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Please check out the YouTube video footage of DocSusan's presentation at the Biennale

To see more, please go to Susan Makin on YouTube, or You Tube's Florence Biennale page.

20 Images Combined to Make One (8 x 10 ft)

This body of work was created especially for the 07 Florence Biennale exhibit. Built around a representational theme and message, it's about getting back to basics and promoting food as fun, something that is more of a "positive" in overweight/diet crazy societies. All of the images are from life and depict edibles that should be familiar internationally. The book, More Than Just A Meal: The Art of Eating Disorders, (2000), shows my serious long-term commitment to promoting healthier life-styles, especially where food is concerned. The the display below, the images are arranged alphabetical order.

Un Collage di 20 Immagini Ognuna 60 x 60 cm (olio su tela—244 x 305 cm)

DocSusan ha creato questo corpo di opere specificamente per la sesta edizione della Biennale dell' Arte Contemporanea di Firenze. Le opere rappresentano un tema e un messaggio principale: ritornano alle cose di base e fondamentale. Promuovono il “cibo” come una cosa divertente, qualcosa di "positivo" in una societá che da' tanta importanza al sovrappeso e alla dieta. Tutte le opere sono estratte dalla vita quotidiana e contengono immagini di cibi che dovrebbero essere riconosciuti internazionalmente. Il libro, Più Di Un Pasto: L'Arte dei Disordini Alimentari, (2000), dimostra il mio costante impegno nel promuovere un modo di vivere più sano, soprattutto nel rispetto dell'alimentazione.

Torontonians were able to preview "Buon Appetito!" live at Grano (September 8 - October 12, 2007) before it shipped to Florence, with a celebration/fundraiser October 11, 2007, hosted by Roberto Martella (Grano's proprietor) and the Hon. Dr. Carolyn Bennett, MP for St. Paul's, Toronto. Please check out DocSusan's News page and blog for photos. Souvenir reproductions of "Buon Appetito's" twenty images are still available (greeting cards and ceramic fridge magnets). Please e-mail MakinPaints@DocSusan.com for more information.

Florence Biennale Photos
from left to right, top to bottom:
opening ceremony, exhibition entrance, display foyer, gala dinner with family and friends,
"Buon Appetito!" exhibit close up, "Buon Appetito!" from afar

For more scenes from (and commentaries about) the Florence Biennale, please check out DocSusan's news page and blog.

Candid Artistic Ramblings: Reflections While Painting "Buon Appetito!"—Preparing for the Florence Biennale (as posted on the DocSusan blog, October - November, 07)

Artists/painters have qualities that are special to their vocation. Others may identify with my artistic ramblings—have similar feelings about what they do and how they do it. I'm curious to know. At the time of writing, I can only speak about my own day-to-day experience preparing the Florence Biennale exhibition collection (and everything associated with it, beyond the actual painting). The reflections that follow are listed and recorded in the order they emerged:

1. Endurance
2. Stamina
3. Sacrifice
4. Creative Pressure/Release
5. Strategic/Conscious Painting
6. Noticing the Details
7. Painter's Fatigue
8. "JK Rowling Syndrome"
9. Support/Patronage/Grants
10. Prices
11. Organization
12. Serendipity
13. Puzzle
14. Time
15. Artist Plus
16. (Special)Gift(s)
17. Message(s)
18. Limitations
19. Sharing
20. Preciousness/Value

1. ENDURANCE

Painters need to be resilient. Not every piece will work out how you wish it to. However, there's no knowing others' responses. All you can be sure of, as artist, is that you have to keep on plugging away—no matter how you feel. The more you practice, the better your work will become, even if you're the only one who notices. Putting your best effort into what you're doing while you're doing it is what counts. Short cuts don't get you to your destination any faster. Slowly and surely provides more certain foundations and a better route guide. Even without a teacher or lesson plan, progress is always possible. We all learn from personal mistakes. And, since we're usually our own severest critics, it's unlikely there won't be any mistakes (or answers) found.

