Friday, July 24, 2015

Stubborn Dedication - An Artist's Account

Initially written in 2012, finally published in 2015.

The path towards becoming an established artist is a rocky, winding, challenging road, but as anyone who persevered and achieved or reached a dream would be able to attest, it's a worthy path to take. This is an account of my journey towards becoming and remaining a professional artist, succeeding only through stubborn dedication, blind faith and the support of family and friends. I give tips about reaching your own dream, developing your own art, and share some insights and mishaps that lit up my path.

A girl with a dream

I grew up in a very happy home. One of my objectives or motivations throughout life has always been to make my parents proud.  At school I achieved great grades, got involved in different activities and sports, and shared experiences with friends. And I loved to draw. Art was one of my favourite subjects, and because I spent a lot of time drawing, my skill developed and I got appreciation for my creativity from teachers, class mates, and my parents. I was entered into the local art association's annual art evaluations and got awarded great awards for three of my works, an A++ among them. At the age of 13 I listed my potential career options as: artist, air hostess or game ranger.

Among class mates

During high school I took Art as subject and the art class became my haven. We painted a Marc Chagall artwork onto the wall outside the art class, and our teacher taught us about all the great masters in Art History. We went on a field trip when I was 16 and saw art by South African artists in art galleries in Pretoria. At this time I knew that what I wanted to do with my life was to become a Lien Botha, a Chris Diedericks, Diane Victor or a William Kentridge.  I wanted to paint, draw and make inspiring art for the rest of my life.  At the same time I was being told that making a living as an artist is highly doubtful or an almost impossible challenge. So graphic design seemed like a good option - the next best thing, a compromize. So at the end of my school career my parents and I agreed that I would study for a diploma in Graphic Design, so that IF I struggle to make a living as an artist, I have a fall-back.

Student Life

The next four years were an all-consuming flurry of studying, working part time, having fun, painting, drawing, designing, lectures, taking photographs and trying to achieve in the same way that I did at school. I met amazing people, learnt a lot, and felt proud of the creative work I created. I went through ups and downs, of course, and at some stage felt like giving up and dropping out.  But I pushed through and ended up doing a post graduate year to attain my B Tech qualification. During this year I focused my attention on green or 'eco-conscious' design, and advertising that raises awareness for environmental issues. During my first years of study we had specific class times and slots for our different subjects which included communication design, photography, drawing, illustration techniques and History of Graphic Design. In my fourth year, however, I was responsible for my own working hours in between consultation times with my assigned lecturer. I got a taste for the independence of managing my own working time, and guiding my creative process in the way that I feel works best. This proved crucial in my path towards my art career.

A working woman

I got a job in a design agency straight after studying. Our exams were barely done before I started going to interviews in the city. It was a small design agency and I had a lot of creative freedom. I never needed to stay late at work and after a quick jog and dinner for one I spent my evenings painting. After half a year I moved to another city, however, and a new job in a bigger design company. At this company I only lasted the 3 month trial period, largely due to overtime and lack of creative freedom. I felt frustrated and did not have the energy after work to create artworks or even prepare food. I decided to take a shot at working as a full time artist. Easier said than done. I had some rudimentary knowlegde of business management and entrepreneurship from subjects at school and as a student, but not enough to prepare me for the challenges of trying to make AND sell art. I had to start waitressing again, and tried working at a pre-school (which lasted 3 weeks) to pay and buy rent, electricity, petrol, food and going out with my friends and boyfriend. I participated in a four-man exhibition and took my art to several art shops. But soon after I was working at a design agency again. This job lasted for almost two years, as lunch time was spent in a huge garden with a dam and ducks, I didn't work overtime and the work space was comfortable and creative. Until we moved office to a more corporate environment and the pressure increased. After long discussions late at night with my loved ones, and sleepness nights, I bailed again,  started to do freelance graphic design on a computer that a friend donated, and making abstract art.

