Posts Tagged ‘Wood Sculpting’

As an artist, are you afraid to take time off once in a while? Read the rest of this entry »

Dealing with Artist Block

Have you ever woke up wanting, needing to create?  The desire is nipping at your brain, but you are running on empty with ideas.  Artist block is a natural process that all artists go through.  It usually comes right before a huge growth period.  Your brain is telling you, it’s time to “fill-up.”

Just like the fuel in your car, you occassionally need to “fill-up” again.  The block may be Gods way of pushing us to grow and replenish our mind and spirit.  You are sharing your soul with the world through your artwork.  Therefore it is most important to fill YOU back up so you can better express yourself without any fears.

Artist block can be one of the most frustrating times in an artists life.  It certainly has been in mine.  After finishing a wood sculpture, I usually take a day or two to relax and re-juvinate my physical body.  Within a day or two, I know it is time to get back at the artwork, but my mind is blank.  Yesterday, I seemed to have numerous ideas, but today…nothing!  I use a variety of tools to create my sculptures, but they are all useless when I am missing the most important one…”I N S P I R A T I O N.”

So, How do I get through it and not go crazy in the process?  First, it’s important to realize that it isn’t the end of the world.  Walk away, don’t force ideas when they just aren’t there.  If I’m on a deadline, I do other things that need to be done, ie. yard work, home repairs, pay bills or run an errand.   In short, when I get the blahs, I do something to get me back on track to get inspired.  Here are some things that have helped me:

• Don’t force creativity.  It just frustrates me more  Sometimes a good break is helpful.  Maybe even a a few weeks.  Then when I hit my studio, I find ideas come more freely.
• Get outside.  I love to take long drives in a rual countryside.  I observe nature and experience things.  I like to look at everything as if I’ve never seen it before.  I look at rusting metal and see what different colors are in it.  I observe how tree roots grow,  how moss forms on rocks and how wood ages in the elements.  I do something out of the ordinary; like using my sences- sight, sound, smell, touch and taste.  I observe, sketch and photograph.   I carry a camera with me and I stop to smell the roses.   Inspiration sometimes comes slow, but it does come back. 
• I listen to music I like.  This usually inspires me and changes my mood.  Country western is my favorite.
• Clean your studio.  My studio is usually a mess, and full of sawdust from previous sculptures.  By spending a day or two in deep cleaning and discarding, I often discover new ideas or ones that I’ve filed and forgotten about.
• Review how you market yourself.  Use this time to review your marketing tools – business cards, brochures, website, press packets etc.  Even though I may not be creating, I’m doing things to help my career progress.
• Visit libraries and book stores.  Since I  prefer to follow a western theme in my sculptures, I often go to libraries or book stores and look through their selection of books on the old west.  I keep a collection of art magazines, and often refer to them for inspiration also.
• Visit other artists studio’s.  I always get excited and re-energized when I visit with Keith and Craig in the Hone studio.  Not only do I get great ideas from other artists, but their excitement over a project becomes contageous and helps me.
• Visit art galleries and museums.  I often get inspiration from things I see that other artists have created. 
• Don’t be afraid of making mistakes- try something new.  I mess-up all the time.  When I’m struggling, I often try something new. I challenge myself to try a new technique, or challenge myself to try something that may be beyond my current ability
• Don’t panic-don’t stress.  Don’t doubt yourself  and don’t stop creating.  I’ve found that sculpting a “crappy” piece is better than doing nothing at all.  The worst thing you can do is to retreat; mope around and do nothing at all.  It’s time to get back to work!

Artist block is different for every artist, so if this doesn’t work, try something else.  Play music, go for a walk, meditate or take a nap.  There are numerous ways to do it.  You just have to find what’s right for you. 

Well,  it’s time for me to get back to work.  I’m sculpting another saddle, and trying some new techniques.  Can’t wait to share them with you in a future blog.

Many first generation Anglo Cowboys had missing thumbs. Often they were unable to rope their steer, wind the rope around the saddle horn and then remove their hand before the animal pulled tight. Consequently they lost their thumb. Mexican horsemen didn’t have this problem with the saddle of the Charro. It has a wide horn and a wooden tree which helps safeguard the Charro from being “hung-up.” They soon schooled their American counterparts. The Charro is a very practical and safe way to ride and rope. It is often an elaborate mixture of inlayed woods, delicately tooled leather with silver conchos, and greatly prized by its owner

Four hundred years of caring for large animals on ranches are behind the competition known as Charreda. Handed down from generation to generation, and performed in a liengo (arena), which is shaped like a keyhole. Each competitor is dressed in the traditional suit (traje) or the Charro

In 1921, an association was established called “Asociacion Nacional de Charros.” Charreria was a precursor and inspiration for the popular American type of Rodeo that we enjoy today.

Charreda is sometimes called the National Sport of Mexico, but it is more than that. IT IS A TRADITION!

Several months ago, I came across a Charro saddle at a local saddle shop. After carefully examining it, I knew I’d one day attempt to sculpt it. I looked at it month after month, always questioning my ability. Finally in June 2009,   I decided I was ready.

Knowing this could be one of my biggest challenges to date for me, I took loan of the saddle. I knew I wanted to take this sculpture to a higher level of artistic excellence. I decided that a 40% scale would be best for such an elaborate saddle. Numerous hours have been spent in measuring and sketching prior to starting the sculpture. The saddle tree including the horn and seat were completed first, then the fenders, stirrups and tappaderos. Great care was taken to duplicate the delicate leather tooling.

Wanting something different than a typical saddle stand for this sculpture, I decided on a twisted Cedar tree. I spent an entire day photographing and sketching Cedar trees in their natural setting. I finally found what I wanted.

I quickly realized I would have to take on a new challenge if I was able to duplicate my photos. I’d have to first sculpt it in clay, something I’ve never attempted. After obtaining enough clay, I built an armature, and spent nearly a week sculpting and re-sculpting. Particular attention was given to the “movement” of the base by sculpting the tree in an “S” shape, with the branches designed to hold the saddle in place. Finally, I accomplished the look I wanted. But, could I now duplicate this clay model in wood?

Numerous pieces of Walnut were glued together to obtain the proper size for the base and I’ve begun the project. I’ve learned that by challenging myself anything is possible.
I’ll keep you posted on the progress of this sculpture, which will hopefully be completed by early September