2. STAMINA

How much stamina does it take in order to be a serious painter? A lot! Even if you sit down and don't stand, there's energy exerted—mental as well as physical. You're constantly engaged in your process, focusing and concentrating—stepping forward and back, planning and calculating, trying and retrying, doing and undoing. Sometimes mental gymnastics exhaust. Other times, the sheer physical strain of keeping steady hands, stretching up and down, or twisting, turning and bending provide a work-out you weren't anticipating.

3. SACRIFICE

Painting takes time—more than you might have under normal circumstances. You need to be prepared to give up many other activities (and breaks) in order to paint seriously, proficiently, authentically, and optimally. This means attempting to stay with the task by preventing (social) interruptions that may be detrimental to your process. Vacations, weekends, evenings—times when others are relaxing—start to disappear. Painting takes over and becomes all important—has to be all important. It's not a job like any other. It's a vocation, and something you can't always do on command or within a set time frame. You have to be prepared to go the distance, even when you'd prefer to be doing something else—not have to endure so much isolation. That said, if you took time out, the ache of not being there to finish your painting may make other experiences less enjoyable.

4. CREATIVE PRESSURE/RELEASE

Creative minds are frequently distracted. An idea surfaces and it's hard to rest until it can be recorded and/or realized. My creative bursts come in words and images. One day it's words. Another it's images. And, when I'm in the mindset for one the other fades. I can either write or paint, but find it hard to do both together. Over time, I've come to know when I'm "off'" or "on"—can be creative or not, and how. And, I can't always choose those times. Some of them are very inconvenient, like today. I really should be up in my studio painting, but have a word explosion I can't contain. I need to finish writing this passage—express what's on my mind while it's still mulling. It's been active for a long time, every day while I've been painting. The thoughts have been there, but the verbalization hadn't reached a stage fit for sharing—until today. I need to get it out now! Tomorrow, I'm hoping things will be different. I have a deadline to meet with my paintings. The day before yesterday was good with respect to staying focus on painting. I painted, and painted, and painted, and didn't get tired. In fact, I couldn't eat, drink, or speak on the phone, I was caught up in what I needed and wanted to do, energy growing with each technical difficulty overcome. I love days like that! Days with no time limits put you in another place. They're rare and special, and one of the main secret gifts painting/artmaking/creativity can bestow on those prepared to go the distance—travel bumpy roads on routes you're not sure can take you anywhere.

5. STRATEGIC/CONSCIOUS PAINTING

My paintings aren't slapdash. That is they're not the type of spontaneous "process pieces" that are dabbed down without thinking. On the contrary. Surprisingly, thinking is a big part of what I do, as are feeling and intuiting. Some painters, certain realists for example, might calculate and measure where each element goes and exactly how. That's not my way. I do plan a lot—spend hours on set-up and composition, but still like to leave significant detailing to chance. For instance, I won't force a mood or color palette that's not within my capabilities of the moment. I also like to guesstimate—even embellish aspects that cry out to me for extra attention. Consequently, my portraits have caricature-like tendencies and my still-lives are more whimsical than realist. Then there's my abstracts, a melange of freedom, control, and spontaneity—more representational than abstract and more abstract than representational. We see and do what we need to at the time (usually without knowing it)—artist and viewer, alike.

6. NOTICING THE DETAILS

My earlier paintings didn't take me as long to complete as my later ones do. A normal expectation would be to be speed up after gaining more experience. Not at all. For me, the reverse seems to be the case. The more you know, the more nit-picking you get (at least in my case). Standards elevate with a trained and practiced eye. You see more and what to do even more. You become critical and less tolerant of what might have slipped by previously. Each and every detail matters. Work cannot be "second-rate." Even if no one else sees your model's set-up, you have a responsibility for as accurate a rendering as possible (I believe). You know what should and shouldn't be there and want to stay true to that. The pressure is huge, but you have to know when to back off, and learn what's reasonable and what's not. Otherwise, the task becomes impossible. Sometimes, the positioning isn't perfect, but you consent and relent to adapt, discovering a slight divergence isn't so bad after all. Almost perfect is often better than completely, as you'd once hoped. Knowing when to calm down and relax about the details is perhaps one of the hardest lessons (at least for me)—can make or break a painting.

