Talking yourself in and out of creating art

When we were kids, creating was a full-time job. Through creativity we learnt, laughed and lived. And although it is cliché, it doesn’t make it any less of a truth – as we get older, we become less creative. However, this innate desire to create never leaves us. We’ve just forgotten about it, or we have changed the way we think about it.

Art and creative expression is something that everyone is capable of.

One of the biggest creative blocks is the self. The phrase I hear so often and that irks me the most is, ‘I wish I could (draw)’. You can! Everyone can! The only thing stopping us are our thoughts that are telling us we can’t. We need to be mindful of how we are talking to ourselves and try not to get carried away with our inner bully. Unfortunately, our inner bully does not get along with creativity, and it is important – in all aspects of life – to learn how to dim the negative chatter.

If you have not created in a long time, actively creative people can be intimidating, which is a sure-fire way to talk yourself out of creating. It is easy to scroll through Instagram and think, ‘I couldn’t draw that. I will never learn how to paint like that. I can never be that good.’ Unfortunately, someone else’s creativity can sometimes trigger envy or frustration within us for various reasons, not joy for the person’s achievement or motivation for our own work. Instead of running with these negative feelings, we should put that energy into… you guessed it – creating.

Don’t judge your creativity

Don’t stop after one unsatisfactory attempt, because giving up is the only sure way to fail. It is so easy to stop doing something if you feel it is too difficult, or if you’re not good at it straight away. You wouldn’t tell a child that their drawing is terrible, and that there is no point in continuing. Be kind to yourself! When you stop judging your work you will begin to enjoy the process – and isn’t that what it’s all about?

There is also a lot to be said about being silly. Have fun with your creativity – just because we’re a little older doesn’t mean we can’t be silly! Drip the paint on in globs. Get it all over your fingers. Do that silly sketch of the cat in the laundry basket. Scribble. Laugh. Throw paper-mâché. And most importantly, relax and enjoy yourself.

Buy some materials, or give some attention to your old tools – then use them

Crisp, shiny, new materials can inspire you to get creative. And if you cannot afford new materials, then clean, sharpen, rearrange and colour-coordinate your current supplies. You will need to fight the many excuses that will come up – why you cannot spare ten minutes using these new materials to do a drawing of the guy you saw sleeping on the train today. Or that your desk is too messy to even begin a drawing. Or that you don’t have the right materials for the work. Fight all your resistance to create, and just do it. It will feel great.pastels

Disconnect from your devices

It’s great to use apps for inspiration – but it is also very easy to become lost. A few minutes of scrolling can turn into an evening. When we claim we do not have enough time to create – take a look at how much time is eaten up by mindless scrolling. Try to disconnect just one day per week and spend some time being creative.

Take a class

Creativity is what we nurture here at Melbourne Art Class. We have a lot of beginners’ courses in the hope to inspire people to revisit and explore their creativity. If you are in a bit of a creative funk, classes can really help pull you out of it. They create an opportunity for you to create in a group environment, which is difficult to do on your own when you are lacking motivation. Attending a regular class with like-minded creative people changes the way you think for an extended period of time, which is significant because most of us have our home brain and our work brain. Schedule two and a half hours in a creative environment into your work week, and I can guarantee it will lift you.

Allow yourself to be creative

You may have noticed that I have said we need to “allow” ourselves to be creative. This may sound strange, because we didn’t have to do that when we were kids. We just did it. As an adult however, there are so many things blocking us from being creative. It is important to remember that we can still be – and need to be creative.

Have you noticed, that when you allow yourself to be creative:

Your thoughts become quieter.
Time stops,
or extends,
or doesn’t even matter.
You are in flow.

And being in flow is undoubtedly one of the best feelings in the world.

If we allow ourselves to create, without judgement, it will bring something new and create a lightness in our lives. We need to allow ourselves to spend time on things that may not have a monetary outcome – or a defined outcome at all. That can be a little scary in the adult world. Though there really is nothing to lose – after all, we were born to do what we love.

Come and create with us at Melbourne Art Class! Check out our courses here – they are open to all skill levels and creative types! We look forward to creating with you soon!

Written by Lauren Ottaway

Seeking expressions of interest for our new art studio space in Melbourne

We are looking to bring our artistic community closer and create a communal art studio with individual storage, and an exclusive mentor program.

From 2017, our additional space will have both teaching studios and a communal studio. We are so excited about creating a space for artists to create, connect and even collaborate.

To make this happen we are seeking expressions of interest from individuals who would like to be a part of our communal studio. As we get an indication of the interest, then we can further clarify exact costs and location.

Why join our shared studio space?

  • Our communal studio offers a cheaper alternative for artists than a rented private studio.
  • You will be able to connect with different artists and be a part of a new, creative community.
  • You will have 24-hour access to the studio and your personal storage space.
  • You will receive a 10% discount on all MAC courses whilst you are part of our communal studio.
  • You can also receive one-on-one art tuition and mentoring from our teachers.

 What is the communal student studio?

A communal studio which is available for individual use.  Each artist would have access to personal storage space.

Proposed Timing: 24-hour access

Cost: Approximately $30-$50 per week

In addition to this, Melbourne Art Class will also be offering one-on-one art tuition and mentoring in this space.

What is one-on-one mentoring?

One-on-one meetings with your tutor (one of our experienced artists/instructors), in the communal studio.

Proposed Timing: Twice weekly, about half an hour each session.

Cost: Approximately $50-60 per week

If you are interested in being a part of our communal studio, or have any questions or feedback, please email Lauren at hub@melbourneartclass.com and help our new project begin!

 

A marathon workshop using ink, shellac, charcoal and pastel

Last Saturday we held a Drawing Workshop using Ink and Shellac with Hilmi; we were very excited because it was our first of this sort and it proved to be very popular.

The workshop’s primary focus was on structural drawing techniques and describing value. Hilmi summed the experience up as a marathon day, where students worked from Still Life, beginning the day with a structural drawing, then introduced value with ink washes and then sealed this with a shellac layer. Pastel and charcoal was then used to further develop the drawing.

You can see their incredible process below! Unfortunately we do not have images of all our students’ works (if you are not featured here and would like to share your work with us – please email Lauren).

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How can paint hold such suffering and still remain paint?

George Gittoes: Rwanda

I’ve never really forgotten George Gittoes’ Rwanda series of works from the mid 90s. They describe the sort of thing that one can’t forget. Gittoes was present the year after the Rwandan Genocide of 1994 and witnessed the retaliatory genocide at the largest camp for internally displaced persons, Kibeho, in south-west Rwanda.

Charles Nodrum Gallery, almost opposite our studios on Church Street, Richmond has been showing some works from that series and I had to see them. This was the first time I have seen them as a group of works, consisting of some large paintings, photo-based works and drawings.

George Gittoes. Blood & Tears, 1997. Oil on canvas
George Gittoes. Blood & Tears, 1997. Oil on canvas

I didn’t really look at the photos; at a glance I knew what I would see there. I went to see the paintings. While they seem to screen the intensity of the violence in expressionist swathes of colour, they simultaneously are a study of violence, of suffering and of what remains afterwards. They are entries into the shocked immediacy of the victim’s experience while bearing traces of the artist as witness. Mine was a quick visit, but it left me reeling for the next couple of hours.

Strange really, because art does not normally effect me much. I have a love for art that seems to exercise itself in front of the simplest of works such as a student’s painting or a child’s drawing, but I don’t know if I believe in art’s capacity to change the world anymore. I was once a believer, the idealism surrounding the art I had seen as a boy, had never left me, The hand of Christ from Michelangelo’s Pieta (another victim) fascinated me. How could something be living flesh and marble at the same time?

When Gittoes made a choice to draw survivors that had been attacked with machetes and knives, he made a very brave call. There in the midst of the carnage, with many needing help, he drew. He had decided that his role as witness and art’s ability to translate and broadcast what had occurred was of primary importance. I’ve asked myself if I could do the same, could I live with the consequences of that decision? The haunting afterwards? While I am strangely overwhelmed by the work, I have wondered whether I believe in art that much.

I cannot resolve another thought. How can paint hold such suffering and still remain paint? What intensity of suffering does it take to spill so searingly through that object on the wall that we put a price tag on? How does a painting hold and yet not hold this unanswerable suffering?

The act of painting and the intense focus on the survivors of the violence moves us from the typically documentary style representation of the crime as we see it in the media, to a more transcendent meditation upon that which lies within ourselves. We recognise perpetrator, victim and witness within ourselves and hopefully we build a greater awareness of ourselves. Gittoes has frequently ventured into violence and human suffering. He has embraced the darkest corners of our humanity and held it up to us. We need a witness to bring about justice and Gittoes’ work has been in a sense, an optimistic, possibly redemptive act in the role of that witness.

