When you’ve read as many truly awful artist statements as I have, it begins to dawn on you that maybe, just maybe, the problem starts at the very beginning, before sliding down the slippery slope of awfulness.
What if accurately defining an artist statement was the first step, the very first step in writing a compelling, engaging statement that truly caught the attention of your viewers instead of making them yawn?
Deciding what an artist statement is, to some extent, depends on…(more…)
I remember when my mother was dying. I was getting ready for my orals in graduate school and the one thing I couldn’t have imagined, since all mothers are invincible, is that my healthy, vivacious, 83-year-old, artist mother would die.
Time stood still as the nurse put me through to her hospital room.
I suspect this question is so deeply personal that it’s like a fingerprint: each of us will respond from the life conditions that have shaped each of us, and shape us still.
There is strong folklore about the value of the suffering artist to her art; that dark times allow for greatness. Personally, I’m not so sure it’s a useful way to look at suffering.
As I illuminated in Part 1, the power of intention is a simple, decades-old practice that blends the spiritual with the psychological and the practical.
And then, there’s intention as a specific neurological landscape.
When you’ve read as many truly awful artist statements as I have, it begins to dawn on you that maybe, just maybe, the problem starts at the very beginning, before sliding down the slippery slope of awfulness.
couldn’t have imagined, since all mothers are invincible, is that my healthy, vivacious, 83-year-old, artist mother would die.
As I illuminated in 
