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Having one of my paintings used for a custom scoliosis brace is one of the most unusual requests I have ever received. The patient wanted to use my original painting, titled Free Spirit, as the design for her brace. ScoliCare, an Australian company known for custom bracing, enthusiastically agreed to do it. I am honored to have my art offered as a choice for a custom brace design for this patient and for others in the future. It’s extremely gratifying if my art can help improve a patient’s experience. You can find the full story at www.scolicare.com

Pictured is the custom brace and the painting 

Courtesy of ScoliCare.                                                                         Free Spirit

For those artists who want to add a professional looking epoxy gloss finish to their paintings , I want to tell you about a great product that I have been using. It's called Art Resin (www.artresin.com). It's so easy to use and it doesn't yellow over time. It has no odor and its easy to mix, giving you consistent results every time. You spread a thin coating on the painting, let it cure for 24 hours and then the magic happens. Your painting is protected from damage and the colors are even more vibrant.  

For those who want to to buy art that comes to life with colors that will never fade, then work coated with Art Resin products is the way to go.

Not all epoxy coatings are the same so you may want to ask the artist what brand of epoxy they used. Below is an example of one of my collage paintings that was coated with Art Resin.  I made these 8 x 8 inch pieces in many different color palettes. I created an original paintings on mixed media paper, affixed it to a cradled wood panel, and then coated it with Art Resin epoxy.

A broken wrist was the impetus behind painting a mini summer series. Not being able to maneuver large size canvases, I decided to paint groupings of 8 x 8  inch pieces. This series was so fun to do. They are  both affordable and extremely versatile. 
First I painted on an 18 x 24 inch sheet of mixed media paper, then cut it into 4 pieces, adhered it to an ultra smooth cradled panel, and finished it with a glossy resin coating (Art Resin product) for a dramatic presentation. These paintings look good frame-less but you can also frame them to make them appear larger. With the unused, extra pieces of the cut painting , I created collages with the same finishing process.  You can hang them in groupings of two or more vertically, horizontally, or staggered. They look great spaced out horizontally above a headboard in the bedroom, or hung vertically on a narrow wall for a pop of color. Below are some pictures in the green and gold leaf grouping, and some from a neutral palette grouping. Many different color groupings are available or custom color groupings can be created. These paintings may be small in size but they add big impact.

It takes courage to enter your work into juried shows and competitions because you are exposing your work to the possibility of being rejected. Previously, I let my insecurity and fear get in the way and I was reluctant to try.  I have since overcome those feelings and now actually enjoy the challenge of participating. It's exciting and gratifying when your work is accepted and recognized.

Entering juried Art Shows and Competitions is necessary in order to be taken seriously as an artist and to gain exposure for your art. When you enter and your work is accepted, you are getting a third-party endorsement of the quality of your art.

For those artists who have never entered before, here are some guidelines (sourced from the Light Space & Time Art Marketing Manual) that I found helpful in placing in more competitions and exhibitions:

1.  Understand the theme. 

      Only apply to those where your art is a good fit. If you have questions, you can call the sponsoring organization for clarification.

2. Follow the Rules.

    Be sure to read and understand the rules thoroughly to make sure you meet the eligibility requirements. Provide only what the rules

    ask for.   

3. Provide good quality Images.

     You are trying to "sell your art" and you only have one chance to impress the judge. Follow the size and resolution requirements, crop        your image carefully, and make sure the colors and contrast are balanced.

 4. Enter the maximum number of pieces allowed.

      This increases your odds and demonstrates that you have more outstanding pieces in your overall body of work.

5.  Provide your best work over and over again to different competitions and exhibitions.

      If you have a piece that has been successful in the past and has received positive results, use it again for other competitions.     

6. Enter as many competitions and exhibitions that are possible and affordable.

      This exposes your art to many different people and will help you develop your resume more quickly.  The reason for doing this in the         first place is to market your art.

Most importantly, don't take it personally if your entry isn't accepted. It's easy to get caught up in thinking negatively about yourself and your art. Keep in mind this is a very subjective decision by the judge for one show.  It's not realistic to expect your work will be accepted in every competition you enter. Best to just forget it and move on to another show.  Going through the process will only help you get better. Good luck with your art marketing efforts! 

