When thinking about my studio practice, I realized I do not give it much thought, I just do. While observing myself, I noticed that I cannot work in the evening and the time must be scheduled. Mornings are my time to get to work, additionally, I require a setup that is optimal for my inspiration. If I start late, on a different scheduled day, no music, and in a different environment, my ability/desire to interact with my work diminishes. The regular studio time that I have thrives off the chaotic nature of the room. I thrive off this chaos because it allows me to let go from my personal cleaning/organization rituals of my own household. The act of letting go (of which you should know about already) is integral to my practice. In my house I have a minimalist approach, not too much clutter, anything you need you can see, and I celebrate open space. In my studio, which is within my house, I celebrate not caring. This space is my space to do whatever without worrying about how it looks, art, statues, figures, toys, collections, posters, paper, supplies, clothes…etc are thrown all over the space.
Once I enter my sanctuary (a.k.a. my studio), I have a sense of relief…if I entered at the right time/day.
The perfect formula to fuel my creative flow always starts with my “Mina Recharged,” playlist. It is a compilation of music that will surge my energy to start working. This playlist can only be played when setting up, mixing paint, and stretching canvases. Once I feel complete in my setup, I switch playlists to “Arts Farts,” and begin painting. “Arts Farts,” is another compilation of music I put together that keeps me focused and in the mode of the type of work I intend to create. The main playlist for getting down/dirty with my work depends on topic I want to portray in my work. I create these playlists ahead of time and modify as I go along.
Currently, I am bouncing between my studio and the living room/kitchen area. I am working on two pieces that are about 50-60 inches all around. I’m bouncing between the two areas in order to take a step back and look at the piece as a whole. My studio has only so much room for me to navigate these large works in terms of taking a step back and assessing for quality. The piece that is capturing my focus is a watercolor of my husband (Bryan). I had inspiration for this piece while listening to “What Makes a Man a Man,” by Emery. Water intrigues me as a facet of emotions. I had the idea of a person drowning in the waves of emotions that life can bring while listening to the song. I want to depict someone drowning in reverse while strengthening my approach to transparent layers in painting. As a part of my practice, I do not do traditional research when considering an emotional piece. The research I take part in is the music, in this case, songs that my husband finds appealing to his emotional status at some point in time. When using myself as the subject it is easy to call to my own feelings, worth, and expressions. Since I am using Bryan as a subject, I call to him to stare and look at what I’m making, while I’m making it. This is to ensure his emotional status is conveyed correctly without exploiting his vulnerable side.
The secondary piece is also Bryan and the flat-lined emotional status he has maintained while growing up. I have this one on the back burner because it requires a great deal of time towards executing transparent layers via oil paint. I want to start off with something that is easier to grasp in terms of transparent layers, then move on to a higher difficulty. This piece will also exercise caution regarding exploitation of Bryan’s vulnerable side. I’m going to need more of his time on this second piece versus the first one to ensure I do not overstep my boundaries.