Reclaiming the dream

I started doing commissions, promote my work at every opportunity that I could see, tried selling at markets, took my art to art shops again, and participated in group exhibitions. I worked on a make-shift table in the lounge, to the dismay of my flatmate, so did not have the extra cost of studio rent. I did receive financial help from my parents for rent, I did not know how to price my work, did not keep good records and had no real strategy. I also did not feel proud of all the artworks I was creating, mostly because I seemed to produce a lot of works, without enough engagement and emotional or meaningful intent in each work's process, due to the need to sell and 'survive'. I did get involved with some of the galleries in which I exhibited, in particular the Gallery at Duncan Yard, later renamed as the Fient Gallery, in Pretoria. I designed the exhibition invitations for a fee, and regularly showed and sold my art in the gallery. When my boyfriend went overseas for studies, I moved back home to stay with my parents for the next three months. With his return we moved to the other side of the country, to the land of milk and honey, and before leaving had an art sale where I sold the majority of my artworks for ridiculously low prices – often much less than I paid for the canvas!

Shifting gears

I had interviews for a job lined up before arriving in Cape Town. Potential jobs included being a gallery assistant for the artist and gallery owner who now frames all my art, and a graphic design position in a new company. I got the latter job, and was able to work from home on my own computer. I managed my own time, making sure I met the deadlines, but also created new paintings and experimental sculptures inbetween my time in front of the computer.

I've had a rollercoaster love-hate relationship with 'graphic design' – it has taken up its own personality in my mind, growing into a monster that threatens to take over my life and steal all my painting time. Clients seem too needy, prescriptive and demanding; bosses and production managers are dominating antagonists in my own horror movie; and everything takes superhuman proportions – all aimed against what I really wanted to do: fine art.

Graphic Design, and illustration as service, is a great creative outlet and I could make beautiful, informed, and craftful design pieces, but somehow all sense and reality loses substance when I feel caged or being prevented from creating artworks inspired by things I see and experience. So when my boyfriend landed a job, I left the paid job in lieu of freelance design and making art again. I started to attend art workshops, visited galleries and exhibitions, and met people instrumental in my success as an artist.

Balancing income with passion

In the follwoing few years I have worked as temporary gallery assistent, as freelance graphic designer, as workshop facilitator, regularly participated in group exhibitions, and had my first two-man. I have done painting commissions, illustrations, t-shirt designs and consulted for different projects in art and design. I have met other artists, gallery owners, and a huge amount of amazing people. I have rented and worked in three different studio spaces, done a host of pro bono work, and gotten involved in various initiatives that raises awareness for environmental issues. I promote and support creativity through workshops, and I constantly create new artworks. My boyfriend and I got married, he changed jobs and we went through trials together. Without the support of my family I would not have achieved as much as I have. My mother and mother-in-law each paid a third of my studio rent money at one stage. My entire family supports and encourages me, and my husband have pulled us through each bad month, each month that I struggled to cover costs and keep my chin up.

Focus and riding the cycles

Being a multi-skilled individual and having several diverging interests has its pitfalls. I have participated in various projects and initiatives, but some of them with no actual relevance to the success of my art career. I had to learn, and need to remind myself all the time, to manage my time cleverly and consciously. I still do pro bono work, I still initiate and contribute to projects that uplifts the community through creativity, and I still do awareness-raising activities for the environment.  Very occassionally I do  graphic design projects and commissions, but mostly I focus on my artmaking – making artworks that really reflect my philosophy, artworks into which I immerse myself fully to visually express ideas and thoughts with integrity and honesty. Even if these artworks don't sell quickly. Even if they are very diverse – spanning Painting, Drawing, Land Art, Sculpture, Performance Art, Photography and Digital Art – and some of them very difficult or impossible to sell. I know that it seems like I have 34 hour days – I don't. I just choose carefully how I spend my time, remind myself that each new day brings new opportunities to create art. And when I choose my clients correctly, they understand when I ask for an extention on the deadline, when I tell them about artworks for an exhibition and promise to send them an invitation.  Yes, there is compromises and sacrifices. It will never be 'easy', it IS a journey, not a destination. I constantly remind myself that I've chosen this path for a reason, I'm doing what I love, and when I really think about it: I'm living my dream.