7. PAINTER'S FATIGUE

Painting can be physically and mentally draining. It can also elate and energize. When you put your whole self into your work, and concentrate hard for hours on end, don't be surprised by how exhausted you might be by the end of a session. Some days are easier than others, but we never know, in advance, which ones. (Positive) attitude doesn't always induce positive outcome. Art-making is usually more random than formulaic (in my experience). No matter the rituals that some painters try to set up and try to stick to, not everything can be predictable. And, if you're a perfectionist (like me), you'll go on and on till things look exactly right.

8. J K ROWLING SYNDROME

JK Rowling discussed her sadness/loss as she completed the Harry Potter series. Though my work isn't of the same magnitude or duration as Rowling's, her sentiments resonate with me. My Biennale exhibit has been a year-long project—a huge part of my daily identity. I've known such overwhelming experiences before—for instance, after completing each one of my published (and unpublished) books and each one of my academic degrees (BA, MA, Ph.D., Fine Arts Diploma). Even for the type of person who puts their all into what they do (professionally, academically, personally) build-up and pull-back can be immense. They're also a special gift to be treasured—sadly not in everyone's reach.

9. SUPPORT, PATRONAGE, GRANTS

Ironically, today, many who award grants might not really understand what the artist's process is all about. They're just doing their job, and detached from the players involved. Then there's the peer review committees, made up of individuals who too often have their own interests and biases. And, for those applying for grants, the competition is steep—anyone and everyone who wants to survive in an artistic field needs revenue. If you can't work a regular job while creating, what do you do? Give up? Many are forced to. Others go into debt. Those who keep on going, if they don't have personal safety nets or private supporters, have to get creative with other fund raising strategies. And, when you put your creativity into fund raising, you're taking it out of artmaking. There's only so much creativity to be had. Therefore, you have to hope for kind individuals who you can jump on board to help see you through—assisting with their business acumen to gather the necessary $$$. Artmaking, when it's not a hobby, but for public display and enjoyment, is a community service and gift. An artist, in many ways, is just a transmitter—given opportunities and skills (from outside of him/herself) to put out what others might not be able to do. Mix a little talent and energy with dedication, industry, and perseverance and a public servant is born, one who needs "patronage" (an old word seldom heard). Yes, what happened to "patrons of the arts"—those who used to finance artists' endeavors in front of and behind the scenes—a big reason why art history is so rich and extensive. It's only in the last few generations that these types of givers and doers seem to have diminished. In an age when materialism and quick fixes appear more important than genuine hard work, creative struggle, and innovation, culture and the development and maintenance of "higher" (non-hightech) arts are in jeopardy. The inability to find support—for the honing of skills that used to gain esteem as a matter of course—is a growing problem, not unique to artists' predicaments.

10. PRICES

I wonder about prices a lot—what'll be fair and what's not, what works for me as the artist as well as for potential purchasers. What's value for money. What's value for time. What's value for originality and devotion—a piece of my spirit translated to and revealed on canvas. I try not to think about the middle (wo)man—a gallery or dealer who could jump in and take 50% with an "easier sale." It can be more prestigious to have that middle person—kind of like having an agent as a writer. It means you've already been weeded out, approved, validated, or regulated and relegated—sometimes, even put your soul on the auction block. But, just as there are literary agents who will work with you and those that only have their own profit margins in mind, there are artists' representatives who are like that too. Everyone needs to make a living. At the end of the day, consider who's starving and who's not. These are thoughts constantly floating in my head, as I find it difficult to put energy into trying to get noticed, bought, and valued, while still trying to create. This isn't a hobby anymore! Creating takes soooo much time and skill perfection. Then, why do potential purchasers insist on bargaining down, like they were in a shuck haggling over a (mass-produced) souvenir memento? Do they realize the time, energy, and dedication put in to what's been painted? Could they ever have the skill, talent, or perseverance to make anything similar? Do they know the real worth of the object created beyond what's a good deal to them? Do the bargainers respect the creations or take advantage of an artist's need for cash to keep up the métier? Ironically, many potential buyers get paid 10 times the dollar rate for work that's less demanding, and think nothing about submitting invoices to their clients to be paid in advance. My rambling thoughts on this subject are not about bitterness or jealousy—they're about others knowingly trying to take advantage. Of course, there are some artists who let their comrades down by producing inferior work that secures higher prices, just because of hype. This happens in fashion and other fields too. Then there's experience and earning your price point. But, again, no set path is clear. Look at Google and YouTube—how quickly they become major monetary successes. The artist's path is hard to juxtapose. For some, networking is everything. Others don't have to network. Regardless, most artists know when they're doing a good job and the details don't matter. The work speaks for itself. While it's important for potential purchasers to be prepared to pay appropriate prices, it's also important for artists to know and expect their true worth—not forget what went into the pieces they've made. Those who slop things out and get big bucks for so-doing—no heart in their work—let down more serious folk.

11. ORGANIZATION

Being organized matters—even, and especially, as an artist. Better painting happens for me when my desk is tidy: correspondence caught up on and phone calls made. Then, I can shut the door on the studio and just focus on the canvas—no distractions or rambling thoughts and preoccupations or interruptions. Some days, I know from the start that I shouldn't have attempted to paint at all. There's just too much else distracting. Other days, I regret not carving out specific time to paint—unable to forget about everything else that has to be done and needs to take priority. We all have different needs and obstacles and must find what works best for us individually. For me, painting is a sacred act and privilege, something for which I need to enable quiet space and time in order to reap maximum rewards, experience-wise. I want a piece to be as whole as possible, unpolluted by the vicissitudes of the hour. Of course, this is an idealist attitude, but it's nice to be able to dream and hope. Painting is also interesting because it is influenced by surroundings and happenings, states of mind and energy levels. Perhaps because I've spent some time practicing art therapy, I'm more concerned with art-making that's product oriented than art-making connected to the exploration of emotions. This, however, can prove more difficult when creating abstracts—or so I've found.

12. SERENDIPITY

So much of life is luck and timing—and the artist's process can demonstrate this. We're fortunate if we're able to choose what we paint, though our preferences and outcomes are usually influenced by what's happening around us. Painting for the Florence Biennale exhibit has given my work a purpose, focus, and appearance that it might not have had otherwise. I was influenced by space requirements and deadlines. I also had to be mindful of making imagery that could have universal appeal. Then, I had to consider my repertoire—my skills, talents, history, and comfortable subject matter—what I may and may not be able to accomplish at this stage of my career. Finally, there was the budget—an issue that I didn't want to have prohibit the quality and dimension of my work. But, it did. Whether we like it or not, most artists need patronage of some sort. Art is an expensive business and can't be made properly without funds—especially where large public exhibits are concerned.

13. THE PUZZLE

A painting can be like a puzzle. You don't always know what's going to be easy to solve and what's not (speaking as artist, not viewer). I try to learn from and remember every step along the way to know better for next time—have things flow more easily. An area that seems daunting one day might not be the next. Or, something that looked good one day, may not work out when other elements are added. Constantly keeping the whole picture in mind may be a better way to proceed, but this can't always happen. Sometimes, we get stuck on one part for no good reason. The day goes by, and we feel no further ahead. Then there's the good days, when everything works, and you can't explain why. The brush is magic in your hands and the paint does exactly what you want it to do, or exceeds expectations. You wonder, "Who's painting this piece?" The same happens in writing and other expressive/creative arts. These are moments to savor because the times of struggle are usually a lot more familiar and frequent. But, it's only because of those struggles that we see the difference and appreciate what we never thought might be possible. To understand happiness, we need to understand sadness, and so it goes with painting too.

14. TIME

If it's worth it, it's going to take time—an indeterminate amount of time. Nothing else has to matter except taking things to where they need to go, and have them feel right, or right enough. And while it's important to be prepared to put in as much time as needed, it's also important to know when to stop—recognize when a piece might be finished, or have gone as far as it can go with the skills and experience that you have. When a piece is rushed, it shows. Every brush stroke that is deliberate reflects effort and care—respect for the work that is being accomplished.

15. ARTIST PLUS

In order to be a professional artist these days, simply being able to make art isn't enough. You have to be a writer, marketer, networker, gallery aficionado—while having computer savvy too (24/7). In addition, it's beneficial if your resume lists formal training (from the right schools/with the right mentors). This is aside from needing to be a handy(wo)man—knowing how to build and adjust the structures necessary for your artistic creations. Also, resources you might not be able to earn through just selling artwork can come in very handy too!

16. (SPECIAL) GIFT(S)

Most artists create art because they yearn to do so. It makes the unconscious conscious. It also has us realize that powers greater than us are at work when we least and most expect it. The pieces we are gifted with (as creators or viewers/critics), result from creative processes that are part of a bigger picture (no pun intended) and plan. They help put things in an out of perspective—enable us to dream, remember, wonder, forget, and more...

17. MESSAGE(S)

Art is whatever you, as artist, or others, as viewers/critics, may want it to be—at the time of creation or afterwards. All kinds of purposes can be served by what's been made visible. Whether metaphors and symbols are evident or not, various kinds of measures are made clear, from within and without—religious, political, idealistic, romantic, aesthetic, or? Art has an unrivaled ability to give voice to secret yearnings, hidden agendas, and almost-forgotten dreams. Art puts artist and viewer, alike, in places they might never travel in real life. It wets the appetite and makes anything seem possible—at least in the moment.

18. LIMITATIONS

For some, art can be infinite. For others, it signals natural or man-made limitations. Art takes money and time. Some have a lot of both. Most don't, so vacillate and negotiate—try to obtain and balance the two. Art takes money to create, it also takes money to buy. Art takes time to create, and time costs money, as well as a whole lot more. How much a painting costs might not be commensurate with the amount of work that's gone into developing it. The power to paint and the power to buy come from different sources, but are intertwined. What's fair and what's not change according to who we are and what we need and can realize. Awareness matters, as do tenacity and being able to go the distance.

19. SHARING

Artistic creations are frequently private, but all the more interesting when shared. The individual who makes them is often just a transmitter for the collective consciousness. Whatever needs to be expressed, or seems to be going on in a particular environment, might appear in a painting. If and when we're ready to see it, we do. Otherwise, the imagery might be enjoyed at face value. Also, there may be nothing beneath the surface that needs to be looked into more. Art is simple and art is complex, as are we. We see what we want to and ignore what we don't. Or, we see more than we're supposed to and make a fuss about what's not important. Interpretation is everything and interpretation is nothing. Only the creator of a piece knows its real essence and intention. Or, maybe he or she doesn't... Anything others say about a piece can be projection. Or, maybe they have insights that are objective. Having some distance from the work under review—not knowing every brush stroke that's gone into it—can enable the viewer/critic to see something the artist might have missed (or not realize is there).

20. PRECIOUSNESS/VALUE

Art has value, and value isn't always financial. Just as it is counterintuitive to put a price on human life, it can be the same with art. Outsiders don't really know what's gone into a piece's actualization—how much of the artist, him/herself, and how many hours of skill development and dedication. Art's value can be unquantifiable, but the market demands to know and set a price. What does the market take into account? Training, experience, reputations, originality, popularity, marketing buzz, or trends. Much rests on possessing the right style at the right time for the right audience. Talent and hard work might have little influence. Those who get noticed and are in high demand might have the least to offer. We've seen this in the entertainment and other (trend-setting) businesses. Art that is precious to some might not be to others. Over time, art accrues sentimental and commercial value (that can be quite distinct from each other). It becomes part of our homescape, and gets passed from generation to generation. Many a time, art is able to be reproduced and gain mileage. One piece volumized has more worth than could ever be imagined. Sometimes, artists have the tools and ingenuity (or back-up team) to make this happen. Most of the time, they don't. Alas, great art is usually recognized and acknowledged long after its creator is around to enjoy it.

 

©Susan R. Makin, 2009