I had such a great meeting with Heidi this morning.
I think the most exciting aspect of it for me is that it feels as if she"gets me": that the pieces of my work that she most responds to are also the ones that I felt the strongest about. (example - the green wave piece)
I also felt as if her advice to me was right on the mark. I now feel both encouraged and motivated.
After looking at my earlier work, her advice to me was to either go less or go widely more - even to go horribly overboard to the point of ruining the work. Later, she suggested that I take photos of my work as it goes along so that we can review it at many stages. She suggested that I work on value contrast, that I do pieces with black, white and gray to better understand what I'm doing.
She suggested that leave off concerns about structure (where I was getting bogged down)- to look at my work as a painting with 3D aspects but not to get sidetracked by needing to understand sculpture.
We talked about the aspect of works that appeal to me: quirky, unpredictable, fresh.
I mentioned Richard Tuttle and J. Stockholder, and Heidi introduced me to Jean Shin - who I immediately adored- and Leslie Dill, Anne Ryan and Polly Apfelbaum, who I appreciate but am less drawn to from internet images, anyway. I just was checking out Sheila Pepe ( recommended a while ago by Laurel - I was intrigued). But Jean Shin is really a hit for me.
I seem to love the simple idea done exquisitely.
So, I loved Heidi's recommendations for the next month:
1. Clean out the studio - create as many white walls as I am able and get rid of all clutter.
2. Go to a fabric store or used clothing store - find a variety of different kinds of cloth
3. Create 20 different small pieces, using translucent scrim, possibly fishing line for support, lots of overlay
4. Photograph the work as I go; make some ugly, some way too much, some minimal, at least one black and white, use grungy and beautiful cloth, stay with the formal principles of painting but let the materials take me, let myself be influenced - try to be over-influenced by artists I like (make a Richard Tuttle, Jean Shin= hard to do)
5. Keep an art journal - when I started and stopped, what I accomplished each day - set aside set hours to be in the studio so that I am sure to be there even with all the family demands.
6. Don't worry about the paper(s), just get them done and out of the way - that my art is the important part.