Colliding Thoughts

So, I have mentioned I'm doing a Ken Goshen class and it is *so good* I also joined his Patreon.
He isn't a dogmatic teacher, not at all, in fact quite the opposite- he has his way of doing things but heartily says if you don't like it do something you like.

But the reason we work with a teacher is for their perspective, insight, and experience.
And teachers are influential.
Eventually after we learn from them, do it their way for a while, we then must make our own combinations/ perspectives.

And one of the best reasons to branch out from one person's way of doing things is because different people have different perspectives. And it's also easy to get pigeon-holed into one person's way of thinking or one system's dogma and not do something because they don't do it and we admire them.

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Yesterday Drawing America hosted an *amazing* guest-sketch session with David Kassan.
(His wife is also a phenomenal painter, go look up Shana Levenson.)

Although David worked from life, he uses photos a lot.
Kevin Wueste does, too.
I believe Ken Goshen doesn't but I could be wrong about that, he might occasionally.

But in both these examples, both David and Kevin (and Ken) are serious indisputable masters when it comes to working from life/drawing/everything.

I don't know where I am going with this except it is nice to see that balance.
It's cool when different teachers say completely opposite things.

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I am finding that so many of the artists I really admire come from the Florence Academy, or have been atelier-trained. For years I have been thinking if my life had allowed it, I would ship myself off to a classical atelier. It takes a few years, is not a college degree, and is *so expensive*....
Grand Central Academy tuition here in NYC is over 12k a year full-time.

I'm really jealous of people who get to do that, get that superior level of training and then get to go professional. I told Leah I wish I could do it, and she said she'd help me think about it, and I could probably make it happen in 10 years or so... but I don't want to wait 10 years to get that good!

The training makes the difference. It really does. Not just in technical proficiency, but in knowing people, studio setup, how to be a small business, all of it. The training is such an advantage, it is everything. And getting training like that, in that context, really is not very accessible in general.
It seems to be available to only a fortunate few who have the means and support.
It seems like if you don't have a good life setup to begin with, it's impossible.

I know this isn't entirely true, but it does seem to be a very common theme.

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I don't know where my art is going but I would like it to go...somewhere, more professional.
My life is transitioning now that Daya is older.
I never stopped painting through these many hard years, although I was significantly slowed down.
So now I am at a point where I have more freedom than I have had..... well, ever- (full time job and covid notwithstanding) ...... and while I practice a lot I need to have more direction.

I don't have a cohesive body of work, not really.

I definitely want to do:

• More Topiary Cats
• Plein air
• Cathedral series (ongoing)
  
• More master copies
• ????

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Being an artist often means being uncomfortable, and I am feeling very uncomfortable right now.
It's ok and necessary to feel artistically uncomfortable but it still sucks.

Sometimes exposure to people who are so skilled, so advanced, is intimidating.
And they get to have lives that are in all ways defined by their art. They are masters. They have the freedom and life setup to just make art at a really masterful level.  Because it does take an enormous amount of time. They admire each other and respect each others' work, they are all in that circle of master professionals.  I think that must be a wonderful existence.

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COOL PAINTING TIP THAT I SOMETIMES DO ALREADY THAT DAVID KASSAN DOES!!!!

Many years ago Drusilla gave me these really nice binoculars.
I keep them in my plein air gear and use them sometimes.
I also bring them to the cathedral and use them sometimes there, too.

David Kassan uses them when painting from life in the early stages in his studio!
He had a bad spot in a drawing class once and saw a lady using opera glasses....which he thought was brilliant, and he started doing it too! So it's kind of cool to know he does this, and it is also part of my gear!

Since my cataract surgery I have to use them through reading glasses (or my multifocal contact lens but I never wear that when I go out) and I'm sure I look weird but I don't care.

Thanks Dru!!