The evolution of my art

My art has progressed and grown through many different stages and phases. And it will change constantly throughout the rest of my art career. During my studies I was encouraged, if not forced, to conceptualize my creative outcomes. To engage with the theme or subject matter, whether the objective is to create a drawing, produce a booklet, or explore the concept of “duality” through any medium and material suited to its meaning. I created work that I felt proud of, especially when I had emotional investment in the theme. This pride took a nosedip when I created artworks solely as products to sell, pictures I made merely to be visually appealing and sellable. Attending workshops, collaborating and sharing with other artists, and experimenting with my art without the pressure of money – whether it is because of financial support from family or from doing freelance projects for a fee – all contributed towards the development of my style, my focus, my technique and my chosen themes. I have read and researched about selling art, making art, writing about art and I have dedicated myself towards the development of my art. Whether it's ambition, being stubborn, being self-indulgent or selfish, or just being true to myself – I haven't given up on my dream to be the type of artists I admire since my school years.

My work has proven  to be diverse, experimental, organic, intuitive, progressively ethical, natural, earthy, and expressive.  Throughout the years my work at times seemed quite fragmented due to the diversity of materials and amount of experimentation, but on closer inspection a repetition of subject matter and overall production methods started to create a coherency or unity. The subject matter usually revolved around the natural environments that we find ourselves in, which includes people, animals and natural still life. It's evolving towards environmental art inspired in part by the notion that many of the plant and animal species on our planet is being driven towards extinction. Other works are made in response to our throwaway culture and disregard for nature, but also the way that nature persists and that there's still natural places of peace and beauty, regardless of human's pollution and disrespect for nature.

My art and success as an artist is due to many factors, but one of the most important factors is time – I've spent innumerable hours, days, months and years to develop my techniques, and the overall understanding of my art and how to promote it. Time, patience, never giving up, and not taking criticism too personally. Listen to advice and constructive criticism, and if it makes sense apply it! If it doesn't fit into your vision, however, then don't allow it to distract you. And never stop to learn, to aim higher, to improve yourself and your skills. Ask for help, but when it's not given don't be angry, just look for another avenue to explore. When one door closes, at least one other always opens, even if you don't notice it immediately.

If you'd like to be part of my continuing journey, browse and bookmark my website, join my mailing list, like my Facebook page, follow me on twitter, or on Instagram. You can also, of course, support my career and buy my work at

Wednesday, July 1, 2015

Change is (almost) always good

If you've been on my blog before, you'll notice that things have changed quite a bit. I have not been posting updates often enough, since I upload all my new artworks onto my website, and most onto my Facebook page. I also post updates on the Art.Love.Nature site and my Instagram feed. Which leaves this blog neglected.

Something else I've also been neglecting is my writing - which has over the years included art reviews, poetry in both Afrikaans and English, rantings, musings and other writing about my experiences, my art, my life, the environment and society. These pieces of writing are hiding under stacks of other unfiled papers, it's creased and crunched between art materials and old painting rags, and it's not been categorized, documented or catalogued in any way before now.

So.... As with all things in life, change is the only constant. This blog is now dedicated to documenting and cataloguing my writing work (those that I'll retrieve from all corners of our home, as well as new work). It will be categorized or 'tagged' according to whether it's just a snippet/work-in-progress or a literary work that I deem completed. It will include all kinds of writing, text, words, contextualizing, conceptualizing and often some pretty emotional or somewhat aggressive expressions. 

The more things change the more they stay the same... I will, of course, add images, photographs and illustrations to some of these written works, especially if it helps express my message or thoughts more effectively.

I hope you stay on this journey with me, or if you're just joining, I hope that you'll enjoy this new journey with me! Namasté fellow earthling!

Saturday, March 21, 2015

Dirt is Good at THAT ART FAIR

Dirt is Good Process-based, time-based soil installation 27 February – 1 March 2015 Created on the first day of THAT ART FAIR, in Salt River, I created this drawing/design by pouring soil from my garden into lines and neatening each line with a paint brush.

