A Time to be Disturbed

Beginning of one of the most disturbing paintings I've ever started

If you know me at all, or are familiar with the work I do, you know I love painting landscapes. That's my thing. But now and then, something just really hits me and changes to course of what I'm doing completely. The last time this happened was when Joy and I visited what is left of the concentration camp at Dachau (just north of Munich) last September. Seeing what I saw -- I was shaken to my core. That doesn't happen very often. I'm pretty "even-keel" but when I left, I had to express myself in my language (art). If you're interested, just click here for a link to that blog. 

Well, it's happened again. I wish this wouldn't happen in my head. I'd sleep a lot better if I could just paint trees and mountains all the time, but I think I'd explode if I didn't say something right now about an issue that's really hot in today's news. If you have a minute, please go to this link and if you have the stomach for it, please, please watch the video and then me know what YOU think. 

When I watched this, I couldn't help but respond. And I'm (thankfully) not alone. A group of artists in my building (the Pink Dog Creative Building in Asheville's River Arts District) met and dreamed together. We are in the beginning phases of putting together an exhibition of art from artists (painters, poets and musicians) all over Asheville that encapsulates our response to police brutality against black men and gun violence in general.

So right now, this painting I'm starting looks pretty innocuous and no different than anything else I do, right? Well, I'm going to be taking you through the steps to the very end, so you can see it evolve. I know what it'll look like in the end and some of those I've explained it to have teared up. For now, I'm keeping a tight lip until it's done. 

I'm honored to be working with these other artists. It's so nice not to have to do this alone, because I really don't know what I'm doing. I just have one voice, but a multi-thousand member choir is made of individual voices. I want one of those voices to be mine. Sing with me?

"Remember...there are no mistakes with art"

I hear some crazy things sometimes. It just cracks me up what some people say. Just by way of reminder, I work in an open art studio in the River Arts District of Asheville, North Carolina. An "open" art studio means that people can visit from all over the country and all over the world (literally!) and drop in and visit with me and take a look at my artwork displayed on my walls as well as watch me paint.

My work desk/easel is about four feet from the door and so I'm right there. I can hear everything. :)  Here are some snippets of conversations I've heard recently that just made me crack up:

• "Babe, you could TOTALLY do this art! Ask him how he does it!"
• "Yeah, it's nice and all but did you see the PRICES!?"
• a guy to his girlfriend..."First he takes a photo and dips it in the glass..." (really??)

and my recent favorite..."Remember sweetheart, there are NO mistakes in art..."

That last comment is the one comment that makes me cringe actually. What that kind of mindset infers is that there is no such thing as skillfully crafted artwork and poorly done, ugly artwork. Believe me, I've made ugly artwork and I can guarantee there ARE mistakes in art because I've made a whole lot of them. Pay attention here...(I'm about to say something profound)...the freedom to MAKE mistakes with art is what also creates the freedom to innovate. Some of the crazy things I try actually work. Some unequivocally do not, but some do and that is how technique and skill advance.

I can guarantee there ARE mistakes in art because I've made a whole lot of them.

To say there are no mistakes in art is ridiculous. I mean, is art the ONLY thing human beings do that has no standard? I've heard good music and bad music. I've heard good voices and really bad voices. I've read well written books and really poorly written books. I've tasted really good food and really dreadful food. So is the creation of a painting or drawing in a completely unique category that makes it immune from scrutiny? Of course not. There is beautiful, well-crafted art and really bad art. I know this because I've made both.

"...the freedom to MAKE mistakes with art is what also creates the freedom to innovate."

I guess the other reason I don't like that comment is that it reveals some insecurity on my part, and I'm willing to own that. See, if it were true (that there are no mistakes with art) then I'm wasting my time trying to push the limits of what I think I can do with my own art; I'm wasting effort trying to get better and more skillful as an artist if there is no such thing as "better" or "skill" as it relates to art. But I really believe the creation of great art (any art -- painting, ceramics, sculpture, music, food just to name a few) involves developing skill. And skill at learning anything at all involves experimentation and playing with your ingredients and experimentation inevitably involves some failures. That's the human condition and art, if nothing else, is absolutely and completely human.

How to Make a Living as an Artist (Part 2)

As I stated in an earlier blog, I was recently asked “How do you make a living as a full-time artist?” And honestly,  I wake up every morning absolutely baffled that I CAN make a living doing what I love doing.

