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EXTRAORDINARY PAINTER

"If you want to be an extraordinary painter , you will need to go to extraordinary lengths to get there"

It's hard keeping a reasonable attitude about your work. I have heard it said that when you look in the mirror, you see what you think of yourself, but... when you look at your paintings you are not looking in a mirror. The painting is something you have made, it's a thing. You are you, and not your painting. You'll need to keep yourself separate from your work if you want to handle stiff critiques. If you can separate yourself from your painting well enough to listen to a critique, without thinking it is a critique of you, that will help.

I think there are only a few times when a tough critique is called for. One, is when a student is being groomed to be a professional by a master in an atelier environment. Another is a student who is either "stuck" or wants to kick their painting up a level and asks for a bone shaking critique. And sometimes when seasoned professionals help each other by doing mutual critiques.

FOR SALE



TAJUK : LONGKANG BESAR SG LEMBING
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
SAIZ : 3.5' X 4.5'
TAHUN : 2008


10 Steps to Becoming a Better Painter

Paint.
Paint more.
Paint even more.
Paint even more than that.
Paint when you don’t want to.
Paint when you do.
Paint when you have something to say.
Paint when you don’t.
Paint every day.
Keep painting.



FOR SALE

















TAJUK : KG LAMIR
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM3000
SAIZ : 2.5' X 3'
TAHUN : 2008



I am not a confident person by nature, and I suspect that it's human nature to worry about our actions, words and abilities from time to time. However, over the years, I have learned the art of displaying an attitude of quiet confidence – especially while showing my artwork to collectors.


In order to attain quiet confidence, I must first understand how “confidence” differs from “arrogance” or “false humility”. Ultimately, the quality of my work is what will lead me to sales, but I must also avoid negative body language and phrases -- so that I don't unconsciously talk someone out of buying a painting they love.


Years ago, I took a collector friend to another artist's studio. This collector, let's call her Tijah, already loved the artist's work – I'll call the artist Mat. When we entered Mat's studio, Tijah was immediately taken by a painting of an interior with a woman sitting at a table. This collector had the means to buy practically any painting in the studio – so she inquired about the painting saying that it was lovely. However, Mat responded with, “I'm not really very happy with that painting”. Needless to say, he lost the sale, and at the same time insulted Tijah's taste.



Many of us artists ruin our chances for a sale because we hold extreme attitudes – either being arrogant or else downplaying our work with false humility. Most of the time, we know when our painting has hit the mark, and we also are aware when we've missed that mark. As we become more experienced technically, our standards rise, and we begin to think some our paintings are less than worthy - when in reality, they are still very good. If someone obviously responds to a painting, who are we to deny them the joy of that experience just because we don't think it's that great? When a collector decides to lay money out for a work of art, the worst thing the artist can do is tell the potential client what's wrong with the painting.


Alternately, some artists cover up their insecurities with arrogance. This attitude can be just as destructive to sales. No one likes to buy from an artist who belittles other artists or boasts continually in order to build him or herself up. Never, and I say again, NEVER put down another artist's work in a sales setting. Let the collectors decide for themselves.



FOR SALE






















TAJUK : DENAI
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
SAIZ : 3' X 4'
TAHUN : 2008


Every true artist recognizes the need to constantly improve, but you also need to recognize when you are good enough. Take an honest look at your work. Be truthful. Seek advice from someone who knows art and can be truthful with you. Don't ask your mom. Her job is to tell you it's great! But is your work really good enough? This is a tough thing to do. Sometimes it's painful. Sometimes we are too hard on ourselves, but sometimes we should be more realistic with ourselves.


If you realize that you do need to improve, do what is necessary. Take a workshop. Take classes. Make time to pursue perfecting your craft. Create art every day. Don't rush into it expecting immediate results. Don't look for short cuts or formulaic solutions. Improvement is a slow and steady course. Be diligent.



ARTIST COLLECTION
















While in college art classes, there was a student who had the attitude that the fundamental ‘rules’ of art were a hindrance and should be broken or even avoided. He would often cite well known artists who broke away from traditional painting and did things their own way. What he failed to acknowledge or understand is that to successfully break the rules, you must first have a solid understanding of the rules. The better you understands the fundamentals, the better you will know when and how to successfully deviate from them to support your expression. Some of you may disagree with me. Please read on and reserve judgment until after I have presented my case. If you still disagree just remember - I’m right and you’re wrong! :)


I truly believe that if the fundamentals of art were better taught and understood, the quality of art would improve dramatically. I believe that this holds true no matter the genre or style. Be it realism, abstract expressionism, cubism, etc., etc., etc.

FOR SALE
















TAJUK : SERANDU
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM3000
SAIZ : 2.5' X 3'
TAHUN : 2008


Unfortunately, many would be and professional artists alike subscribe to the notion that was held by the art student I knew. They argue that the artist needs to be free to express oneself. So called rules get in the way. I couldn’t disagree more. I feel that the rules are liberating and enable me to be free in my expression.


Why would I want to reinvent the wheel if I wanted to design a sleek new hybrid car? I would use all the cumulative knowledge of the past, and then using my intellect and imagination create something new to fit my purpose and vision. I would throw out old parameter and constraints. I would experiment and find new solutions. I could only do this if I knew why and how the parameters and constraints work in the first place (I don’t-I’m not very mechanical). This holds true with art.

