainly on narrative film. I’ve also had sculpture and assemblage pieces exhibited. My photography throughout my entire life has often featured man-made artefacts or landscapes with man-made elements to them. The industrial world is something I am drawn to again and again.

More recently I have been formulating more ideas involving people, and want to bring in some of the surreal/hyper-real elements of my film work to my photography. At the core, however, I am trying to convey subjective experiences, whatever medium they might be in.

How do you feel about exhibiting your work and how do you prepare yourself for it?
I want as many people as possible to see my work. For me, the whole point of doing it in the first place is to communicate with and strike a chord with others. The paradox is of course that you have to make your art “for yourself” in order to achieve this.

Preparation for a solo show on the practical side involves a lot of stress and problem-solving. In terms of the artistic preparation, the process of going over your own material tends to throw new perspectives upon it, which is exciting, as long as that new perspective isn’t along the lines of “what was I thinking?”

Have you exhibited your work regularly?
In the last year, in other words since I entered the world of “fine art”, I have had two solo shows and been featured in two group shows. I would like to do more.

If so, do you sell any of your work? How do you feel about selling your work?
My work is for sale, and I’m more than happy for wealthy patrons to take me under their wing! However, as of yet I am still waiting for that mysterious benefactor to appear.

How do you promote your work? Do you think you could do more?
I have a website which acts as a portal to the various works I do. Facebook has been the main way that I have publicised my shows. I think that one single person has come to one of my shows as a result of a printed flyer. I’ve had a few interviews online and in the press. I’ve been watching lots of documentaries about Richard Branson lately, so I definitely feel I could do more.

Tell us about a project that you worked on that you felt was successful.
That question sends me into an existential tailspin! Financial success would be great, as would lots of people seeing the work, but in terms of artistic success, see below.

How has the work of an artist you admire influenced what you do?
Art influences me in that when I am moved by someone else’s work, it strikes a chord in me. It’s as if I am experiencing the world through their perspective. This motivates me to produce something born from my own experiences that I deem worthy and will resonate with someone else. One measure of “success”, therefore, could be that the art work has a sufficiently profound effect on at least someone, i.e. that the subjective experience conveyed is beyond “oh, that looks nice”, and has the capacity to move.

In terms of technique, I wouldn’t be overly hesitant to use a method that someone else had used if it served my own artistic ends. As an example, photographer Sophie Calle and comedian Dave Gorman have created experiences in their own lives specifically for art projects, and while this is something that I had experimented with years ago, seeing how well their work has turned out does inspire me to revisit this territory.

What materials do you use and why?
I photograph and film on digital cameras, as it’s cheap and fast. Other materials I’ve used include astroturf and underpants.

What materials would you like to learn to use and why?
Generally speaking, I’ll learn or apply a skill in order to realise specific art works. My first piece that was exhibited was a sculpture. It also happened to be the first sculpture I’d ever made, so I had to work out how to put bits of wood together to make my idea come to life, no mean feat if you ever saw my attempts at woodwork in school. As I’m now coming up with ideas for staged photographs, I will look into how to best realise that. Of course, once I have acquired some knowledge in an area it opens up future possibilities, but on the whole I don’t learn skills speculatively, but for a specific prupose. While I do believe in high technical standards, the craft is there to serve the art, not the other way round. Comic artist James Kochalka summed it up very well, I thought, when he said that “craft is the enemy”.

When did you last go to an art exhibition? What was it and why did you go?
I went to see Jason Gibilaro’s Meltdown exhibition at the Royal Commonwealth Club in London a couple of weeks ago. He’s a super chap, and I wanted to check out his work. Sadly I missed the swanky opening, but being there at an off-peak time gave me the chance to drift round the gallery and take it all in at a leisurely pace.

Usually I try to check out a few shows a week, to see what’s out there and to get the old brain juices flowing. And just occasionally, I might see something that changes my life. But you can’t force these things.

Anything else to add?
Three words: Buy My Book.

You can see more of Martin’s work at martinlau.net

Copyright
All images on this post are copyright Diane Ashmore.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

Diana Shepherd went to university as a mature student and finished in 2001. She describes herself as “very lucky” to go practically straight into a school as an artist in residence for the next 9 years.