I work here in the mountains of western North Carolina in the town of Asheville,  and largely because of that, I do not do art shows or art festivals. I really don’t go anywhere, because I can't afford to leave my studio.  Basically, I walk to work in Asheville’s River Arts District, unlock the door, turn the lights on, stick the “OPEN” flag out on the side of the building and then I start painting, and people (some locals but mostly tourists) come through my door and look at my artwork and by far, most of my sales come from people who walk in off the street. They are visiting Asheville, heard about the River Arts District and they want to make sure they check that off their “to do when visiting Asheville” list. If I lived practically anywhere else, this business model would not work at all. But because there are now about 220 artists within about one square mile who do this, and who go together on advertising to get the word out, people know about us and they visit (and purchase art!)

 If I didn't have this business model available to me as a real option, I'd probably be in trouble.

So the fact that I can make this business model work is largely due to where I live. But the details as to how the situation in Asheville makes my life as a full-time artist possible -- I don't see why that can't be replicated anywhere else. I really hope it can. There's nothing magical about Asheville (although some locals explain that Asheville is special because of giant crystals under the city. Ground penetrating radar has never detected said crystals, but I digress...

If I didn't have this business model available to me as a real option, I'd probably be in trouble.  Most other full-time artists around the country that I know get their work into as many galleries and art festivals as possible. I truly have all the respect in the world for artists who travel from art festival to art festival and have their work in select and profitable galleries and who make a living that way. I cannot compete with them. I mean, I have found a few galleries that now carry and sell my work but honestly, I make most of my own sales from my Asheville studio. I would love to find more galleries around the country that would represent me, but I honestly don't know how to find them, so I unfortunately cannot be much of a help with any of that.

But because I live where I live, I am literally "piggybacking" off the momentum every other artist here has created. It's symbiotic. Visiting artists have asked "is there even ROOM for another artist here?" and my answer is always "YES!" because it's like gravity -- the more the mass, the more the gravitational pull (i.e. more visitors recognize us as an arts destination) and that's a really good thing for all of us artists.

The other thing the artists do is to have "regular open hours" 

Why is Asheville so special? Well, for one thing, it is a tourist destination in and of itself, and that REALLY helps bring people into the area.  And here, the artists are working together and they are operating their business like a business. Let me explain.

First of all, most artists all rent studio space in the same part of town (not all scattered through the city). The artists have an organization they pay dues to and they (the River Arts District Artists) advertise and promote what's going on here. We have a printed studio guide with a map of where all the studios are, to make it easy for people. 

The other thing the artists do (well, enough of them anyway) is to have "regular open hours". I have my hours posted in our studio guide we pass out and on my studio door...10:00 - 5:00 every day but Sunday. So my studio is not just where I paint. I do paint here, but the public walks through my door every day, watch me paint, and they look at my finished artwork hanging on the wall. So it's kind of a cross between a messy studio and a classy art gallery that's open to the public. THAT is what I (and lots of other artists here) do.  And honestly, the only people I hear around me in the arts district that complain about not making sales are those who can only be here now and then. I totally get it that not everyone can or wants to do this full-time, but if you want to make a living with this more "retail" type art business model, you have to be open.  In other words: You cannot sell your artwork if your studio is locked up and dark.

Let me illustrate this point with a true story.  I was driving through an un-named state a couple years ago and saw a sign "historic arts district" and I thought "Oh COOL! Let's take a few minutes and explore!" So we did. My wife and I found the arts district and were really impressed with the concept. Turns out that the downtown area of this town was dwindling and the city wanted to re-vamp the area. So they sold studio space to several artists for SUPER cheap and even gave $10K per studio for upgrades and interior design.  And artists moved in! But when my wife and I were there (on a Friday), we spent an hour walking around the arts district and only one studio was actually open. If someone opens a hardware store or lighting store or barber shop or coffee shop on Main Street, they would have been there. They would be open. There is probably something I'm missing, but as a visitor, I didn't see how having closed art studios was helping to create a vibrant new downtown. I'll never go back. Not because the town wasn't cool (it was), but because it was a ghost town.

So my suggestion would be that you move to Asheville (I know artists who have done just that for all the above reasons I've mentioned).  But more realistically, I really think that wherever you live, you could try to get artists around you working together (in as close a proximity as possible). You could pool monetary resourses and advertise. Get the word out that you're there. Let the chamber of commerce and tourism office know you're there.  And BE IN THE STUDIO with lights on and door open and OPEN flag out front so people are invited in. That's what we do here and I know it works.

