This week, I show three small paintings and talk about my mission of creating hope.
Playground – Leikkikenttä, 22 x 27 cm, oil on canvas
Even if we have had some winter wonderland sceneries recently, the weather hasn’t been so great in Finland – icy roads, rain, darkness … And now, the horrendous news came about the war in Ukraine.
But this post is not about war, but the opposite. Namely, a long time ago, I realized that my word is “hope”. Here’s the story:
I visited a hospital to see my old ant, and another old woman grabbed my hand. She wanted me to say something that would take her pain away.
I still remember her desperate eyes begging for consolation.
We discussed shortly but then I ended the conversation by saying that I am quite young and I don’t have all the wisdom. She nodded, turning off the glimpse of hope she had got when I entered the room. At that moment, I knew that I wanted to do more of that hope thing, but how.
Nowadays, I try to transfer hope to every painting, and to every class as well. Yesterday I dug out small canvases that looked quite hopeless. I had started them last year and used leftover paint from bigger paintings. Then they had looked just ugly paintings that might not ever get finished. But now, all they missed was some hope!
So I painted hope: saturated colors over muted ones, light glow over heavy shapes, rising wings on the top of descending petals – signs of life.
I wanted to remove the harshness and replace it with gentleness.
I also added the much-needed drop of utopia as well.
Promised Land – Luvattu maa, 22 x 27 cm, oil on canvas
After leaving the hospital, I cursed myself for not giving the old woman what I called false hope. But now I think that the correct word is fantasy.
We all need fantasy to keep going.
Fantasy didn’t come to my young engineer’s mind, and it would have required the kind of bravery I didn’t have. But now, when I paint, I can do brave too.
Breakthrough – Läpimurto, 22 x 27 cm, oil on canvas
The qualities that don’t seem to be a part of me, can still exist in my art.
It gives me hope as a human.
Whether I use oils and canvases or colored pencils in a journal, all I create is hope. A gift that was initiated by a stranger in a hospital bed.
I am looking for March when the new class will begin!
This week, I finished the last oil painting of the new series. It’s pretty large – about 27.5 x 35.5 inches – and I think it completes the series well because it’s the most dynamic of the seven.
Paradise of Wild Ones – Villien paratiisi, oil on canvas, 70 x 90 cm
My goal in the series was to express spirituality through abstract art. The plan was to explore Wassily Kandinsky’s idea about releasing the inner sound of the shapes and get inspired by art from the 16th to 18th centuries. This last painting is a salute to my favorite artist: Peter Paul Rubens (1577-1640).
Going Deeper – The Experience of Working with a Grant
Sadly, my three-month period of working with the grant is now coming to an end. During that, I painted a series of seven oil paintings, wrote several blog posts and weekly emails, plus a fictive essay in Finnish that that will hopefully get published somewhere. I still have the summarizing report to write and several paintings to varnish, but all the main work is done.
During the past months, my little studio has been filled with paintings. Every morning, before anything, I have gone there to both worry about the project and to enjoy the kind of excitement that only uncompleted work can give.
Despite the theme of spirituality, I haven’t lit any candles, meditated, or prayed. But I have slowed things down and taken time to question without forcing out the answer. At the same time, a clear schedule and content plan have brought structure to my days. I am grateful for the opportunity of doing this kind of deep work.
Many times when we create art, we hurry. A part of it is that we want to see the piece finished, but there’s more too. Art can make us feel uncomfortable and bring up memories we would rather want to leave behind. But making art can also point out stiffness, clumsiness, and differences between who we are and the artist we admire.
When You Admire an Artist – Rubens for Example!
Dear Peter Paul Rubens, I want to paint like you. I want to master the curvy lines, the soft transitions from one shade to another, the effortless flow in the composition, and something that I can’t name but that makes my heart beat faster every time I see one of your masterpieces.
With masterpieces, I mean paintings like “Four Continents” or “Four Rivers of Paradise” – this artwork has two alternative titles.
The Four Rivers of Paradise by Peter Paul Rubens, ca. 1615
Experts used to think that the painting had four continents and four rivers. Europe is the woman on the left, and her partner is the river Danube. Africa is the black woman, and her man is the Nile. The woman in the center back represents America, and her man is Rio de la Plata. The woman on the right is Asia, and her man is the Ganges. However, there’s a competing interpretation of the river figures. They may represent the four great rivers of the ancient East/paradise: the Euphrates, the Tigris, the Gihon, and the Pishon.
Rubens was born in an era where a shape could not be freed in the way we now can. He had to build a representation layer that people could explain and understand in a specific way. We humans have a strong need to label things. For example, when people see my work, they immediately begin to describe what they see.
But my paintings can produce many interpretations because I try to make shapes so that they raise several different kinds of associations. When painting, I focus more on how the shapes and colors interact with each other, not on one interpretation of what they represent.
Rubens didn’t have the luxury to leave the shapes abstract – it would not be treated as a completed painting in the 17th century.
And still, his expression has such a sense of mystery that it draws me in and forms a spiritual connection with humankind.
Creating with Hurry vs. Taking Time to Imagine
Recently, I have started to feel that it’s ok that I am not Rubens, Kandinsky, or any other admirable artist. By taking time for imagination, I still can feel a connection with them.
Rather than trying to reproduce what my favorite artists have created, I imagine that my little studio is a time capsule where they hang around. My sensitivity for them can get mixed with the rest of my imagination, and produce my kind of work, still supported by them.
The core of art is that we are free to imagine. We are allowed to break the limits of time, explore the inner world, and go beyond literal ideas and explanations.
This journey has taught me that it is possible to live with wild thoughts no matter what direction they take. Like a rare animal, a thought can be shy and fast, and thus, require sitting before the trust is formed.