I invited Fair goers to add drawings and thoughts onto paper, which I then integrated into the drawing. Over the next two days of the Fair the installation changed as people walked over and through it. Passers-by thus collaborated by giving their thoughts as well as changing the soil drawing with their feet.

Passers-by collaborated by giving their thoughts as well as changing the soil drawing

So often we only value art that would last, and even outlast us. But how much more valuable is art and expression that captures our own fleeting nature and the impermanence of everything we experience. It is in the fleeing and present moment that we find real value – not in dwelling in the past, not in worrying about the future.

We have been conditioned to believe that dust and dirt is ‘bad’, and kids are now kept from playing the mud in the way that I used to play in the mud. We forget that the most nutritious and healthy foods come from the soil, and not a fridge, lab or factory.

I think it’s time to rethink and relook how we feel about the world around us.

Tuesday, September 9, 2014

Land Art in Arderne's Garden, Claremont

I am part of a group of artists who meet  in a different place once every month to create site-specific temporary art installations with the materials we find around us. Here's what I created during the August gathering. Want to know more about the gatherings? Read more...

Friday, August 15, 2014

Kingdom Exhibition

On Wednesday I decided to have a look at the Kingdom exhibition at Equus Gallery, on my way back from a meeting in Stellenbosch. The Gallery is situated on the beautiful Cavalli Estate, on the R44 between Syellenbosch and Somerset West. 

I am incredibly glad I went. Not only am I extremely impressed with the artworks exhibited, but I was also blown away by the architecture, the landscaping that utilizes indigenous plants, and the vertical garden outside the gallery. The galllery space is also striking - clean, large open spaces, and a skylight that covers almost the entire ceiling, helping to create an ambience and soft light that compliments the artworks. 

The exhibition on view at the moment, entitled "Kingdom", is a curated collection of artworks inspired by, or representing, the natural kingdom.  Here's a selection of some of my favourite works from the exhibition.

Specimen Three, Rebecca Jones, Paper, wire and thread
Aloes TwoRebecca Jones, Paper and wire 
Towerland, Matthew Hindley, 2014, Oil on canvas, 2 x 2.5 m.

Sunset, Paula van Coller Louw, 2014, Oil on cavnas, 150 x 180cm.
Green Apple, Willie Botha, Fibreglass, 600mm diameter.
Let the Swallows Go, Jaco Sieberhagen, Lasered mild steel and paint, 63.5 x 35 x 13.5cm.
Meeting the Sun, Paula van Coller Louw, 2014, Oil on canvas, 180 x 240 cm.
The Kingdom Come (In me) I, II, III, Victoria du Toit, 2014, Watercolour on Arches paper.
detail from The Kingdom Come (In me) IIVictoria du Toit, 2014, Watercolour on Arches paper.
detail from The Kingdom Come (In me) IIIVictoria du Toit, 2014, Watercolour on Arches paper.
detail from The Kingdom Come (In me) IIVictoria du Toit, 2014, Watercolour on Arches paper.
detail from Rose, Victoria du Toit, 2013, Watercolour on Arches paper.
Saad (Seed)Hanien Conradie, 2012, Oil on canvas, 120 x 120 cm.
Melk (Milk) & Saad (Seed), Hanien Conradie, 2012, Oil on canvas, 120 x 120 cm
Will Buy you Time, Nigel Mullins, 2011, Oil on canvas, 150 x 200 cm.
Memory Vein, Robin Brown, Innova pigment print 280 gsm, Limited edition of 10.
Bow to Bee, Robin Brown, Innova pigment print 280 gsm, Limited edition of 10.
On a Wing and a Prayer, Robin Brown, Innova pigment print 280 gsm, Limited edition of 10.

Thursday, July 24, 2014

Fear & Loss - Industrial Karoo

If you're in the area, please support and attend this incredible exhibition curated by Katie Barnard du Toit. I am participating, exhibiting an artwork entitled "Bone Country", which will only be available for view on my website after the opening of the exhibition.