I wrote a write-up halfway through the month, which you can read here.
October was a challenging month, but I know that there are good things coming.
I’ve learned over the years that much of my painting workflow comes down to proper environment, headspace, and the ability to decompress effectively.
Part of this comes down to momentum. If you adhere to a routine, things go smoothly: wake up, gather good inspiration, and reduce mental noise or clutter. Thus the painting flows. Much of the actual making of art comes down to what goes on in the periphery.
Unfortunately, throughout all of October, I remained in transition to my new living arrangement, and this proved hectic on my artistic process. I moved out of my old studio apartment in September, anticipating my new unit to be ready by the time I left—and I’m still living in limbo. I’m spending a lot of time in the studio, but it isn’t yet the routine I envisioned, and remaining in a state of perpetually “moving” is tricky.
That said, it’s a reminder to put an emphasis on what I can control. Not everything can go smoothly, and that’s OK. Even though I always want to get more done, I’m continually getting better about being content with my output.
I started the month with a painting delivery, and I finished two pieces: Chrysalis, and The Gulf of Marseilles - Cézanne x Matisse.
The lesson I’m always learning is that you can’t wait for ideal conditions to start. This can hit you even after you’ve started. Perfectionism in all forms must be avoided in art.
I had this lesson repeated while working on the Gulf of Marseilles commission, fighting against the resistance of wanting it to be perfect right away, and instead allowing myself to make drafts as needed. I am repeating the lesson as I push to paint in the studio, despite the conditions of my living arrangement.
For everything I’ve gained from my artistic practice has been through the act of savoring the moment, not savoring the result.
