Skip to main content

The Excitement of a Workshop


What will you do with this one wild and precious life?  36x60" oil/cold wax on panel  ©Janice Mason Steeves 


Tomorrow I teach a two-day workshop here in my home studio.  Today I am preparing. First things first, I'm cleaning my studio.  What a job that is, sorting papers, cleaning shelves, vacuuming and moving paintings to the garage to make room for eight students.  Each time I teach a workshop, I plan what I will do that is different. I consider what I have learned from teaching my last class.  How can I teach better?

We come with high expectations into a workshop, everyone looking for something from it.  Some might hope to find their artistic voices.  Some want to come and learn a fun new technique.   My own sense is that people come because they want to move somewhere else in their painting.  Many want the inspiration to 'get back at it' if they have stopped making art for a while.  Some want to break through to new places in their work.  I believe  we all want  to grow.  We all want to 'change'.

I have only been teaching for a year, and although I bring nearly 30 years of painting experience with me, I feel like I am walking on new ground each time I teach.  I am loving the experience. It pushes me to explain about colour and design, principles  that have become second nature to me.  I find myself constantly reading with the view to teaching what I learn, rereading  colour theory and the elements of design so I can more easily explain them, so I can be a better teacher.  Each time I go into a workshop to teach, I feel that same anticipation, "Can I do this", "Can I give them what they are looking for"?

For me, the main tool I use in  teaching and in encouraging students to move through blocks and fears, is encouraging play, creating a safe place where freedom can play unbounded.  This method of working with cold wax medium and oil, using a dough scraper to move the paint, is a completely freeing experience in itself.  Giving up fine detailed brushwork and moving into wide sweeping strokes  loosens up the body and the spirit.

Stuart Brown, M.D., author of "Play",  says that "play is anything but trivial.  It is a basic biological drive as integral to our health as sleep or nutrition.  When we play we are open to possibility and the sparks of new insights.  Play-defined as any kind of purposeless, all-consuming, restorative activity-the is single most significant factor in determining our success and happiness."
So let the play begin……….









Comments

  1. I like reading your thoughts on teaching--particularly where you talk about reading and learning so that you can teach others. I don't know how many times I've reviewed color theory! And play--sometimes, I forget all about this in the effort to make art and send it, like a grown child out into the world. Thanks for the reminder!

    ReplyDelete

Post a Comment

Popular posts from this blog

Liminal Time

 The word liminal comes from the Latin, limen meaning threshold. an in-between place, a place of transition, a time of waiting and not knowing. Dawn and dusk are considered liminal places. Crepuscular animals, like foxes and coyotes are most active at this time of day, a time that is considered a magical time in Celtic spirituality and to Indigenous people which is perhaps the origin of their designation as tricksters.   As I write this, the northern hemisphere has just passed the vernal equinox, where day and night are of equal length.We are in a liminal space between winter and spring right now, unsure if we will have one more storm or snowfall before spring finally settles in. We're also in a liminal place as we live through this pandemic with the  anxiety and discomfort of not  knowing. A  time of great transition for the entire world, wondering what we've learned from this and what lessons we'll carry forward.     Author and Fr...

Lessons that Stone Walls Teach

Dry stone wall in the Burren, Co. Clare, Ireland   I've just returned from teaching a Workshop in Wild Places class in the Burren in County Clare, Ireland. Writing this post, I'm reminded of another post I wrote after visiting Inishmaan, the middle of the Aran Islands off the west coast of Ireland several years ago. Stone walls crisscrossed the island in tight webs like a fisherman's net. I wrote then that the web of stone walls made me think of the idea of putting limitations on our painting as a way of exploring more deeply and how walls give limits against the limitless. You can read that article   here. As our group hiked in the Burren with our guide, Marie McGauran we learned that the walls are stronger because of the holes in them. The wind can pass through. The oldest stone walls, estimated to be 3500 years old are at Skara Brae, a Neolithic site in Orkney. Most walls were built in the 18th and 19th century, marking areas of private ownership and resultin...

The Importance of Silence in Art

Gathering Light 60x60"  Oil on canvas © 2014 Janice Mason Steeves  Michael David Rosenberg, the musician known as Passenger, sings, "See all I need is a whisper in a world that only shouts." In the workshops I teach, I find that one of the most common problems with paintings is that they shout. Most have too much going on: too many small shapes, too much texture, extremes of colour, too many lines, too much, too much. One thing I say most often as I walk around the classroom working with students individually, is 'make bigger shapes'.  But not only bigger shapes. Quiet shapes.  Where can your eye go and rest in the painting? That isn't a consideration in much of contemporary painting or much of contemporary life.  Ours is a noisy world both visually and auditorily.  Ours is a world that shouts.  People are afraid of silence. I wrote a blog post  3 years ago about planning a retreat in my own home, where I shut off the computer ...