Oh, The grand old Duke of York,
He had ten thousand men,
He walked them up to the top of the hill,
And he walked them down again.
And when they were up, they were up,
And when they were down, they were down,
And when they were only half way up,
They were neither up nor down.
Just like the grand old Duke and his men, we all face our ups and downs in life. Now unlike the Duke and his men, I rarely get to enjoy the middle ground, instead I have the unenviable ability to sublimate directly from high to low and back again in a heartbeat, completely skipping out the wonderful moment of being centred and experiencing serenity, harmony and tranquillity. So I was intrigued to explore how our very own, 2014 West Midlands Open, artists handled their own personal highs and lows and how they balanced them whilst creating their various works.
Robert Neil indulged my intrigue by meeting up with me to discuss his entry for the 2014 WMO ‘John’ and some of his other inspirational works.
Robert is an inspiration in himself, he comes across as a very pragmatic and rational soul who radiates confidence and belief in himself but in an extremely demure, charismatic, convivial and natural way; and this is reflected in his approach to his art.
Robert explains that his own journey of creating art has been one of growing confidence and comprehension in his work. Initially Robert found that he would accept more of his work because it was nice rather than right, but as his confidence and capabilities grew, he found he was able to sacrifice works that were not quite right for him. Robert admits that at the start it was difficult to make these sacrifices but goes on to enlighten me that his growing confidence enabled him to appreciate when to stop, when to go back and when to ‘scrap.’ Robert kindly laughs in endorsement of my paraphrasing him when I say, ‘so it’s like when you are less experienced; you don’t know what you don’t know.’ ‘Yes’ he retorts, ‘You have to forget about moments that have not gone right.’ ‘I used to get frustrated when things were not going to plan but now I am more confident to turn it against the wall and come back to it.’ I am intrigued and ask Robert if he literally ‘turns his art against the wall’? ‘Yes.’ He says. ‘I really do turn it against the wall. Actually, I now prefer to turn it upside down to get a different perspective, I can still see the general composition but not the detail, that way I can look at it as a whole and focus on the overall colour, texture and balance.’
Conrad Pack (‘9 collages’) agrees, ‘If I get stuck on a piece I just walk away, I will leave it alone and go and read.’ ‘It makes it worse if you keep on trying. Leave it and come back to it, then it will come around naturally.’ Conrad continues in his astuteness ‘Don’t stress if it goes wrong, if you do it all goes to pot!’ ‘You can get lost in your own anger and it becomes a vicious circle if you keep on trying.’ Conrad explains that he doesn’t work on just one piece at a time so if one piece is not working he leaves it and works on something else. That way he gets inspiration to perceive a different direction or angle to take and returns to it.
Enlightening me with her own personal outlook, Barbara Gibson (‘Streets of my City #1’) divulges, ‘What frustrates me the most is when I see others copying my work or ideas. It has happened to me a few times and it was not actually something I enjoyed.’ However Barbara still manages to find consolation in this. ‘It is not something that makes me feel angry, it is rather something I take into consideration. I can understand that my work has inspired others and even though I do not necessarily like to see my work being copied, I always take it as something that allows me think of new and improved ways in that my own work could be done and presented.’
Finally, Nita Newman (‘Far above the clouds #1’) affably amuses me when she discloses that she finds it worse when people like her work that she didn’t think was any good! Even with Nita’s intense passion for her work, she does sometimes resort to, also, ‘dumping’ some work she is not entirely happy with. Nita, however, is still valiant and prepared to show her works she is not fully happy with, just to get a reaction and feedback, facilitating her development and next step forward. Now that, I feel, is inspired! Nita enthuses that her work ‘feels like a friend or pet’ and she knows when to keep going in order to get it right. When it’s right, Nita knows it is right by illuminating expressively, ‘You just know when it is right, you just get a feeling, you know, that moment you go, woo woo!’
So it appears that our 2014 WMO artists, at least the ones I have spoken to, have an innate aptitude and talent for being pragmatic and level-headed when it comes to their emotions regarding their work.
These artists are successful in consciously vetoing their vexes and focusing on the practical and positive. They rebuff the path of despair and carve a new course to success. They recognise their frustrations and use this as nourishment to fruit new opportunities.
Perhaps if I spend long enough with these artists, I can climb that peak of potential along with them and absorb some of this optimistic sanguinity through osmosis! Now where are my boots?!…
By PDB Mellanby
(Phil is a volunteer with Birmingham Museums Trust as a fund raiser and house guide at Aston Hall. He has a penchant for West Midlands arts and heritage.)
