This video just came up in my feed and I'm really pleased to have discovered your channel. I loved hearing about your practice and the thought process around putting together a solo show. Love your presenting style too, so engaging and intelligent. Have just subscribed and off to visit your home page - I hope there's lots more to watch!
A big benefit to us, your viewing audience, is that you have had experience from the gallery side of Art Life. I appreciate you bringing some of that perspective into your videos, and it sets you apart from most artists on RUclips. I, too, would like to know when it is appropriate to frame paintings or if we should always do that before a gallery show? Does the artist make that decision or is it up to the gallery? Should all the frames be the same? "Vista" is a great title for the show. Do you title each piece? Thank you, Jess!
Good questions bud! I've heard other artists say yes to most of those questions. They always frame(panel or thinner stretched canvases) they do both gallery and personal sales. They sign each painting with a title and date. But idk, she may feel different, it would be interesting to know
Great Questions! I only frame paper, panel and thin canvases - I find deep 4cm+ stretcher bars don't need framing - just the sides to be tidy, white and neat from my experience. The frames I use are VERY discreet as a 'bad frame can ruin a good artwork'.. but a box frame in white usually for me, or natural wood (grey or black at a push) is what I use.. just to 'surround' the artwork in a professional finish ..never to detract, only enhance. For me it's about continuity, symmetry and cohesion from a gallery perspective. No curator wants to show a riot of frames in a salon style exhibition as it makes the artwork into "Objects" and sometimes it's all you can see when looking at the work! Traditionally buyers like work to be framed for protection, hanging ease and the way a beautiful frame can elevate a piece. Remember, it's all down to taste! I sign all of my works yes and everything is titled - I always found 'Untitled" pieces to be ..uncommitted.. from a viewer's perspective as a title is a powerful identifier into the nuance of a painting! I keep them simple, but feel names are important and reflect on the artist's personality and perspective. I sign my artworks on the bottom of the painting, or on the back of the canvas for authenticity, again, less is more as a big signature can detract from the artwork and make a name look more like branding.. see picasso, seurat or monet's signatures at the bottom of their paintings as an example! I hope that answer's your questions and thanks for watching! Jessie
Spent the last of my money on white paint and I'm nearly out. I feel like a proper artist lol. Me and the dog live in one tiny room and my current work (no. 5) is on a piece of plywood I found leaning up against a bin. The only light I have is a 40 watt lamp. I had to kill the light circuit because it started leaking water through the fan above the toilet (had to wear a raincoat to sit on the thing) and shorted out the circuit. I got into painting because the police took my laptop and because the defence lawyers are on strike the won't be proceeding with the case any time soon (it'll be fine, I provided a mountain of evidence and a witness and I'm half expecting her to go to jail instead). We're talking Caravaggio levels of shenanigans here. I'm a firm believer that suffering produces great art. I have to. God save the King. Great video. Huzzah!
@@ArtLifeWeekly you've encouraged me to try and enter this in a gallery competition. It's one of those things where the art is going right. A sketch I started for the centrepiece is the best thing I've done yet with paint. I just keep staring at it. I found a cerulean sari at work, and I'm thinking of painting the sky in oil, then impressing the fabric over it, then sticking the centre over that and gluing/blending the three together with paint. Learned something the hard way this morning. Cheap acrylic burnt umber gives you 2-3 seconds max to work with it. I'm used to slow deliberate detail and precise geometry. This started with experiments in sacred geometry combined with having paints lying around. Next thing I know it's Zen brushwork. Here, now, formless. Even when I'm not painting, I'm painting. And you are so right about sunlight hitting a painting. I think mine are dark until real light hits them. I'm also a sculptor, though I work with wood. I've got two logs of Lebanese Cedar, and some English Yew that I reckon I can make a cameo-like bas relief from. Anyway, I'm going to end with a question. Do you think Art is the thing produced, or the act of producing it?
wow. this one video has it all: inspiring, packed with helpful information and humor (your hair!😍). I'm praying your show goes extremely well, because I honestly feel your works are incredibly good!