Prism 1 

Entered into the Light Space and Time 9th Annual "Open" On-Line Art Exhibition 

September 2019

Needing a little inspiration to begin a series of large paintings, I looked through some art related quotes. These are the ones that resonated with me:

1. "Art gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything"   -Plato   

2. "Art enables us to find ourselves and lose ourselves at the same time"  - Thomas Merton

3. "Art is not what you see, but what you make others see"  -Edgar Degas

4. "One must spoil as many canvases as one succeeds with"  - Vincent Van Gogh

5. "Every artist was first an amateur"  -Ralph Waldo Emerson

6. "Every child is an artist, the problem is staying an artist when you grow up "  -Pablo Picasso

7. "Creativity takes courage"  -Henri Matisse

8. "If you hear a voice within you say 'you can not paint', then by all means paint and that voice will be silenced"  -Vincent Van Gogh

9.  "The most important thing about art is to work. Nothing else matters except sitting down everyday and trying."  -Steven Pressfield

       (The War of Art)

10. "To practice any art, no matter how well or badly, is a way to make your soul grow. So do it"  -Kurt Vonnegut

11. "To avoid criticism, do nothing, say nothing, and be nothing"  -Elbert Hubbard

12. "A true artist is not one who is inspired but one who inspires others"  -Salvador Dali

13. "A work of art which did not begin in emotion is not art"   -Paul Cezanne

14. "I found I could say things with color and shapes that I couldn't say any other way --things I had no words for"  -Georgia O'Keefe

On a more humorous note here is a quote from Calvin and Hobbes:

15. "As my artist's statement explains, my work is utterly incomprehensible and is therefore full of deep significance"  -Calvin

Hope you enjoyed reading these and that they have helped to inspire you towards your next project. Do any of these resonate with you? Do you have other personal favorites? Check out  Famous Artist Quotes, Inspirational Quotes by famous artists to spark your creativity, on www.jerrysartarama.com

I love using texture in many of my paintings to achieve movement and dimension (the painting below is an example of this). That's why I'm excited to attend a three day workshop at the end of March hosted by The Visionary Projects in Miami Florida. Located in an industrial workshop loft in the Wynwood Arts District, they offer experiences with influential artists to promote personal growth, creativity, and an opportunity to connect with other artists. 

The workshop I've  registered for is “Nontraditional Tools and Techniques for Textured Acrylic Painting “ with  artist Ginger Thomas. We will be exploring techniques and tools for creating very  heavy texture to bring interest and depth to our paintings by building  layers. We will also be learning about adding color and color blending to compliment the multiple layers of texture. I can't wait to start a painting using Ginger's unique process. Her work is amazing and I am thrilled to have an opportunity to learn from such a talented artist. You can see her work on her website www.gingerthomasstudios.com.

Interacting with and learning from the other artists in the workshop is an added bonus. It's a huge part of enhancing this experience and making it more meaningful.  I hope to make lots of new artist friends!  I anticipate this will be a fun-filled three days creating our “masterpieces” and being infused with a heavy dose of inspiration! 

I'll be taking pictures throughout the workshop to share in a future blog and on my Instagram page @valerieblauvelt so stay tuned.

This is my first workshop of this caliber and I feel like a kid counting down the days until Christmas! Travel, hotel, meals, and the cost of the workshop make this an expensive endeavor but an important one.  I believe you have to invest in yourself if you want to grow as an artist. I enjoy continuously learning and I can't wait to apply these new skills to bring my art to the next level.

48 x 60 commissioned painting that used texturing medium to create interest and dimension.

I have been guilty of not signing my artwork until very recently for several reasons. First, being an abstract painter, I am never sure of the orientation my customer prefers. Many of my pieces can be hung horizontally or vertically depending on personal preference and the size of the wall.  Second, I felt it interfered with the painting. You would have to sign it  in a place on the composition where it would not be  cut off or covered up by framing. And lastly, I have a long name and didn't feel comfortable with how distracting it would look across the front of the painting. Consequently, I have always signed my artwork on the back.

Some experiences have caused me to change my thinking. I  brought one of my large paintings to the gallery and the owner suggested I start signing my paintings on the front because it actually adds value to the piece. Art buyers feel more comfortable buying a visibly signed piece of art because it identifies it as an authentic original painting. Over time you, as the artist, and your paintings will be recognized by your unique signature. If a painting is sold without your signature on the front, others will not know or remember who the artist was.