Exhibition details:

George Gittoes: Rwanda

2 – 25 June

Charles Nodrum Gallery

267 Church Street, Richmond

On the final day of this exhibition from 4pm-6pm, you will be able to hear the artist recall his experiences of the Rwandan Massacre in 1995 and how he translated these events into the paintings on the gallery walls.

Charles Nodrum will also say a few words, and both will take questions.
George’s wife Hellen Rose will perform two songs in the traditional Afghan folk style.”The Gambler” & “Black Dress” are bilingual – in Pashto and English – and are collaborations with local women of Jalalabad who work with both Hellen and George at The Yellow House.

Written by Marco Corsini

Another Drawing Intensive sees brilliant work produced!

Over the ANZAC Day weekend we ran a small Drawing Intensive Workshop. Small because we had a smaller number of enrolments – however the result was an intimate workshop where Hilmi was able to focus on each student’s process, skill level and individual learning desires.

Incredible work was produced by each student, and we are proud to show it off! As you can see below, we had a range of skill levels, which is why we keep our classes small, so every teacher can provided one-on-one training. You can see the progress of each student over the three-day weekend:

Ivana has been attending our classes since late last year and has been challenging herself with drawing classes. As you can see, it pays to put in the effort!

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This was Jonathan’s first class at MAC and his progress over the three days was impressive.

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This was also Erin’s first class at MAC, and she has since enrolled in our six-week Drawing Course with Hilmi. She produced some incredible work. We also received some heart-warming feedback from here too, “I enjoyed the workshop immensely. Hilmi created an environment where we were all able to work at our own pace and develop as individual artists. We moved quickly through the curriculum but Hilmi’s precise articulation made it doable.

In the past I have done intensive workshops and they have left me exhausted and somewhat despiteful. This weekend, time flew and I looked forward to the next exercise. 

It didn’t take me long to book my next class package, for all the reasons listed above. I must also mention that the cost of the classes makes it very accessible. I did a lot of research before booking the intensive workshop and found Melbourne Art Class to be the cheapest – by far. But it wasn’t cheap value.

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These workshops are a good way to supplement ongoing study, and we had Katelyn, who is a VCE Studio Art student. She wanted to enhance her drawing skills and gain a greater understanding of tone and structure and produced some brilliant work!

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If you would like to attend an upcoming Drawing Class here at MAC, check out our classes, or join a waiting list! We’ll be opening enrolments for our next round of classes soon. We also want to thank everyone for their hard work and for letting us share their works!

Dawn Csutoros – Back in Beijing

As part of my 9-month art journey this year, I am spending the first month in China.

My link with China began 30 odd years ago when I started learning tai chi and looking into Daoism. But it had never really crossed my mind to travel there. Then in 2007, I received a commission for the JW Marriott Hotel, Beijing. I followed this up with a six-week artist residency in Fei Jia Cun, an art village on the outskirts of Beijing. The artist villages in China are amazing! Imagine a community made up predominantly of artists, the studios generally take up the ground floor of a two storey space, bedroom traditionally upstairs. Kitchen, bathroom and studio downstairs. The atmosphere is supportive, with neighbouring artists visiting each other, discussing ideas for their work and meeting for drinks and openings.  The energy is at once open and enthusiastic; a genuine curiosity to explore new mediums and different techniques.

Dawn group pic
Group picture with Brian Wallace, Director of Red Gate Gallery, Nikolaus Ellrodt, Curator and Director of The Showroom Gallery, Dawn Csutoros, artist, local international artists, Geoff Raby.

2008 came with an invitation to exhibit at the Australian Embassy in Bejing, opened by the acting Ambassador Dr Geoff Raby and Bill Shorten. 2009/10/11 saw more exhibitions including a collaboration with fashion designers for the World Expo, along with travel across the Gobi desert, climbing sacred Taoist mountains and journeying along the silk road to Dunhuang which has the world’s largest collection of Buddhist cave paintings.  This inspired new works, using mediums such as Xuan paper, ink; even tea and black coal entered the work. The materials implicit to the culture were being embedded into my compositions.