During this time she co-founded a visual art organisation with her fellow A.I.R Stephen Coley. They now have two studios, one based in her home town of Long Eaton (Charles Abbey Workshops) and the second as artist in residence at the Arboretum Park, Derby.

I met her at her exhibition in Derby, when she took part in the Art in Empty Shops scheme.

What inspires you?
I’m particularly inspired by the combination of architecture and nature at the moment.

What are the themes and ideas behind your work?
My main focus at the moment is drawing. Combining drawings of natural and man made structures I am creating a series of hand drawn wall papers. I love the idea of blending contemporary drawings with traditional materials such as ink, charcoal and paper.

How do you feel about exhibiting your work and how do you prepare yourself for it?
Having worked primarily in a partnership, I have only recently begun to exhibit my own work on a more regular basis. I am currently planning a number of exhibitions, which I will use to push myself and make more work. Exhibiting work and engaging in any creative project usually fills me with some dread, but I use this
apprehension to try to do the best I can.

How has your work changed over time? Has there been a shift in ideas?
Very much so, I feel that I have come full circle with my work. I entered art school wanting to draw and paint and this was soon challenged and I felt that it wasn’t acceptable to create without a thought provoking concept. There are a number of people who create in an instinctive way, purposefully not intellectualising the process. I am much more confident now about what I want to do and why. The shift in ideas centres around my love of drawing and valuing the process itself.

Do you sell any of your work?
I have sold work and currently have a number of commissions. Working in the Art in Empty Shops’ scheme introduced me to working in a more commercial environment, which I really enjoyed.

Have you exhibited your work regularly?
No, but I intend to.

How do you promote your work? Do you think you could do more?
I hardly promote myself or my work. Although I could do more, I think that I need to very carefully consider the way in which I would do this.

Do you have any favourite artists?
I am a great admirer of Expressionism, particularly Egon Shiele.

What materials do you use and why?
I am using charcoal and ink at the moment. I love the malleability of charcoal and the severity of ink.

What materials would you like to learn to use and why?
I am gathering together materials for a series of cement sculptures that I want to make. I recently went to the Cyprus College of Art (which I recommend) where I learned the basics and was impressed by its potential. I love creating objects and the contrast between the process of 2d and 3d art.

When did you last go to an art exhibition? What was it and why did you go?
I went to Wirksworth festival. I was displaying my work in a shop window and decided to see what else was on show. It was a very mixed bag, which I liked.

Anything else to add?
On a practical note, I would advise artists to exchange their talents in return for studio space. This enables the artist to keep hold of their workspace even during a financial crisis. Steve and I have never paid for studio space but negotiated an amount of artistic time per month that we would give our ‘landlord’ in exchange. Always try to barter and be audacious in your thinking.

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Diana uses charcoal on paper

Her art occupied an empty shop in Derby

Diana used easels to present her drawings

The drawings lead from the window into the shop

Copyright
All images of Diana Shepherd’s work (except image top left) are copyright Diana Shepherd and have been included here with her permission. Image top left is courtesy of Andrew Martyn Sugars.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

I first met Stephen Coley during an exhibition in Derby as part of the art in empty shops scheme. At the time, he was experimenting with collages but he also works with three-dimensional forms.

[Show as slideshow]

Brass with Mung Beans

Hispaniola

Cygnus

Miss Medium

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Do you have any tips for aspiring artists (any mistakes, experiences you’ve had good or bad)?
Force yourself to make the work (and lots of it) even if you’ve hit that writer’s block. It’s so easy to sit back and wait for the creative juices to start flowing again, when in reality the easiest way is to MAKE them flow.

What inspires you?
Anything and everything; from music, films, human beings, Mother Nature and other people’s art.

What are the themes and ideas behind your work?
Whether I’m creating sculpture or two-dimensional pieces, I like the work to ‘evolve’ without too much prior thought. I will make certain decisions about what materials to use for my sculptural pieces or what source materials I will use for my mixed media collage work, but generally I will treat every piece as an experiment. Some ‘experiments’ will obviously work better than others. It’s just the way I like to work. I’d rather spend time thinking about the work after I’ve made it, rather than before.

