This week, I finally got my act together and submitted five paintings for consideration for an upcoming curated exhibit at a local gallery.
I have been very nervous, worrying that my work wasn’t going to be good enough, finished enough, sophisticated enough. I didn’t have an artist bio or titles or an artist statement to go along with the images.
Finally, I decided to just go for it—pull together what I had and create what I didn’t—as a way of moving forward with my craft again. I’ve been stagnant for too long, and just the act of going through the motions of sending in some work is, if nothing else, good practice. Even if nothing comes from it this time, I’ve taken a step to work towards getting my art out into the world, sharing with an audience. That, in itself, was a huge mental hurdle that I needed to get past: the idea that the work could find a life outside of the basement painting space.
So, on an overcast day over the weekend, I hauled all of my current batch of paintings outside, set up a small photography set with a seamless background, got the camera and tripod fired up, and shot images of the current state of things. Then, I sorted through and chose the five images that felt the most complete and unified, wrote a simple bio and artist’s statement, and sent things along via email.
The last time I exhibited was 19 years ago, and the submission was a collection of slides and a typed-up artist statement. Technology has really changed the game.
The curators will be reviewing next week and letting folks know by April 6th whether they’ve been included in the exhibition.
I’ve always loved this bull series as a study of simplification, refinement, and abstraction.