In 2013, I was in Songzhuang Art Village for a couple of months and now here I am again, but this time, to exhibit a selection of works spanning 12 years and to stay on for a one month artist residency in 318 International  Art Village, Beijing. The studio space is amazing.  As an artist, it is such a wonderful experience to be able to travel and live in new surrounds, to immerse myself in a completely different culture and see with new eyes. Very inspiring, and I am grateful for the opportunity.

Installation of exhibition at 318 International Art Village, Beijing. Exhibition opened by Counsellor for Public Affairs and Culture, Maree Ringland and former Australian Ambassador Geoff Raby.

 

 

 

 

 

 

 

 

 

 

 

I only arrived Tuesday afternoon and the opening was on Saturday in April and the exhibition will continue for one month.  A slight glitch as my tube of drawings decided to stay on an extra day or so in Singapore. However, Nikolaus Elrodt, the curator took it all in his stride and everything was ready on time. Maree Ringland, the cultural attaché opened the show. We started at 3pm and finished the night dancing ‘til 2am.

The next day, I have time to rest and reflect and find myself wondering how my next body of work will evolve.  Despite the pollution, hay fever, traffic and trials with internet, it’s great to be back in Beijing.

Next stop Malta!

To find out more about Dawn, you can visit, http://dawncsutoros.com

Attending to the lightness of seeing

Drawing and Painting Student, and Guest Blogger Ivana, inspires us with her newly-found dedication to agreeing to pay attention to the act of seeing.

A little while ago a post floated across my facebook feed, one of those pithy inspirational quotes – you know the sort; the sort that is ever so wise and makes you feel good and whole while otherwise scrolling cat vids*.

From William James, the American Philosopher and Psychologist it said simply:

“My experience is what I agree to attend to.”

It got me thinking around a bunch of stuff. Now, some of that stuff is pretty personal and I’ll hold it close but in respect to the act of drawing there is an insight bound in the idea of agreement and attention I thought might be relevant and of interest. Here goes…

Left to my own devices, I’m a sloppy drawer. Hard handed and while not lacking confidence in attacking the page I’m a little too focussed on immediate gratification. I just want to get that damn image down! Quickly. I’ve got 20:20 vision and know one end of a pencil from the other but you might not always be able to tell when looking my work.

Here’s an example, sketched quickly at home:

Moomin with Mummy, Ivana Lees
Moomin with Mummy, Ivana Dash

 

 

 

 

 

 

 

 

 

 

 

 

 

So I take drawing classes and I do this for two reasons:

1) To develop technique, and;

2) To tame my giddy inner self and focus on seeing.

It is true that with each drawing and each class my technique improves; manipulation of material and touch becomes easier, tips are gained and tricks learned but… If that’s all a drawing class was, I’d still be a sloppy drawer –with admittedly significantly better tools at my disposal.

So this is where the second point comes in. Obtuse perhaps, but insanely important it’s about the act of seeing – agreeing to pay attention to the act seeing; to force myself to do this in a structured and warm but firm environment.  To learn to look at. To learn to look around. To learn to look through. To learn to truly look. To agree to do this so that I might actually see. Through this, my naturally excited hand becomes light and free; truly trained and tamed and my work while still distinctly mine becomes all the better for it. At least, that’s my goal. Some recent Melbourne Art Class drawing class works:

Ivana, charcoal on paper, March 2016
Ivana Dash, charcoal on paper, March 2016
Ivana, charcoal on paper, March 2016
Ivana Dash, charcoal on paper, March 2016

Now, I’ve done a number of MAC drawing classes with Hilmi Baskurt and am intensely driven to continue however other than the obvious improvement in technique (which in itself is delightful and not in question) I was feeling a little at a loss as to why I was so compelled. After all, I lead a busy life like everybody else and classes come at the cost of doing something else. Then, I saw that little quote and my gut instinct got a voice. I want to learn to see.

I agree to attend to being able to see.

Written by Ivana Dash

*BTW, cat vids are awesome. I have nothing against cat vids. Oh look! Here’s one: https://www.youtube.com/watch?v=OUtn3pvWmpg

Works from our Painting Students

Hilmi’s Painting Class for Term One focused on one composition with different Still Life objects. Students could choose what would feature in their work, including shiny porcelain vases, old books, pottery and painted wine bottles. They were also challenged with a backdrop of creased sheets.