How to Make a Living as an Artist

I was recently asked “How do you make a living as a full-time artist?” That is the million dollar question for a lot of really creative people out there, and there are so many factors involved in the answer. I’ve seen people become really successful with an art career and some miserably fail. It’s really not rocket science, but there are certain things you should do and some you shouldn’t do that can help or hurt your chances. Let me explain.

A few years ago, a gentleman came into my art studio and told me he was an artist and wanted to talk to me about getting his paintings into my “gallery”. He then proceeded to remove several oil paintings from a cardboard box to show me. I had to explain that this was my studio (where I create and sell) my own art, and not an art gallery per se. And honestly, the level of skill I saw was not something that would inspire sales and sales are the only way an artist can make a career out of creating art.

Just because you want to sell something
doesn’t mean anyone will want to buy it.

I am reminded me of an experience I had when I was four years old. I wanted some money to fund a trip to the store for candy and baseball cards, so I cooked up a scheme involving a handful of rocks. See, I decided I would set up a card table out by the street and make a sign that read “ROCKS FOR SALE”. These were super cool rocks (I thought) and I was sure someone would agree (enough to part with a quarter). No one even stopped to look at these gems-in-the-rough. No one. Important lesson learned: Just because you want to sell something doesn’t necessarily mean anyone will want to buy it.

In my opinion, if someone desires to make a living creating and selling artwork, they need to be willing to seek solid artistic training, critique and learn the basics of promoting their business. 

TRAINING

If you want to create and sell your artwork as a career, get training, and pick your school carefully. Not all art schools or art programs teach actual skills. Visit the school and take a look at the student art and ask yourself a question: “Does this look like something people would actually purchase?” Some of what I see at art colleges look like the students are having a truly cathartic experience creating some really edgy art, but unless that’s combined with real skills learning, how do you make a living with that when you graduate? This is why so many art students graduate and end up flipping burgers. Training is really important. Look, if someone works on my car or repairs my air conditioner or operates on my brain or makes me Beef Wellington at some expensive restaurant downtown, I would absolutely expect they were well trained and have some real ability. Same with art. Same with everything else we do.

I can hear someone say, "So you just dismiss everyone who's self taught? You think we all need art degrees?" And I would answer a definite "no". I basically invented (self-taught) my whole technique I use (with the help of the foundation I received with my training). I'm not discounting the concept of "self-taught" at all. I just think that a person can go a lot farther in any profession we're talking about it if that person got some coaching, and the easiest way to get coaching is school. There are actually "rules" in art that would be really helpful for an aspiring artist to be very familiar with.  Knowledge of those rules will help you create something amazing. When I was a kid, I was bored with normal tomato soup and so...I decided I would experiment with adding orange juice to it. I learned very quickly that certain flavors blend well together and others definitely do not. There are rules. An art degree is definitely not the only way but it's the easiest way. If you don't go that route, try to find a mentor. All I'm saying is that in addition to any possible self-teaching, get trained. Get input from others (and especially experts), which conveniently leads me to my next point:

CRITIQUE

If an artist has an arrogant personality that doesn't listen to or seek out critique, I don't think that's going to help them move forward. (I have more to say on this subject in an earlier posting if you're interested.) To make a living doing this, you have to listen for criticism and not just TO criticism. Sometimes what an artist wants to paint may be really therapeutic, but won't be sellable. When you look at art creation as a career, you have to find a balance -- it should be both inspiring to you and inspiring to the viewer of your art.  

I’ve had one artist a couple years ago visit my studio and ask if they could make an appointment to ask me for advice as to how to make art his career. That was totally flattering and I liked the fact he asked for an appointment (that was respectful). When you show someone respect, they will be much more likely to help you out with some advice. So seek out other artists and/or gallery owners. If they’re too busy, they’ll tell you, but you may get some really great advice this way. 

The other thing you could do would be to enter your work in juried art shows. If your artwork is consistently rejected or consistently gets attention and/or wins an award, that will be a real gauge as to whether your abilities are what they'd need to be. 