The West Midlands Open exhibitions is free to visit and is on from 25th October – 15th February 2015 at Birmingham Museum and Art Gallery, more information: http://www.bmag.org.uk/events?id=3425
How do you deal with rejection? Some, enviably, accept it, shrug it off and move on. If, however, you’re like me at the other end of the scale, you not only throw your toys out of the pram, but hurl them with indignation across the room and anyone in the vicinity should duck and cover! But that’s me, an emotional ‘pick & mix’, you never quite know what you’re going to get next, but you can be sure it’s always going to be something interesting!
I was initially inspired to write this article by Dan Auluk’s work, ‘”I am sorry to inform you…”’, showcasing his crumpled 2010 West Midlands Open rejection letter. I was perversely excited to envisage Dan on the day he received his rejection letter, crunching it up and hurling it in the bin in a frenzied act of emotion. Only later, pensively feeling remorse, retrieving it, tenderly smoothing it out and truly reflecting on the words.
But upon meeting Dan and listening to his story, how wrong could I have been. Dan explains to me how, from the age of 18, he used to keep all his job application rejection letters, taking pride in watching the pile grow, knowing he was being productive in applying for job opportunities rather than wasting his time procrastinating. So keeping his 2010 West Midlands Open rejection letter was a natural reaction to him. In fact, Dan kept his 2010 West Midlands Open rejection letter in pristine condition, right up to the week prior to the 2014 West Midlands Open, when he was inspired to crumple it up, fully embracing his enactment of frustration by actually throwing it in the bin, before finally submitting it as his entry.
Dan continues to explain how surreptitiously, he longed for another rejection for his 2014 West Midlands Open entry as Dan now ironically feels that the message of his work has been negated, simply in the act of being accepted into the exhibition. Go figure! The inspired mind of an artist is always a marvel.
Rejection is ‘part of life’, says Dan and should be ‘collected’. He never gets overly concerned about rejections for his art, ‘as at the end of the day it is solely down to the choice of the selectors’ and not a reflection of his art. As rational as Dan is, he does, however, admit to me, a slight feeling of hurt, when upon seeing a review of his work in the 2014 West Midlands Open he suddenly became aware that the 2010 West Midlands Open rejection letter was simply addressed as ‘Dear Artist’ and left unsigned. It took four years for Dan to notice that one, which he now finds rather amusing; as do I! Did you notice the cold, soulless style to such a potentially emotive letter? Go take another look.
I also met with Nita Newman (‘Far above the clouds #1’) who exudes absolute passion for her work as she explains the inspiration of viewing the world from so many different perspectives with multifarious layers. Despite her enthused and effusive fervour, Nita still does not allow rejection to affect her. Nita is surprised when people get upset about a rejection to a particular exhibition, ‘It’s not because your work is bad, it’s just not appropriate for them’ she explains, ‘just take it with a pinch of salt’. Sometimes Nita does feel that her work would fit into an exhibition she visits but has the positive outlook of ‘hey ho, there is another day!’ ‘Is art important?’ she asks rhetorically, ‘not in the greater scheme of life, family and friends are more important’, ‘it’s better to focus on the best bits in life’. I love this about Nita; passionate yet practical.
John Thirlwall (‘Rockface – N. Spain) enlightens me with how ‘rejections make me feel a wee bit low, but it passes quite swiftly. It’s not important enough to worry about, it’s just someone else’s (misguided! – he say’s tongue in cheek) judgement after all’. ‘Acceptance and rejection goes with the territory, it’s a case of ‘c’est la vie’ in my case’.
One of our other amazing artists, Steve Evans (‘Shadows) describes how he has also experienced his work being rejected for open exhibitions but reveals that ‘whilst I found it disappointing, I didn’t have an overly emotional reaction. During my engineering career I had been involved in countless bids and interviews, some successful some not. So, I guess I realised that you just have to dust yourself off and carry on.’
So where are the ‘Drama Queens’, Van Gough ear slashing, crazed Salvador Dali, eccentrically emotional kind of artists I expected to find? Well it appears that our artists are still deeply passionate about their work but have developed a much more peaceful, pragmatic and positive philosophy for towards rejection, which I very much admire, respect, envy and now aspire to.
I came away from my encounters feeling humbled by these artists progressive and sanguine attitudes and in a nice way, somewhat chastened! So come on Phil, time to put this learning into practice; deep breath….. aaaand, relax!….
By Phil Mellanby,
Phil volunteers at Birmingham Museums Trust as a fundraiser and house guide at Aston Hall. He has a penchant for West Midlands arts and heritage.
The West Midlands Open is a FREE exhibition at Birmingham Museum and Art Gallery from 25th October 2014 – 15th February 2015, for more details visit: http://www.bmag.org.uk/events?id=3425
Contributing artists websites: