Artistic Identity

This week, I invite you to think about what you should paint. It’s a general question and applies to any medium, but if you have purchased a canvas, the pressure is even higher. My story starts with dogs, and even if they don’t seem to match with the painting, they do. Read the story!

Childhood Without Dog of My Own

If I had to choose one thing that dominated my childhood, it would be the yearning for a dog. When my sister was pushing me in a stroller, I was pointing and screaming “hauva,” which a Finnish word for “doggie.” “How could you instantly recognize a dog from any other animal no matter how it looked,” she wondered.

My father was a policeman, and he had trained two german shepherds a long time before I was born. But a family photo album had a few photos. “Jumi,” was the name of the more handsome one, and I must have drawn him hundreds of times with a trembling hand of a toddler. I pictured the dog standing on the top of the mountain in a sunset. It was an exotic view because there weren’t any mountains in the countryside of eastern Finland. I only saw them if I kneed down, looked up, and stretched my imagination.

Walking in Nature with Imagination

My envy and admiration for all people who had dogs grew steadily, and at the age of five, I had several that were in constant observation. One of them was Kaisa, a vet whose mother lived in a big apartment building next to our house. She had a Finnish spitz and sometimes kindly invited the children of the neighborhood for a forest walk. We were a small and noisy crowd. Everyone had their turn to hold the leash, and even if it was only a few minutes, I still remember how powerful I felt.

So even as a young teenager, I imagined dogs around me whenever I went for a walk. The boring life in a small town became much more bearable when I didn’t have to look around, but only to a close distance. There they were, two brown labrador retrievers that behaved exceptionally well no matter where I took them.

I preferred labradors because the royal family of England bred them. I had always wanted to be the queen of England, so my labradors certainly originated from Sandringham. My friend Anne had got a hold of a catalog of the Crufts dog show, and I excitedly picked the parents for mine. Every time I drew or knitted a dog, I tried to invent the best kennel name for me. “Starway’s” was one of my favorites. By then, my sister had married a man who had a spaniel, and from the spaniel club magazines, I found a new favorite breed: an American cocker spaniel.

Goodbye, Boredom!

The older I got, the more evident it became that I would leave my home town. Instead of frustratedly strolling in the fields and woods of the east, I would be happily hurrying on the busy streets of the south. And not alone, but with an American cocker spaniel of my own!

I would gladly say goodbye to lazy hot summer days when there was nothing else to do than examine the tussocks. When I once pointed them to my mother, she quietly said that our grass wasn’t proper like the apartment building had. But I found it much better. Instead of staring at individual blades, my imagination made wonders from the tussocks. They were luxurious carpets, cushions, and chairs, and when they looked up, I greeted them back. My grass tussocks were like dogs who had them – a flock that was always around and willing to join whatever I did.

When I got my first dog, I was already living in the south. It was an American cocker spaniel, of course. I lived in a flat, but between high buildings, there was a small wood. Unlike me, Anja had been born in an urban environment, and everything in nature wondered her. When she jumped back in surprise after seeing an ant, I realized that I was a country girl – no matter how much I loved palaces!

My next dogs have been beagles. With them, I am back in the world where looking down and examining closely is highly appreciated. Tussocks, hays, wildflowers, and brooks have returned.

What to Paint on Canvas?

In my artistic path from childhood to this day, I have thought that I should create the luxury that I don’t have. That my creativity is at its best when it produces what I miss. But in 2020, when the world quieted down, humble tussocks saw their moment. “Stop haunting me, you don’t even have a voice,” I whispered to them. “We have – and you used to listen, remember?” they responded.

And yes, when I pick the brush, I hear them again. Instead of trying to master the visual state of what I know very little of, I am painting the sounds in the deep. All that time when I wanted to be the queen of Sandringham labradors, I was, and I still am – a herder of mixed-breed tussocks!

How about You – What Should You Paint?

What you need to paint is not what you want to get and be, but what you have always got and been. The solution is not to find and paint what you love but to look in the opposite direction, find what’s been the most ordinary for you, even if it wouldn’t be that for others. The solution is not to paint how things look, but how they sound, smell, taste, and feel. In the book Point and Line to Plane, Wassily Kandinsky talks about releasing the inner sound of a shape.

With the tussocks, the teachings of the abstract masters Paul Klee and Wassily Kandinsky have been groundbreaking to me. They have enabled me to paint more freely than ever and I have also built a class Floral Freedom from these teachings. Floral Freedom is especially for you, who wants the painting to look loose and naturally abstract, but who hasn’t find satisfactory results from “just making a mess.”

Good Accidents – When to Improvise

Art is never about just making a mess. Artists who say so are just unable to put it into words. Wassily Kandinsky and Paul Klee were not only exceptional painters but also exceptional teachers. They defined abstract art in methods and diagrams. In Floral Freedom, you get their theories in an easily understandable form and use them to paint flowers.

In this video (after the first two minutes), Helen Mirren talks about Wassily Kandinsky’s art. She first assumed Kandinsky’s work was just improvisation – “instinctive and improvisational and wild and of the moment,” but later learned that his work is constructed with care and thought.

Here’s how she says this:

I can also relate to what Helen Mirren says about acting – that you have to give the impression of the improvisation and naturalness and learn what’s a good accident. But I also have the definition of a good accident in visual art: it’s what you have used to see and know.

I feel that I know everything about the soul of grass tussocks. When I paint them, I don’t have to worry about people not liking them, not even if someone can paint them better. This grass is not any grass but how a 5-year old Paivi saw it, walked on it, and what she imagined from it.

I paint sounds of plants as I hear them, freely and without references. I don’t plan what to paint on a canvas, and I don’t follow any image of my mind. It feels like improvisation, but the process is technical and systematic. One shape follows another and I dive deep into the painting, creating and releasing tensions.

I am filled with excitement and emotion, but work systematically and intentionally, translating from spiritual to visual.

I really enjoyed painting this one – the first one of the new year! It’s called “Syvällä soi” which is a bit difficult to translate in English but it means that some are playing instruments or singing in the deep so the translation could be “Sounds in the Deep.”

Floral Freedom – Paint Dreamy Florals to Free Your Spirit

Come to learn the theories behind abstract art, and paint flowers with me – Sign up for Floral Freedom! We use acrylic paints for the projects. The class has already started, but you can still hop in. You will get the published lessons right away, and you have plenty of time to catch up and connect with me and the community. This class is comprehensive, and suitable for self-study too. Sign up now!