FOR SALE

















TAJUK : LAMIR I
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM3000
TAHUN : 2008
SAIZ : 2.5' X 3'


This also holds true with the artists cited by the student. I admit that I haven’t studied very many of the artists who began the abstract, cubist or other avant garde movements. However, the truly gifted ones that I have studied were traditionally trained artists. They learned the fundamentals, yet they took what they knew and manipulated it to fit their vision. They often broke the rules, but they knew how and when it was appropriate.


Too many of the artists today who emulate their work do not know a thing about the fundamentals that make great art. To be fair, I will also pick on the realists and impressionists of today. It is too easy to just ‘paint a pretty picture’ and have no foundation to build it on. Again, too many artists do not understand the fundamental principles of art. Let me reiterate, to successfully break the rules, you must have a thorough understanding of the rules.



FOR SALE





















TAJUK : DENAI II
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
TAHUN : 2008
SAIZ : 3.5' X 4.5'


Could you imagine a young music student refusing to learn scales, chords, harmony or other aspects of music theory so that he or she could be free to express his or herself? Quite the contrary. The musician who can successfully use accidentals or dissonance in music knows and understands music theory. The musician who understands theory knows how to manipulate the textures, moods, rhythms, harmonies, colors, etc to convey his or her intent. Knowledge is key to freedom of expression.


FOR SALE






















TAJUK : KILANG BIJIH SG LEMBING
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
SAIZ : 3.5' X 4.5'
TAHUN : 2008



Knowledge does not come all at once. Neither can it be incorporated into your art all at once. I speak from experience. Each time when I hit a plateau or otherwise feel that my art is not what I feel it could be, I try to learn what things are holding me back. Sometimes it takes a while and is frustrating. However, I inevitably discover that what is lacking is a thorough understanding of certain principles of art. As I immerse myself in study and then begin to incorporate what I am learning, I find that I can better express myself with my art. I begin to improve.




SOLD



















FOR SALE























TAJUK : SG LEMBING I (MERCU TANDA)
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
TAHUN : 2008
SAIZ : 3.5' X 4.5'



While in college art classes, there was a student who had the attitude that the fundamental ‘rules’ of art were a hindrance and should be broken or even avoided. He would often cite well known artists who broke away from traditional painting and did things their own way. What he failed to acknowledge or understand is that to successfully break the rules, you must first have a solid understanding of the rules. The better you understands the fundamentals, the better you will know when and how to successfully deviate from them to support your expression. Some of you may disagree with me. Please read on and reserve judgment until after I have presented my case. If you still disagree just remember - I’m right and you’re wrong! :)

FOR SALE






















TAJUK : BAYANG TENGAHARI DI SG LEMBING
MEDIA : AKRILIK ATAS POLYSTER LINEN
HARGA : RM4000
TAHUN : 2008
SAIZ : 3.5' X 4.5'


I truly believe that if the fundamentals of art were better taught and understood, the quality of art would improve dramatically. I believe that this holds true no matter the genre or style. Be it realism, abstract expressionism, cubism, etc., etc., etc.


Unfortunately, many would be and professional artists alike subscribe to the notion that was held by the art student I knew. They argue that the artist needs to be free to express oneself. So called rules get in the way. I couldn’t disagree more. I feel that the rules are liberating and enable me to be free in my expression.


Why would I want to reinvent the wheel if I wanted to design a sleek new hybrid car? I would use all the cumulative knowledge of the past, and then using my intellect and imagination create something new to fit my purpose and vision. I would throw out old parameter and constraints. I would experiment and find new solutions. I could only do this if I knew why and how the parameters and constraints work in the first place (I don’t-I’m not very mechanical). This holds true with art.


This also holds true with the artists cited by the student. I admit that I haven’t studied very many of the artists who began the abstract, cubist or other avant garde movements. However, the truly gifted ones that I have studied were traditionally trained artists. They learned the fundamentals, yet they took what they knew and manipulated it to fit their vision. They often broke the rules, but they knew how and when it was appropriate.


Too many of the artists today who emulate their work do not know a thing about the fundamentals that make great art. To be fair, I will also pick on the realists and impressionists of today. It is too easy to just ‘paint a pretty picture’ and have no foundation to build it on. Again, too many artists do not understand the fundamental principles of art. Let me reiterate, to successfully break the rules, you must have a thorough understanding of the rules.


Could you imagine a young music student refusing to learn scales, chords, harmony or other aspects of music theory so that he or she could be free to express his or herself? Quite the contrary. The musician who can successfully use accidentals or dissonance in music knows and understands music theory. The musician who understands theory knows how to manipulate the textures, moods, rhythms, harmonies, colors, etc to convey his or her intent. Knowledge is key to freedom of expression.


Knowledge does not come all at once. Neither can it be incorporated into your art all at once. I speak from experience. Each time when I hit a plateau or otherwise feel that my art is not what I feel it could be, I try to learn what things are holding me back. Sometimes it takes a while and is frustrating. However, I inevitably discover that what is lacking is a thorough understanding of certain principles of art. As I immerse myself in study and then begin to incorporate what I am learning, I find that I can better express myself with my art. I begin to improve.


I would encourage you to make the study of the fundamentals of art a life-long pursuit. I don’t care if you paint realism or abstract expressionism or anything else. Noone has ever suffered from gaining too much knowledge. It may take a while to learn how to use that knowledge and incorporate it into your work, but that is part of the fun of it. You owe it to yourself and to those who view your artwork.



FOR SALE


















TAJUK : BELAKANG PASAR SG LEMBING
MEDIA : AKRILIK ATAS POLYSTER LINEN
TAHUN : 2008
SAIZ : 3.5' X 4.5'
HARGA : RM4000