As for specific themes, my sculptural work derives from an interest in flowing ephemeral organic/natural forms, but are constructed from metals and plastics, using precise mathematics. I will often contrast the hard and rigid metals by also using seeds, grains and fabrics in the work. With my mixed media collage work I try to create dreamlike environments, often using very conflicting images and text.

How do you feel about exhibiting your work and how do you prepare yourself for it?
Exhibiting my artwork, I feel, is a vital part in the work’s lifecycle. My art is primarily made because I want to make it, but it also needs to be shared. I’ve always found other people’s interpretations of my work a lot more interesting than my own!

How has your work changed over time? Has there been a shift in ideas?
Not massively, although I am a little less precious about everything I make now.

Do you sell any of your work?
Yes, but as with most artists I’m guessing, not as often as I’d like!

Have you exhibited your work regularly?
Yes, but again I really should pursue this side of things a little more than I do.

How do you promote your work? Do you think you could do more?
Thanks to the modern joys of blogs, Twitter, Facebook and the Internet in general, I do promote myself a hell of a lot more than I ever used to

Do you have any favourite artists?
An eclectic mix… Richard Deacon, Cathy de Monchaux, Andy Goldsworthy, Naum Gabo, Salvador Dali and most things Pre-Raphaelite.

What materials do you use and why?
I am rather fascinated/fixated with the use of materials, so will think long and hard about what I use and which particular combination of materials I’ll use. As I’ve already mentioned, with my sculptures I will use copper, brass, steel or plastic, combined with seeds, grains, powders and fabrics. For my collage work, I will use specific magazines and newspapers (National Geographic, Sunday newspapers and supplements, and fashion magazines), old photographs, tissue paper and will combine this with ink drawings and colour washes.

When did you last go to an art exhibition? What was it and why did you go?
Too long ago! I went to the Teatre-Museu Dali in Spain last year. We were in the area and it’s somewhere I’ve always wanted to see.

Copyright
All images of Stephen Coley’s work are copyright Stephen Coley and have been included here with his permission.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

Every year, an exhibition of contemporary sculpture takes place in the gardens. Yui Min Jun’s Contemporary Terracotta Warriors were my favourite exhibit this year. What yours?

Sotherby’s Beyond Limits is from September 13 to October 31, 2010. Visit Chatsworth’s website for further details.

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Barry Flanagan
Large Mirror Nijinski, Beyond Limits, Sotheby's at Chatsworth House

Damien Hirst
Saint Bartholomew Exquisite Pain, Beyond Limits, Sotheby's at Chatsworth House

Yue Min Jun
Contemporary Terracotta Warriors, Beyond Limits, Sotheby's at Chatsworth House

Yue Min Jun
Contemporary Terracotta Warriors, Beyond Limits, Sotheby's at Chatsworth House

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Anji has worked as a curator, and is involved with the Changing Spaces project in Cambridge. She is currently studying a Master of Fine Arts at Cambridge School of Art.

Her work is immediately engaging and she is easy to talk to. Here is a summary of our conversation about art in general, her paintings, and thoughts about the viewer.

Paint has a wonderful history behind it. The paint has the ability to trap energy and time itself. Oil paint has that amazing quality, like having ancestors in the room with you.

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Warrior Dance

Boy

Immanence 1

Immanence 2

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Tell me about the ideas and techniques behind your paintings.
It’s on ongoing project. There are two avenues I’ve been researching: First the thicker more impasto type of painting, which I use to try to express movement, especially movement from dance. This is why I paint big to try and get the idea of movement in there.

The second way of painting is to overlay the paint with translucent layers.

I find Boy II very disturbing to look at, as it is so fragmented. Is there a darker theme behind it?
Boy II is based on Michelangelo’s La Pieta and relates to loss and mother’s losing their children. It’s about war and the effects of war, especially mother’s losing their children. It’s one of the hardest subjects I’ve worked on.