SELF PROMO

Get professional looking business cards and create a website. The website should have your artist statement, bio and lots of photos of your work, and how to contact you. Do you do commissions? Explain how that works. Don’t be afraid to look at other artist's websites and make notes of what you like and don’t like. If you can’t afford to pay someone to create a website for you, there are DIY website programs out there and they’re fine. Just make it simple and clean and informative. 

GET OUT THERE

After training, critique and creating professional-looking self promo tools, you’re ready to begin actually putting together your career. In my next post, I’ll discuss the variety of ways you might do that and explain what I did (which was a bit less “conventional” than most professional artists out there) but it worked really well for me. 

How do you create when you don't feel creative?

I get in conversations with interesting visitors to my art studio all the time. And quite often, they ask about "the fuel" for creativity and how it works. I get the impression that a lot of people think that artists are kind of "air heads" -- that we create only on our terms (just when we "feel" like it). I get the impression some people think that if it's "not working" for me as an artist today, if I'm just not feeling "inspired", that I just sit around the house and drink beer and play Legend of Zelda all day long until I "feel" like painting again. 

How do you create something when there's just nothing left inside your head or heart to work with?

But that really doesn't describe the way any of us do anything does it? Sometimes, you just have to do your job even when you don't feel like it, whether you're a heart surgeon, auto mechanic, project manager or yes, even an artist.

People have asked "but how do you create something when you just don't feel creative? How do you create something when there's just nothing left inside your head or heart to work with?

That is a really good question and I'd like to share my own answer. I say "my own" because I am not going to try to speak for any other artist. This is just my own way to deal with that "empty" feeling every full-time artist out there gets. Keep in mind that I don't have the option of just just staying home and playing video games. My wife Joy will not let me. I have hours posted on my art studio door and I am not going to sell artwork if I am not there with the door unlocked. And to pay my mortgage and all my other bills, I have to be selling artwork. So I HAVE to keep creating. But how do you do that when you're running on empty?

Creating is like exhaling...

Don't let the needle get down to the little red "E". Don't get empty. Creating is like exhaling, and unless you inhale, you cannot exhale. The ancient Hebrews pictured God creating the universe with a breath. It's a beautiful, poetic way of putting it. God exhaled and the universe was born. When we write, or paint or cook or whatever you do that can be considered "creative", you are (in a sense) breathing out, taking various ingredients (whether they be Cadmium Red and Thalo Blue oil paint, or puff pastry, beef tenderloin and mushrooms) and with skill, you assemble something that was not there before. That's how creation works. And if you ever get to the point where you feel like you're running on empty and that creative juices have just dried up, it's because you've been exhaling until you're ready to pass out. Don't do that.

Breathe...in.

I think what "breathing in" looks like for each person will vary. If you're an introvert like me, then breathing in might be just sitting at a window staring at the rain drops hitting the porch, or reading a good book, or praying, or going for a walk, or having a super deep conversation with one or two really close friends. If you're an extrovert, I would assume you might still need to do some of the things I've listed (though I don't know for sure -- you are a sublime mystery to me), but you probably will want to be with more people at one time than I would feel comfortable being) but hey, whatever recharges you and leaves you going home feeling energized....THAT is inhaling.

If a "creative" does not inhale, he or she will eventually stop exhaling. That's just how it works. When I go on vacation and have a huge amount of inhaling time, it's like sucking in too much oxygen -- I can't wait to exhale! And that's when I come up with the big ideas that push my artwork forward several steps all at once. 

So you don't feel creative but need to create?

Stop.

Inhale. Inhale deeply.

If you inhale, you will have to exhale. It just will happen. I promise.

What's Next?

I really do like this time of year. January is a time for resolutions, right? It's a great time to take stock -- to look back at last year and the year before and see where we've come from, what's worked well, what we need to change in order to where we want to get to this time NEXT year. I love this by the way. I love dreaming and scheming.

Planning and Scheming...

As an artist in Asheville's River Arts District, I really do work right in the middle of the best place to create art right now. I say "right now" because things change (they always do) but for right now, Asheville is unmatched as a location to produce (and sell) art. I have a few galleries around the south that carry some of my artwork, but about 95% of what I sell is sold right from my art studio to folks I've met and enjoyed conversation with. I love this business model. But one of the things I decided to do this year was to put more time into diversifying my sales, by reaching out to other galleries and looking for creative ways to connect with more people. Right now, all my eggs are in one basket really. I open my door and paint. That's my marketing strategy. Because in Asheville, an artist doesn't necessarily have to go around the country setting up their booth at this and that art show in order to sell their art and get exposure. People come here and I get to stay put. But if things change (and as I said, so far when an arts community has existed like this before, it's been a temporary phenomenon), then I could go scrambling if I don't take advantage of this time I have right now.

