Embracing process is deeper training than simply learning a new way to paint. Itâs a new way to see, and itâs the basis of all really good art.
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| Belfast Harbor, oil on canvasboard, 14X18, $1594. |
The hardest part of painting class is the first day, or first few days. Sometimes the students who have the most difficulty are those who are already good at painting or drawing.
Often, they are terrified about painting in front of others. They feel as if theyâll be judged and found lacking. They have a deeply buried nut of pride in being âpretty good at art,â and theyâre afraid to expose that to reality. I recognize this because I was once that student myself. When someone resists me, I am patient because I remember all the backchat I gave my teachers back in the day.
These students donât realize theyâve already taken the most difficult step, which is signing up for classes. Itâs an admission that they know something is lacking in their technique. They may also be remembering making art with teenage peers, who can be the most judgmental of all critics. Adults are not cruel like that; theyâre genuinely excited for each otherâs successes.
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| Fishing shacks at Owl’s Head, 11X14, $1087 |
Weâre never good judges of our own work as weâre doing it. The disconnect between what weâve envisioned and what actually happened is too pronounced. The painting of Belfast harbor, above, is a great example. I was so focused on what it lacked that I never noticed that the color, structure and paint handling were excellent. It had to sit for months on a rack in my studio before I realized it was finished, and itâs now one of my favorite paintings.
Thatâs where a teacher can be helpful, and why positive criticism is so useful. But time itself is a great healer. It allows you to stop seeing the painting from inside your own head.
Often adult students have been trained to look for results. Thatâs an unfortunate byproduct of our commercial culture. It makes it difficult to sit back and enjoy learning the process.
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| Balletic sway, 9X12, $696 unframed. |
I once had a delightful student named Ann, who was a good beginning painter. She would start strong, and when it looked like she had a winner on her hands, sheâd announce to the class, âIâm painting this for [ ].â That was an instant jinx. She changed the way she saw her work. It became something tangible, a product to be given as a gift. She started seeing it through the potential recipientâs eyes, and that meant she only saw its shortcomings. That flood of negativity paralyzed her. Annâs warm generosity was, in fact, getting in the way of her painting.
This, by the way, is the difficulty of commissions. The artist starts from the transaction, rather than the germ of an idea. In a world of extremely slick, photoshopped experiences, the physical reality of paint is always going to look clunky and awkward. Thatâs part of its charm.
My greatest challenge as a teacher is to get people to let go of what they think they know and to relax into the process of exploration. I give them a protocol, and thatâs important, but itâs hardly the only thing. Embracing process means divorcing yourself from the results, no longer worrying about whether todayâs painting is âgoodâ or âbadâ, just that itâs been painted and youâve gotten one step closer to your inner vision. Thatâs deeper training than simply learning a new way to paint. Itâs a new way to see, and itâs the basis of all really good art.