Why have you chosen to use the traditional medium of paint on canvas?
Paint has a wonderful history behind it. The paint has the ability to trap energy and time itself. Oil paint has that amazing quality, like having ancestors in the room with you. The history of the medium is part of its richness.

What do you think about artists not learning traditional techniques?
I think it is important for artists to learn to look and draw what’s around them. A lot of the problem with art now is that it has become an academic subject. I have a solid background in life drawing and painting techniques, which I think is important.

How did you find your first experiences of going to art college in the 1970s?
I had a talent for film, sculpture and installation, but I was told to sit in front of a canvas and paint about life. I hated it. Eventually, I decided to train in dance.

How do you feel about exhibiting your work? Does it make you feel vulnerable?
No, I’ve had any fears bashed out of me a long time ago, a bit like my paintings. I bash them around too. I really like exhibiting.

I’ve been studying philosophy and the idea of “the emancipated spectator”, how the spectator isn’t passive. For me painting is about the interaction with people. I like to exhibit to see what happens. What is the painting saying to them? I like to see how people react.

How do you work, what is your process for producing artwork?
I tend to bash the canvases around; put them on the floor, the wall.

My favourite format at the moment is the rectangle as its size directly relates to my body. I use lots of movement when working and have even taken the canvas off the frame when working.

I begin by coating the canvas with rabbit skin glue and then use oil-based primer with colour added.

I choose colours from plastic bags, as they are very connected to now. The plastic colours bring the painting to the contemporary world.

I am experimenting by not being controlled by the frame and developing the work outside the frame. The last two canvases I painted are exploding, whereas Warrior Dance is imploding. I painted Warrior Dance after experiencing a Prodigy concert.

Is there a crossover between painting and your experience of dance?
I think I would paint differently if I hadn’t had the experience of dance. There is definitely a crossover between the two.

I notice that in this space the works are hung quite low on the wall and when the visitor enters the space, they are immediately confronted with the paintings at the same level as themselves. How do you feel about the spaces you exhibit in?

I am thinking really carefully about the spaces I exhibit in and how to show my work. Paintings are a bit like a performance. I am working on bringing the idea of performance and painting together. Paintings are like actors, they are participants in a performance and viewers are part of the performance when they interact with the work.

I think the environment you work in reflects in my work. I live in an urban environment and I think I would paint differently if I lived in the countryside.

About Anji Jackson-Main
Anji Jackson-Main first studied fine art and film making at Sheffield Art College in the 1970s. Since then she studied the Egyptian dance form, Raqs Sharqi, in Egypt (Musiciens du Nil) and in London (Suraya Hilal), qualifying as a teacher of Raqs Sharqi in 1995, and formed Shamaal, a company specializing in traditional dance and experimental dance theatre productions.

She co-founded Salon Darbuka out of Shamaal in 2001 with a group of dancers, filmmakers and musicians, including husband Pete Jackson-Main and all four of her children.

Anji returned full-time to painting and visual arts in 2005, joining the first BA Fine Art course at Cambridge Art School, Anglia Ruskin University, to graduate with 1st Class Honours in 2008.

In October 2008 she was Co-Curator for the City Wakes ‘Syd Barrett’ project exhibited at the Ruskin Gallery, Cambridge.

During 2009 and 2010 she has been involved with the Changing Spaces Project with Cambridge City Council and Love Cambridge, which negotiates the use of vacant shop windows and commercial property for local artists to use as display and exhibition space; she has curated several prominent City Centre displays under this banner.

Anji is studying the Master of Fine Arts program at Cambridge School of Art.

You can see more about her work on her website www.anjijacksonmain.co.uk

Copyright
All images of Anji Jackson-Main’s paintings are copyright Anji Jackson-Main and have been included here with her permission. The image of Anji and her dog Dante is copyright Diane Ashmore.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

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Dolphin

Encounter

Vulture Pass

Heliconia

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I am not a trained artist but am self-taught. When the first draft of my novel was completed, my agent said it could change the world or sink without trace!

Tell us more about your latest artwork.
My agent suggested I get my book illustrated. I wasn’t happy with the work of the illustrators we looked at as they just depicted scenes in the book, giving the plot away, so I undertook the task myself.