So, I'm looking for other galleries in good locations and I'm looking into juried art shows around the country.

That's my big goal for 2018. Check back this time next year for a report on how I did!

The Power of Mystery

I love watching people. Call it voyeuristic but it can be quite entertaining sometimes. I have an "open art studio" in Asheville, which as I've explained in the past, means that anyone can walk in at any time and take a look at my paintings on the wall and watch me work (if they want to). When people enter my studio, my area is just to the left of the door, so I'm right there, and that's my favorite time to pay attention. Oftentimes, the expression on peoples faces is one of complete bafflement. Just last week, a woman strolled in, took a couple second look at the first painting on the wall, screwed up her face and said, "Okay, so what is this? How do you do it?" That made me laugh inside (I love that my artwork baffles people!).

When I began painting and first opened my studio in Asheville, I used to answer these questions in great detail, which, when I think about it now, was really weird I felt compelled to do that. It would be like if you went to a French restaurant and asked the waiter how the chef cooked the Chicken Basquaise and the chef came out, sat down at your table, pulled out the recipe card and went over it all step by step. That was me.

I don't do that anymore simply because I realized that when you de-mystify something, you take power away from it. I don't want to do that. I love what I do -- I put so much of myself into my paintings -- I don't want to take away their power to grab people. I WANT my artwork to baffle people and give them enjoyment. I really want to illicit wonder. So...I WANT people to wonder what the heck they're looking at and I want them to guess how I do the kind of artwork I do, but I walk a fine line. See, I want to be polite and answer their questions and encourage even more questions. But I have to try to figure out how much to answer and what not to say, knowing that the more detailed an explanation I give, the more I deflate the power of the art I'm explaining.

I want my artwork to be truly unique. I've spent almost eighteen years developing something that no one else is doing, and while that's really satisfying, it also is frustrating because I WANT to talk about it. I think what I do is fascinating (most of the time). I have a blast and I think it's probably normal for someone to blab endlessly about what they're excited about. But in my case, I have to know how little is acceptable to say, and then say no more. Mystery gives power, and I would think all artists would want their work to be powerful.

"I woudn't pay HALF of what he's asking!"

I am a professional artist (oil painter) in Asheville, North Carolina. I have an open studio in the River Arts District and the front part of my studio is my art gallery/work area (where my artwork is hanging, and where I do most of my painting). In the back (behind the curtain) is where the messy or secret stuff happens (to get back there,  you have to learn the secret handshake).  So during the day, I'm usually painting just to the right of the doorway out to the street, and I talk to people all day long and answer questions about my work.  So the other day, I had a couple breeze through my studio without saying a word to me, and then leave, planting themselves into the chairs I have just outside my door. Because I work right on the other side of the door, I could very easily hear the man exclaim to his wife, "well I know, but it's ridiculous! I wouldn't pay half what he's asking for that!"

So, if you're an artist, what do you do with comments like that?

I would like to take a few blog entries and share some thoughts that have been developing in my mind. I think it would help me to put these thoughts to virtual paper, and they may (?) help some other artists that struggle with insecurity.

Most artists I know fall into basically two camps: The "angsty" artist and the terrified artist. That first camp (the "angsty" artists) would say, "I don't care WHAT people think of my art! It's MY art and I'll do what I want to do with it and if people like it, fine. If not, I really don't care." If that's where you're coming from, and that singular sentiment describes you, that's fine. My hat's off to you, but you're probably not making a living selling your artwork are you? I say that because when you make your living by selling your artwork, expressing yourself is crucial but...you have to be listening to critique well and sometimes adjust what you do in order to sell your artwork.

Ha! I can hear the angsty artist crying "SELLOUT!" It's about expressing yourself! It's not about making money!" Again, my hat's off to you, but I personally prefer expressing myself AND making a living selling my artwork. What is wrong with listening to critique and evolving your craft as a result? Do you think listening and considering another opinion makes you small and weak? It's really easy to think we already know what we're doing, but input (if we take it in) can actually help shape what we're doing as time goes by, don't you think?

More on the "angsty" artist in my next entry.

