A new place can be a fresh inspiration in art. It’s easier to see what’s really there and feel curious and interested in a scene which you’ve never seen before – there’ll be fewer existing assumptions or pre-conceived ideas about it. You can enjoy that child-like experience of exploring and discovering, and it’s also an opportunity to find out what you’re interested in, so that you can consciously pay more attention to that.
How to find out what interests you? Start by wandering, and absorb. Let yourself relax, let what’s there flood in without judgment. Be curious and playful and notice where you want to look more closely.
Wandering around the gardens at Belton, I found interesting contrasts and effects of light, patterns of foliage, shadows, different shapes, colours and strange things. The iron architecture of the conservatory gives structure to the green lushness and contrasts of the planting within. Windows give a frames work and let in light creating patterns on the walls and floor. It’s a sheltered indoor contained world of rare things, full of interest fro tiny details to how all the parts relate.
We will be playing with this process of drawing inspiration on the in-person drawing weekend I’m running in July. This year it’s located at Belton estate in Grantham, Lincolnshire. We’ll be based in the spacious and quiet venue of the old School in Belton village, and have access to the grounds and house of the estate.
Particpants in previous years have valued the time, space and supportive atmosphere of this yearly drawing event. It’s flexible so that your csan pursue your own interests throught eh weekend, but we will start together and you can get guideance on your develop through the weekend. There are opportunities to socialise as well.
To find out more, and register your interest, follow the link below.
Working as an artist means a lot of time spent not knowing. I get an idea, or I carry out some experiments, but often I don’t know where they’re going, and whether the result will be something I’m happy with. There’s a lot of taking the next steps forward and remembering to trust the process, usually working in isolation, without knowing if anything of worth will come out of it – or whether it will be of interest to anyone else. There are still times when it can all feel rather uncomfortable.
As an artist and a teacher, I’ve had to get used to not knowing – my own, and other people’s.
The most important part of my role as a teacher is to support others through their uncertainty, vulnerability, and fears. To do this it’s crucial that I support myself – by taking time regularly: time out, and to reflect, and to consider if I need to do anything differently. This has similarities with how I assess a piece of artwork as it’s coming along. I need to pause every now and then, step back from the active making, and look at it.
I get relaxed, -sit back on my chaise long (it’s the guest bed futon really, but dressed up with blankets and my special cushion), with my tea, and the piece propped up. I allow myself to pay attention, in a soft focus sort of way, to what’s going on – with the piece, and in myself. It’s a sort of attentive waiting, allowing the space to see what pops up in response – to find out what’s going on under the noisy surface of the cerebral mind.
I can reflect on formal elements: colour, composition, proportion, balance, harmony. It might become apparent what needs adding, altering or taking away. More than one relaxing and looking session might be needed to arrive at the insights needed to move forward. That could be solitary time, musing and journaling, or it could involve talking it through with another. I like a mixture. It’s about creating the right conditions for the insights to arrive.
When the moment is right and the ideas appear, I feel a little surge of energy to take the next step, because I’ve got some clarity and confidence about what that should be. Quite often not beyond that, but the next step is enough. If, eventually, I am happy with what has appeared on my paper, canvas or fabric, then there’s the next step of putting it out in the world and finding out what others think. Putting myself out there, which is often scary.
Being an artist or maker of any sort has valuable lessons for living: in dealing with uncertainty, finding authenticity, finding out out what one wants to envision. It also involves dealing with fears that might block, and finding the courage to be fully oneself. Finding ways to cope – and to thrive- for myself has gone hand in hand with finding ways to support my students in whatever it is they want to achieve. It’s not possible to talk about art and not talk about life. Creativity is not only for artists. Those ideas and strategies for creating a vision and removing the block towards it are useful whatever you’re wanting to move towards
Finding ways to cope – and to thrive- for myself has gone hand in hand with finding ways to support my students in whatever it is they want to acheive. It’s not possible to talk about art and not talk about life. Creativity is not only for artists. Those ideas and strategies for creating a vision and removing the block towards it are useful whatever you’re wanting to move towards.
As a result, I’m bringing my experiences to a new venture. Next April, my friend Laura and I will be running a retreat day designed to give space, away from the noise of everyday life. We’ve chosen to set our day in the tranquil surroundings of a beautiful retreat house in Surrey. There’ll be time to relax, and settle into the beautiful surroundings of the studio. We’ll take time to reflect: with each other, talking, listening and journalling. There will be space to dream, using paper and colours. You will leave with tools to help you make choices and move forwards with whatever you want to grow in your life, as Spring surges into growth.
It’s just £60 to attend for the day. See below for more details and to register for a place.
Caroline Homfray 