Such an exciting part of your creative journey you are about to embark on. Côte d'Azure is such an inspiring place. I can't wait to see your paintings after that week in France. I also love the new style you want to try out. That 'summery' "test" painting looks so fabulous. Geez, so much suspense happening in this video. You got me all giddy with excitement! :D Also, thanks for sharing all the details about the business side of art, as always, very insightful.
Such a lovely comment thank you Monique Waechter! Thanks for watching, glad your keen on the new test style, I’m pretty happy with it so far - more to explore in next weeks episode 😉
Sent too soon … Excellent bullet points to work with on energy, collaboration, CSR, branding …. How does that work at community level with smaller budgets? Do you have 30 second “elevator ride” (“lift rude”) version and 15 minute version of this presentation? All the best for this part of your Art Life!👩🏻🎨😷👩🏻🎨
Thanks digitdot - This is going to be a small community level exhibition but the appraoch is the same regardless, no matter the scale of the exhibition the input should still be the same although maybe swap put the champagne for prosecco (wink wink)
@@ArtLifeWeekly maybe swap out champagne for Catherine & Celine Champolou’s sparkling Vouvray from the Loire Valley. Wonderful story of a woman-run Domaine, when Papa passed family business on to his son; and a delicious bubbly. 👩🏻🎨🥂🥂🥂👩🏻🎨
![ROSÉ (로제) - number one girl [더 시즌즈-이영지의 레인보우] | KBS 241129 방송](http://i.ytimg.com/vi/A9oByH9Ci24/mqdefault.jpg)
This video just came up in my feed and I'm really pleased to have discovered your channel. I loved hearing about your practice and the thought process around putting together a solo show. Love your presenting style too, so engaging and intelligent. Have just subscribed and off to visit your home page - I hope there's lots more to watch!
Thanks for your lovely comment Zoe! Welcome to the channel!
A big benefit to us, your viewing audience, is that you have had experience from the gallery side of Art Life. I appreciate you bringing some of that perspective into your videos, and it sets you apart from most artists on RUclips. I, too, would like to know when it is appropriate to frame paintings or if we should always do that before a gallery show? Does the artist make that decision or is it up to the gallery? Should all the frames be the same? "Vista" is a great title for the show. Do you title each piece? Thank you, Jess!
Good questions bud! I've heard other artists say yes to most of those questions. They always frame(panel or thinner stretched canvases) they do both gallery and personal sales. They sign each painting with a title and date. But idk, she may feel different, it would be interesting to know
Thanks,@@DCweldingAndArt
Great Questions! I only frame paper, panel and thin canvases - I find deep 4cm+ stretcher bars don't need framing - just the sides to be tidy, white and neat from my experience. The frames I use are VERY discreet as a 'bad frame can ruin a good artwork'.. but a box frame in white usually for me, or natural wood (grey or black at a push) is what I use.. just to 'surround' the artwork in a professional finish ..never to detract, only enhance.
For me it's about continuity, symmetry and cohesion from a gallery perspective. No curator wants to show a riot of frames in a salon style exhibition as it makes the artwork into "Objects" and sometimes it's all you can see when looking at the work! Traditionally buyers like work to be framed for protection, hanging ease and the way a beautiful frame can elevate a piece. Remember, it's all down to taste!
I sign all of my works yes and everything is titled - I always found 'Untitled" pieces to be ..uncommitted.. from a viewer's perspective as a title is a powerful identifier into the nuance of a painting! I keep them simple, but feel names are important and reflect on the artist's personality and perspective. I sign my artworks on the bottom of the painting, or on the back of the canvas for authenticity, again, less is more as a big signature can detract from the artwork and make a name look more like branding.. see picasso, seurat or monet's signatures at the bottom of their paintings as an example! I hope that answer's your questions and thanks for watching! Jessie
Thank you very much, Jessie!
really good question!