"How do you decide what to paint?"

Johnsen Commission concept photo (for future 30" x 60" painting)

WHERE TO START...

One of the questions I'm often asked is how I decide what to paint. That question is most easily answered if said answer is dictated by the desires of a client for a painting that is commissioned. Obviously, for a painting commission, the client tells me what they want. That makes it easy (and usually a lot of fun because the subject could be almost ANYTHING).

When I'm just painting something to fill my walls here at my art studio in Asheville, then the answer is a lot more subjective. I usually am trying to keep an ear open at all times to what seems to be resonating with people as they enter my studio/gallery. That helps dictate what I will be working on next. See, my work station (where I do 85% of my work) is located just inside the door to my studio, so I'm right there, meeting and greeting people (and hopefully) painting. I hear people's comments (sometimes they crack me up!) so I know what is interesting to people. That helps me so much when I need to sit down and figure out what to paint to replace something that's sold.

SEASONAL?

One thing I've learned is to think one season ahead. Right now it's autumn. But right now, I've got an entire wall full of winter themed paintings and I've got more in the pipeline. The winter scenes are hot now through the holidays. As soon as "REAL" winter settles in and we're under snow pack and fighting freezing rain and sleet, then the appeal of snow scenes wears off. But that won't happen until January 1. As soon as it hits January, I'm painting spring scenes and by May, it's full-on summer scenes. I think this is because the human heart loves to anticipate the next season, but when we're "in the MIDST" of that season, we get bored and are longing for the next season. This is all new to me -- I grew up in southern California and we really didn't have much in the way of seasons at all, but the rhythm four seasons in Western North Carolina brings to life is just wonderful I think. I'm so glad to be living now in a place with four real seasons, because I love to paint all four (the Blue Ridge Mountains are spectacular all year round).

When I'm painting an abstract, then usually I just take a look at the "in" colors that are hot for decorating and I use those colors. Usually.

In the end though, I paint what makes me happy. There. True confessions. That's how I decide what to paint. Enough writing now...back to work.

Cheers!

Then and Now

A few weeks ago, I was staring at (in my opinion) one of the most beautiful statues in the world, Michelangelo's "David". The piece is absolutely astonishing. At the Galleria dell' Accademia in Florence, there are several other statues by other artists and I could not help but compare them to David. The difference is astonishing. The other pieces I saw were beautiful and skillfully worked, but in no way could be compared to David. Other pieces had arms but David had blood vessels and sinews. David is nearly alive. The skill to create such a masterpiece is mind boggling. That much is patently obvious.

Michelangelo's "David"

As opposed to the "victory pose" over the fallen giant Goliath, Michelangelo's David appears to depict the youth just moment after he has made the decision to fight giant but before the battle has actually taken place, a moment between conscious choice and action. His brow is drawn, his neck tense and the veins bulge out of his lowered right hand. His left hand holds a sling that is draped over his shoulder and down to his right hand, which holds a rock.  The twist of his body effectively conveys to the viewer the feeling that he is in motion, an impression heightened with contrapposto (an asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with while balancing those of the hips and legs). There is your art history "lesson of the day". This classic pose causes the figure’s hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto is emphasized by the turn of the head to the left, and by the contrasting positions of the arms.

Compare and think...

So that was then, this is now. Times change I guess. See, when I got back home to the States, I saw a poster of a statue Picasso had created and I could not help but compare it to David, just as I compared the other statues I saw in Florence. So here's a good little exercise for you: Compare and think. What are you thinking? (I'd really like to know.)

Pablo Picasso's "Petite fille sautant a la corde" 

Here is what High Five magazine says about Picasso's sculpture:   

"Pablo Picasso's work remains astonishing. It is not limited to painting. The incursions of the Spanish master, especially in sculpture, produced admirable results."

"Before 1950, when the "Petite fille sautant à la corde" (or "Little Girl jumping rope) was completed, the practice of sculpture in Picasso seems episodic, according to the pictorial reinvention that crosses his work. Having no training in construction, unlike a classical training in painting, the sculpture remains for Picasso a hobby (if I may say), as a fun place to express his free creativity."

"Although Picasso prefers to use his brushes, he remains an inventive sculptor, motivated by the desire for experimentation. Picasso is a man constantly torn by the need to rebuild. He is reappropriating formal objects, technical innovations and artistic breaks to give his work a new impetus."