After all the excitement, stress, and hard work leading up to a show, comes the letdown, the anti-climax. Whether successful or not, you are still likely to feel this letdown. It's the same after a major event such as a wedding. Whereas you did not have time to feel the tiredness before the event, you now feel it full blast. There's an emptiness and a sadness at seeing the end of your efforts. Fortunately, it passes, hopefully fairly quickly.

No matter what kind of major event you can come down hard. I feel this sometimes and its hard to start again. I usually like to do something fun with my painting not something I may do all the time but its enough to refresh me and give me that excitement again.

I feel that way pretty much every time I complete a painting that I like. Maybe it's time to figure out a way to not get so obsessed with a painting while I'm doing it -- but if I could do that I probably wouldn't be painting at all. Guess it's just part of the process.

Maybe the answer here is to keep things going. I mean, always have something in the offing. The idea above to start a new "love" before the old one is gone is the best cure.
If there is nothing ahead, no new show, work as if there is and seek some place for the new things while you're working.
Maybe that could be called always being ahead of the game.

oh,indeed I am familiar with PSB. I find it useful to continue to look forward towards the NEXT show. If I already have it scheduled, the end of the first show is not so sad, because now I will be showing at a different space. And maybe it is different work, too, because it's amazing how curators' tastes differ. As I work, as I exhibit, I am continually submitting images to galleries and consultants.

I think the "success" is in the completion of the piece, not the exhibition of the work. :)

I had a show that was unsuccessful and that I over-prepared for physically, mentally and emotionally. It was exciting to see 18-21 of my works of art together on my display on the first day and I did have some serious nibbles, but due to the economy, collectors were holding back. I got that from the horse's mouth in fact that day, a top art collector spent only $250 on one piece from another artist. It was a tough show for most of the 58 artists in the show without sales. I became very ill on the last day of the show, art sales were way down and I felt an art death come over me all at once. It didn't help that I was placed next to an artist whose realism/impressionist plein air works were selling a little and I couldn't help but think my works were inferior. That's a whole different subject to write about, trendy styles. Our styles were similar, but his work was "pretty" and mine were more fundamentally artistic I felt. We were trained in two different parts of the world also. There should be a missionary person walking around saying, never ever make yourself feel inferior or compare yourself to another artist for it will only depress you further and invalidate your being a particular artist. Artists need to follow their own path of feelings even if it means making less money at times.

In this society, artists who want to survive sometimes need to sacrifice their direction to please the people who want something realistic or figurative to hang on their wall. I have succumbed to it many times before. The people attending were not privy to the contemporary impressionist plein air art, and it was not the best place to hold an art show either. It was at a location where city people who are more cultured in art were just not there or aware of the art show. So, several different problematic factors hit me on a day when I didn't feel so great and I went downhill like a rolling stone and hit the bottom of the hill hard. I wanted to give it all up admittedly.

I decided to rest for a week, hit the books at home on art fundamentals and old masters, revisit the meaning of art and journal why it is I am an artist. The act of writing down my feelings, beliefs and facts in my journal helped me crawl out of the hole. I critiqued my recent works after brushing up on a college level school of art book and found that I am truly following the right path in artistic knowledge. Several other spiritual and co-incidental triggers gave me further validation. Resolve: It is possible to grow further in artistic quality and style without tending to the popularity trends, and by sticking to the fundamental roots of 'art form' that will carry through the ages and cultures across the world. I am not through the gaining of art insight, no artist ever is done. But I have renewed my mind with theories that became vague somewhere between college years and this style I had acclimated myself towards for the sake of being in a group. I am resurging with a strength and energy that wants to go forth like a powerful force on the canvas.

Our lives are a learning process, there are hills and vales, sweetness and sour tastes. It's good to be alive and be an artist, no matter what.

Robert, Just wanted to let you know that I appreciate the letters and advice every week. I prefer to think of the post-show blues as exhaustion from art. Leading up to a show can be a hard drive to get work done. Then the show is an immersion into the world of art and other artists ideas and works. I love exhibiting, but after a show, my brain needs a rest for awhile so I immerse myself something else I feel passionate about, i.e. riding/gardening.

Yes, I have experienced this every time too. I'm new to exhibitions/ shows but I have found having a good tidy-up of my studio a good way to refresh. I find ideas I've put away for another day, notes I've made or items I have kept to start a sculpture, and that begins the process, getting worried doesn't help at all. Also a good way is to work in the garden for a while...back to earth...as it were. I get inspired by nature.

I really appreciated "Post show blues"... the last pieces I put out were last year... from a box of paintings I'd kept from where I'd lived two moves ago. I got the chance to "start over" at 50, to live in an 80 year old cabin in the woods...to learn to bring in wood for the fire, to learn what cold really meant, to be completely enclosed in nature in winter, and got to play many games of scrabble during the winter months...while taking many photos of the natural beauty around me. It was a year of my life where I was evaluating my past marriage of 22 years, my two children leaving home, having a young grandson while my daughter was still a teenager, and leaving my island home where every day I'd get to walk on a beach, each tide bringing in something new, or returning something to the sea.