The class focused on oil painting techniques and students were encouraged to develop drawing skills, conceptual understanding and technical proficiency in painting using a classical approach modified for contemporary use. Hilmi used some of the elements of Flemish Painting technique, which he has previously taught in a three-day workshop, with a faster contemporary, approach.

We are very proud of what our students have achieved! Below are their works in progress – we hope you enjoy them!

Enrolments are now open for Term Two Painting and we welcome people of all skills levels. You do not have to have attended Term One to join us – Hilmi will help you wherever you are on your artistic journey! You can enrol and find out more via our course page: https://artclassmelbourne.com/painting-with-hilmi-baskurt/

Ivana
Ivana
Luka
Luka
Robyn
Robyn
Shlomo
Shlomo
Fiona
Fiona

Student work from our Drawing Classes with Hilmi Baskurt

Artist Hilmi Baskurt’s Drawing Courses explore the four elements of sketching – the structural sketch or basic line drawing; value sketching (light and dark); chiaroscuro (black and white) and contour sketching, or continuous line drawing. Being aware of these four elements helps students with their observational skills and will lead to a more finished drawing.

These courses attract a wide range of people – from complete beginners to artists who would like to return to the fundamentals. Because our classes are small (no more than ten students), this allows Hilmi to help everyone individually, no matter what skill level. It also allows a student some freedom in their choice of work.

The first term of classes saw some fantastic drawings being produced, especially since a number of our students had never drawn before. We love doing what we do when we see a new artist complete a drawing they never thought possible – or see an object of Still Life in a way they had never considered!

Here are some of the works produced in our recent six-week course with Hilmi:

Jamie
Jamie
Kate
Kate
Song
Song
Emily
Emily
Georgia
Georgia
Steve
Steve
Cheryl
Cheryl

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

We also ran a Drawing Intensive Worksop over the Labour Day weekend that crammed the four elements into a boot-camp style course, as well as one day focusing on Life Drawing. These workshops are extremely popular; a lot of our students complete this workshop and then move onto our six-week drawing and Life Drawing courses. In both of these courses, students can complete folio-ready drawings, depending on their skill level.

Here are some images from our students undertook the Labour Day Workshop:

Stella
Stella
Casey
Casey
Chandrima
Chandrima
Donald
Donald
Ivana
Ivana
Jenni
Katie
Katie
Vipul
Vipul
Patrick
Patrick

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Come and sketch with us over the ANZAC Day weekend!

We are running a three-day drawing workshop over the ANZAC Day weekend and enrolments are currently open! You can read more and enrol in the workshop here: http://artclassmelbourne.com/drawing-intensive/. If you have any questions about the course, or any classes we offer, please don’t hesitate to get in touch with Lauren at hub@melbourneartclass.com.

You can see all the drawing courses we offer here: http://artclassmelbourne.com/drawing/

 

Award-winning artist Irene Ferguson joins MAC

We are extremely fortunate to have artist Irene Ferguson in our rank of professional artists/teachers here at Melbourne Art Class!

Irene is currently teaching our popular six-week General Drawing Course, and her Sunday Studio Art Course begins this weekend (enrolments are still open!).

Irene was born in New Zealand and we are very lucky she has chosen to cross the Tasman after wandering all around the world. She completed a Master Fine Arts at the New York Academy of Art, (cum laude) and also has a Diploma of Fine Arts, with Honours (printmaking) from Otago School of Fine Art, Dunedin, New Zealand.

Irene Ferguson with Blue Girl

Irene has had over thirteen solo exhibitions and a number of group exhibitions in her career, and has worked as studio assistant for both Jeff Koons and Louise Bourgeois.

A highly-recognized artist, Irene has been a finalist in many prizes, including the BP Portaiture Award at the National Gallery in London.

Irene is best known for her portraiture work. In 2008 she won the Adam Portraiture Award with her work, The Blue Girl, Johanna Sanders in her Back Yard (pictured).  She travelled to Italy in 2010 to the Charles H. Cecil Studios in Florence, Italy to complete her training in portraiture. And Irene will soon be taking a portraiture class here at MAC!

We currently have one class with Irene with places still available – our Sunday Studio Art Course, where we invite all artists, whether you are a complete beginner and would like to learn how to draw or paint, or if have your on project you would like to work and receive critical feedback. The nine-week course begins this Sunday April 17th, and you can enrol and find out more about the course here: https://artclassmelbourne.com/sunday-studio-art-with-irene-ferguson/.