A designer sold one of my paintings to her client. After it was framed and installed, her client was disappointed that the artist signature was not visible.  Luckily I was able to sign the piece afterwards for the customer. Similarly after completing a large commissioned painting, my customer wanted it signed before she accepted it. These two examples reinforced how important it is to the customer to buy signed paintings. 

Not wanting to be the " forever forgotten "artist I will start focusing on putting my signature on the front of my work. After a little research here are some guidelines I'll follow:

1. Make my signature the same on all of my paintings for recognition over time

2. Since my name is long and possibly distracting, I'll use my initials but also sign the back with my full name.

3. Make my autograph visible but not overly large to avoid distraction.

4. Position my signature so that it will not be hidden by framing. Be careful not to put it too close to the edge or bottom.

5. Be consistent with where I locate my signature on every painting. 

If you are an artist,  what is your opinion? Do you sign your paintings on the front? If you are a buyer, do you want your paintings signed on the front? Please email me your thoughts and comments.

I discovered my passion for painting five years after I retired from a 32 year career in Corporate America.

I have always enjoyed looking at art in galleries and museums, but I never imagined that I would ever be an artist later in life. I have never had any formal art training and I am totally self-taught. Some people believe if they don't start learning the necessary skills earlier in life then they can never be successful and are just wasting their time. Based on my experience I think this is a myth. 

Being an artist has more to do with dedicating yourself to learning the skills and mastering the techniques through consistent practice rather than at what age you start. If you are passionate about something you will be motivated to keep working at it.  With an open mind that age doesn't matter, you can become successful as an artist if you have the passion, commitment to keep learning, and are willing to put in the time practicing.  Being a "late bloomer" myself, I have come to realize that doing things at a younger age doesn't necessarily mean you'll have greater success. Throw apprehension aside; It's never too late to start exploring your artistic talent with vigor.  

What I love about abstract art is that it is a mental workout for your brain. Since the painting is an abstraction, your brain has to work hard to figure out what it is seeing. Each time you look at the painting you find new images hidden within it. That's what keeps it interesting and fresh. Everyone sees different things. Take a look at my painting called Arabian Night and see how many animal shapes you can find.

Many of the names for my paintings are the result of images I see in them or feelings that they evoke.  One of my followers actually named my painting called Phoenix Rising. When she looked at it, her eye saw a Phoenix, hence the name. I was thinking of naming it Rising Sun, but the name she suggested was perfect. It captured the essence of the painting. The Phoenix is symbolic of renewal and hope for a better and brighter future. 

As you look through my work , I would love to hear from you about what you "see" when you look at a particular painting.

Happy Viewing!

Valerie

PHOENIX RISING

ARABIAN NIGHT

Last fall I had the wonderful opportunity to give a presentation on abstract art to about 20 artists from the Webster Art Club in Webster, New York. The vast majority of these artists did representational work and were not very familiar with abstract painting techniques. I, on the other hand, have never painted anything representational because I do not have any drawing ability. In fact, because I can't draw,  I never even thought about trying to paint until I discovered abstract art. What surprised me was that these talented artists said it was as difficult for them to do an abstract painting as it would be for me to do a realistic painting! They were used to a process that involved a lot of planning and sketching upfront and knowing exactly what the painting would be when it was finished. 

That is exactly the opposite of my process as an abstract artist. I usually have no  idea of what I want to do and the painting evolves as I go along to an undetermined place. Their question to me was so how do you get started?

A lot of books will tell you to just "play" and scribble and it will free your mind to be creative. For me, I love color so I usually start by selecting several colors I feel like using that day. I begin by just putting the paint on the canvas in interesting shapes and then letting my creativity take over. I don't have any preconceived idea so there isn't any right or wrong way to do it. I might put some music on to inspire me. Other times I will randomly apply some texturing medium to the canvas with different tools and that will direct the structure of my painting. I might also look through some of my art books to get inspiration from a technique that is described that I want to experiment with. Trial and error is how I learn and grow as an artist. You can't know what you are going to create until you do it. Creativity is about doing what you like and painting what you feel from within. If you like how the painting is evolving then keep going with it. If you don't, its easy to change it by painting over it.