Go for a walk.ĭon’t talk on the phone and don’t text. ![]() When I did this with the watercolors of J.M.W Turner, I remembered how he would start with a sense of light and space before settling on a subject. ![]() Make note of color combos you love, words that come to mind, and subject matter. Search for an artist online and just look at images. Either use the paper in a mixed media art project or start painting what you pulled together, even if it is just abstract impressions of those source materials. Rip out anything that catches your eye - words, advertisements, patterns. Pick up a magazine you don’t mind sacrificing to the muse. Here is a list of seven ways you can stop feeling uninspired and start feeling like your best artistic self, and in 10 minutes or less. Turner’s works are awe-inspiring because the artist started with movement and power, light and volume, before ever even settling on his subject. (Read on for some more great artist’s block preventers!) From 0 to 100 in Under 10 Minutes J.M.W. Look hard - and see clearly - the colors on my wall, the way textures overlap, and how angles and shapes are interacting in my world. So that’s the first painting tool to fight the blahs. Luckily, the solution for writer’s and artist’s block is the same (and it is the painting tool that is always with us and never fails): get out of my own head and look around! Use my eyes to absorb what is around me and soak in some new juju. When I get ready to paint or draw I want so much to take advantage of the time I have to work on art that my urgency can feel like pressure, causing me to freeze up. “Artist’s block” is just like writer’s block: ideas are half-formed but none of them can be fully realized. But I knew I could get through it because I’d experienced it before, as a writer and as an artist. I wanted to write about the importance of expressing strong feelings in your work, but I couldn’t figure out how to tie it all together. ![]() Closing my eyes and reaching for colors instinctively can result in something beautiful and full of pathos. When I think of gesture and letting go I think of McIver’s work. Recreating cathedral-like spaces within my paintings, I use two dimensions to evoke the third, fourth and beyond resulting in paintings that have a magical realist element.Fight Feeling Blah with This Painting Tool Cardrew I by Beverly McIver. Hockney’s use of multiple perspectives within an artwork and his historical research into lenses have been helpful here.³ To extend an invitation into the scene, single point perspective is ideal, alternatively I’ll use multiple perspectives so that the viewer must roam around the scene with their eyes. I also employ perspective to create the illusion of an enveloping sense of scale. Works by Richard Serra, Claude Monet, David Hockney and Anselm Kiefer have taught me that increasing scale forces a physical involvement and I enjoy using large canvases when possible. I play with the power of colour to effect our emotions, consider light sources, work with scale and vary perspectives. Eager that this joyful experience be passed on to others I look for ways envelop the viewer, transforming them into a participant. This is sheer delight I paint as an expression of my own vitality. ![]() I find their inherent archaic references grounding, painting them gives me a sense of timelessness. Both impress me with their monumental scale, the light filtered through translucent colours and the strong, uplifting verticals. In the forest I always see echos of cathedrals and vice versa.
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