I found it incredibly difficult but rewarding too. Many of my illustrations are trompe l’oeil / contain hidden messages. I think this adds an additional dimension. Four of these hidden messages are explained on my website. I leave people to work out the others!

What materials do you use and why did you choose them?
I wanted to keep it simple and have always found black/white interesting and dramatic. It also offers advantages from a printing perspective. I use pencil (4B-2H), a fine black ink pen (“Pilot 0.4”), white gel pen & occasionally paste; mainly for the background.

What materials would you like to learn to use and why?
I’d like to move on to all sorts of other things. This is just a start. I’d love to learn to do watercolours.

How do you promote your work? Any tips?
I’ve built up quite a following on Facebook and am talking to a gallery about an exhibition. The response to my art has been incredible but I can see it’s a long, hard slog to achieve recognition. Unless you get lucky!

Do you have any tips for other artists (any mistakes, experiences you’ve had good or bad)?
I am hyper-critical of my work and never really know when it’s finished. I suspect every illustration was “finished” 50 times, then I’d wake up and see something I didn’t like about it.

I suppose the bottom line is keep going until you are satisfied, and don’t be too concerned about what others say, because you’ll never satisfy everyone. And leave a picture for a few days or weeks. Sometimes ideas have come years after I’d considered something finished!

What inspires you?
I was inspired by the challenge of lifting my novel to another level. Scores of people have said amazing things about the manuscript and that kept me going. It is also very satisfying.

Do you have any favourite artists?
I must confess to being very disappointed indeed by where the contemporary art market has gone. I will make few friends saying this but I see a tremendous amount of rubbish encouraged and fuelled by enormous egos and pretentious idiots with too much money.

A lot of people will now lose money because this market is collapsing and it won’t stand the test of time. Call me old fashioned, but I like to see technique, composition, meaning, contribution, relevance, and message. But what would I know? I haven’t been to art school and I’m not part of the process.

When did you last go to an art exhibition? What was it and why did you go?
I live near Hyde Park and always visit the Serpentine Gallery. I haven’t missed an exhibition in several years. That said, I’ve seen very little there I like and, judging by the expressions of the bemused tourists walking around, nor have they. Maybe I’m missing something …

Anything else to add?
I think gallery owners, dealers and critics need to take a step back and go back to basics and identify quality. We have a situation now in which the majority of the public doesn’t understand or appreciate what’s being put in front of them, and if it hasn’t already done so, it will end in tears.

I am thrilled by the response to my art (I have many thousands of followers on Facebook) but despite this, I have so far failed to attract a single gallery (though I am talking to one). But I am quietly satisfied that my art – that has a function to perform (adding an extra dimension to my novel) – seems to have done that. You can’t ask for much more than that!

About the artist
Nicholas Stafford-Deitsch attended Oxford university (2 degrees), has worked in banking, venture capital and as a consultant but has concentrated for the past decade on learning to write, illustrate and develop the tocamu concept. The concept is revealed in his illustrated novel The Toucan Feather and explained on his website tocamu.com from where you can order the novel and prints of the illustrations.

All images of Nicholas Stafford-Deitsch and his illustrations are copyright Nicholas Stafford-Deitsch and have been included here with his permission.

Wanted: Fine Artists
Calling all artists. Want to showcase and promote your art and share your experiences with the world? It is totally free to do so. Drop me a line at talk[at]dianeashmore[dot]com or leave a comment below.

44 Sadler Gate, Derby

The empty shop before...

...and after with finished art exhibition

My contribution

The art in empty shops scheme continues with fresh new work by Di Shepherd at 44 Sadler Gate. I visited her a few weeks before her final exhibition and on the last day 21, August 2010.

The shop looked scarily huge, I would have been scared to take it on (especially as I am thinking of working in miniature!), but Di seemed unphased.

The final exhibition was fantastic. Along one wall she had depicted the journey to her studio in scenes of charcoal, on the other wall she invited others to make drawings based on photographs.

The end result was fun, collaborative and very successful. A good time was had by all (I even managed to draw a few cats). Looking forward to more exhibitions to come. This recession has its good sides after all.