Spent the last of my money on white paint and I'm nearly out. I feel like a proper artist lol. Me and the dog live in one tiny room and my current work (no. 5) is on a piece of plywood I found leaning up against a bin. The only light I have is a 40 watt lamp. I had to kill the light circuit because it started leaking water through the fan above the toilet (had to wear a raincoat to sit on the thing) and shorted out the circuit. I got into painting because the police took my laptop and because the defence lawyers are on strike the won't be proceeding with the case any time soon (it'll be fine, I provided a mountain of evidence and a witness and I'm half expecting her to go to jail instead). We're talking Caravaggio levels of shenanigans here. I'm a firm believer that suffering produces great art. I have to. God save the King. Great video. Huzzah!
Gosh Human from Earth that does sound like a lot! Fingers crossed it all works out 🤞Thanks for commenting!
@@ArtLifeWeekly you've encouraged me to try and enter this in a gallery competition. It's one of those things where the art is going right. A sketch I started for the centrepiece is the best thing I've done yet with paint. I just keep staring at it. I found a cerulean sari at work, and I'm thinking of painting the sky in oil, then impressing the fabric over it, then sticking the centre over that and gluing/blending the three together with paint. Learned something the hard way this morning. Cheap acrylic burnt umber gives you 2-3 seconds max to work with it. I'm used to slow deliberate detail and precise geometry. This started with experiments in sacred geometry combined with having paints lying around. Next thing I know it's Zen brushwork. Here, now, formless. Even when I'm not painting, I'm painting. And you are so right about sunlight hitting a painting. I think mine are dark until real light hits them. I'm also a sculptor, though I work with wood. I've got two logs of Lebanese Cedar, and some English Yew that I reckon I can make a cameo-like bas relief from. Anyway, I'm going to end with a question. Do you think Art is the thing produced, or the act of producing it?
love your paintings, love your videos and all the best for your coming exhibition
Thanks for the lovely comment Flynnfamily1!
Your work is beautiful!
Thank you V G welcome to Art Life
i concur
wow. this one video has it all: inspiring, packed with helpful information and humor (your hair!😍). I'm praying your show goes extremely well, because I honestly feel your works are incredibly good!
Thanks for watching Anthony W 😀
Such an exciting part of your creative journey you are about to embark on. Côte d'Azure is such an inspiring place. I can't wait to see your paintings after that week in France. I also love the new style you want to try out. That 'summery' "test" painting looks so fabulous. Geez, so much suspense happening in this video. You got me all giddy with excitement! :D Also, thanks for sharing all the details about the business side of art, as always, very insightful.
Such a lovely comment thank you Monique Waechter! Thanks for watching, glad your keen on the new test style, I’m pretty happy with it so far - more to explore in next weeks episode 😉
Your presentation was professional, polished and ready for prime time … personable because you are but more on corporate side, less on community side.
Sent too soon … Excellent bullet points to work with on energy, collaboration, CSR, branding …. How does that work at community level with smaller budgets? Do you have 30 second “elevator ride” (“lift rude”) version and 15 minute version of this presentation? All the best for this part of your Art Life!👩🏻🎨😷👩🏻🎨
Thanks digitdot - This is going to be a small community level exhibition but the appraoch is the same regardless, no matter the scale of the exhibition the input should still be the same although maybe swap put the champagne for prosecco (wink wink)
@@ArtLifeWeekly maybe swap out champagne for Catherine & Celine Champolou’s sparkling Vouvray from the Loire Valley. Wonderful story of a woman-run Domaine, when Papa passed family business on to his son; and a delicious bubbly. 👩🏻🎨🥂🥂🥂👩🏻🎨
@@digitdot oo la la sounds delicious 😋 🥂
so beautiful I like you beautiful painting work you are so good very excellent
Thanks for watching Amber! 👍🏻
Will you be framing all these pieces?
All the thin stretchers and Paper works I will frame, deep 4cm+ stretchers won't be