Regular practice and the big size have helped me to relax and let go – break the glass between the inner and the outer world, as Wassily Kandinsky would say.
Can There Be Too Much Artistic Inspiration?
As long as I have created art, I have been inspired by a variety of things. It has often felt like it’s too much.
Here are some:
old portraits in fancy dresses
houseplants and their pots
midcentury-modern interiors
colorful kitsch
primitive dolls
dressage horses
English country gardens and cottages
Tibetan yaks
base jumping
mountain climbing
skateboards
graffitis
physics
outer space
mathematical algorithms
The list is ongoing and overwhelming!
I think this is not exceptional at all. The world is full of artistic inspiration. Like animals, we have a roaming instinct to explore further. No wonder they say that the hard choice for art-making is to choose what inspiration to pick.
But recently I have felt like I don’t have to pick. No matter what I paint, I can bring it all together. If I paint a flower, it can look like a nomad, or a mountain, or a furry animal, or a space station, I don’t have to define.
Every element can have a strong identity and the overall scenery can have a strong sense of location even if I can’t name it. Some people say my paintings are underwater sceneries, others see outer space. For me, they can be both, and yet neither. I feel I am delivering more than what can be labeled.
Finding Your Artistic Voice/Style/Spirituality/Identity – Whatever You Call It!
I have created art for a long time expecting to become better at what to pick and why. I assumed that art would make me know myself better and yes, it has. But it’s surprising that now when I am painting, it doesn’t really matter who I am and how I get inspired. My art is not to limit or to focus but to integrate.
When I started the project, one of the goals was to get clearer about my spirituality. My question was: “Can a former engineer create spiritual art?”
At the moment, I find it difficult to separate physical from the spiritual. All material things seem to have a spirit and everything immaterial seems to have a figure. When I paint, they mix and merge, and after a while, the painting seems to have a mind of its own. It tells what it wants, and my job is to obey.
This week, we go deep into the messy art journal style. See how to mimic messy mixed media pages in colored pencils!
I wanted to add some happy freedom to my colored pencil diary. So here are the most recent spreads!
These spreads have an impression of a messy mixed media look – collage, paints, and all – but they have been made with colored pencils only.
Confessions from a Former Art Journal Book Junkie
Let’s first turn back time over ten years when my best hobby was art journaling. My day job took a lot of time, so buying became a part of self-expression. I bought almost every possible book about art journaling and dreamed about becoming a mixed media artist.
A few examples of art journaling books from my collection
Now when I look at these books, their examples look clumsy, sometimes even ugly. But I still get attracted by the easiness that made me buy the books: “Messy is ok, you can do it!” And so did I: mixed paints, pens, collage, and all the possible media into one spread. “Mixed media techniques” was the word that I was looking for when browsing a book store or Youtube.
Art Journals Started a Journey
These journals were all the art that I created for a long time. Like the books stated, I assumed that the messy pages would be enough to define me as an artist. In some ways, I was right. A messy art journal style was a ticket to the world of art-making, blogging, even teaching. For example, in Collageland, I use paints, pens, and scissors to create fun and messy pages.
But in 2013, when I was in a local art supply store and proudly presented one of the journals to the owner, his fake smile told me that I hadn’t even started yet. In the traditional side of art-making, that is!
Art journals from the past
Nowadays, I think of myself being a traditional artist rather than a mixed media crafter. I prefer to stick with one medium at a time and my main artworks are more on the traditional side. And I wince every time when someone calls me a mixed media artist!
A new oil painting in progress.
But art journaling has led me to so many happy places that I don’t ever want to get too far from it. Often, I have just replaced images from magazines with my own hand drawings.
So, instead of collecting products, I can be the product. My most popular classes like Animal Inkdom and Magical Inkdom have started on that idea.
Choosing the Shortest Pencils
The best thing that I have learned from art journaling is to not over-think and just start creating. It often feels like my hand knows more than my brain. So, when I want to think further and forward, I say to my shortest pencils: “Let’s create something messy, like in the old times!”. And these little pensioners are always willing to get back to work and do what’s expected.
Using old and much-used pencils also takes off the pressure of pursuing brilliancy right from the beginning. For example, before I started building the class Intuitive Coloring, preliminary pieces were made with the shorties, and then for the actual recordings, I picked longer and more prestigious pencils.
So, when coloring a mess, do it with a small and diverse set of retired pencils that no longer care if you are a true artist or not!
Collage Imitation in Messy Art Journal Style
On the first spread, I mimicked what we used to include in our messy art journals: paper scraps, geometric stencils, scribbling, simple marks like x’s and o’s, flowers, and curves.
Just keep layering until the paper is covered, and don’t forget to mimic the glue too! Make the elements go on top of each other, or erase a part of them to make everything look integrated.
Look at my little pencils! Aren’t they endearing? I have started to carry them in a pencil case so that they are always with me, ready to be pampered.
Paint Imitation in Messy Art Journal Style
Then let’s change the mindset a bit and move from mimicking products to imitating paints. Start with stripes and small splotches and slowly grow them so that they cover more of the blank page.
When we make a mess with paints, the edges are jagged, so color freely and intentionally make errors on the shapes.
My orange rectangles represent a product, a stencil maybe, but most of the elements are more like watercolor, acrylics, or inks.
Watercolor spots have dark edges that softly fade away. By adding more colors, you can make the spots look translucent.
Acrylic paint has wider shadows, reflections of light (stripes and spots), and less transparency.
Add tiny spots too and make sure that their patterning is irregular.
Drawing all kinds of splashes and drops was so much fun that I am now thinking: could I imitate watercolor in oils. Doesn’t this prove that mess-making and traditional fine art are not so far away from each other after all?
I hope this inspired you to pick your pencils and start faux mixed media with them!