Starting out again with someone new after being on my own four years. Again, however, I fell into the belief that "this was it"... as I always do... each place I've painted at was always going to be there for me. Each home I lived in would be "forever"... I spent a year with my new companion and alone roaming the forest paths, learning to fish, create rock gardens, collecting stones and driftwood and other natural finds, and walking with dogs and standing knee deep in the glorious roaring,self-renewing river , watching tiny American Dippers hopping along stones looking for food, and photographing all of it. But I found out that it was not to be forever...

Would I change anything... no. Was it painful to leave these wonderful places I've been able to live at... absolutely. But I grew so much more, especially in the deep pain of leaving, and I am now able to realize that it's in the present moment we can choose to be and create what we've been given to share in our dreams, paths, places, people we meet along the way... our creations... are, as you wrote, not to hold on to. We can hold on to our memories, and move on.... As I write this I am now in an apartment, contentedly alone for the most part, and grateful to know that wherever one goes, there are always others to be a support along the way, and that it is such a gift to be able to give back... in my case, I like to acknowledge others in the form of hand-painted cards, sometimes even collaged cards, taken from old paintings and added on to with pen 'n ink, to show that everything moves on in a different form. Tonight I was missing my places at the ocean, my place in the woods, and feeling a bit down about being alone and yet, an even smaller space. But I have the power and pleasure to be able to walk, smile at people on the street and perhaps bring a bit of joy to someone's day through a shared joy of nature we both witnessed. I had dreamed and painted of deserts... and now I am living in a desert... in the Okanagan. The colours are not as vivid as my ocean, or forest, more naples and viridian in hue, the trees not as bright or abundant, the buds much slower to appear. But I will again find peace and create again and will be able to slowly discover the myriad wonders of this place, too...

This is a practical and sensitive letter, Robert, about separation anxiety... My gallery owner recommended I keep all my "turning-point" pictures so as to learn from them. Someone else recommended keeping my very best, for some reason not clear to me. But since he is more experienced I've paid attention. My very fuzzy boundary is based on which ones I like to have on my own walls.

How timely! I am having a rather severe PSB myself. One thing that you didn’t mention is that that I tend to feel an amplified fear of time and death at a time like this. Maybe it is a realization how slow my progress is – how little are the steps of becoming a better artist, how huge and time consuming are all the needy tasks of life which I was able to ignore while chasing the show deadlines. This fear can be paralyzing and I am trying to self-correct in a similar way that you suggested. I started three new works, each one having something different from what I did before, in concept, language or technique. It’s not working very well unfortunately, I find myself slowly killing the two and neglecting the third. The muse has left the building. You once told me that courage is what’s needed; I am not sure if I just misplaced it or if it left together with the muse.

Boy do I know about this one... I was very uncomfortable after my first couple of shows. I just didn't know what, where or why, I should paint. Now I keep a sketch book, where I complete a drawing to the best of my ability. I work in it every morning, no matter what. I have something ongoing, no matter what events there are in my life. Sometimes I take a page from the sketch book to paint. Sometimes I just keep right on drawing, and become involved in the drawings for the love of it.

All of the comments by these other artists have really helped me understand those 'fuzzy'/ 'out-of-focus' feelings after an exhibition!
For a number of years, I've strived to have my work exhibited in various new venue across the USA on a monthly basis. The time leading up to those shows requires much preparation and strict adherence to guidelines. Once the shows conclude, I feel the let down one has after opening all her gifts on Christmas morning. I think the suggestion of redirecting one's energy towards other activities outside the studio for a brief period of time is ideal. After all, it was the joy of creating that got me to the exhibition in the first place, so it makes sense to go back to where I began, and start the process over again.

I find it interesting that many good artists also teach classes and workshops - in the hopes of "spreading the love of art". But in that action - are we not also cutting off our own heads? What other profession chooses to teach their livelihood to everyone and then expect to not gain additional "competition". I'm pretty sure lawyers and doctors do not hold evening classes on how to put through an easy divorce or how to do your own liposuction. Why would they encourage people to learn how to represent or heal themselves? It's lost business for themselves!

My husband carves into glass and does incredible work and it's amazing how many people ask him if he teaches classes - his response - "Nope, I don't want anymore competition as it's hard enough to make a living at this artform."

I'm scared that there is not enough wall space in the world right now for all the art that will be created by the newly retired babyboomers. These individuals have worked hard all their lives and are used to making money for their efforts. Now that they have the time to finally follow their artistic dreams - they are the ones filling the art classes and they will be the ones who will be filling the galleries, the internet and all their friends and family homes with their new passion.

Should there be a special binding contract out there that students would be required to sign - preventing them from taking one workshop and then painting like crazy with the intent on selling?

I don't think so - but Tom Lockhart should think twice when he's asked to teach another workshop.

Isn't that sad?

Why in the world would you want to put constraints on anyone learning art. Were they put on you, were you told you could only show your work after you've painted for 10 years, or 100 paintings. We live in a free society and competition, though we may not like it, is there and it is there for a reason. How do we know what to strive for if we only have ourselves to test against. Painting, for me is like life in itself, it is self sustaining and I do not do it to please the public, nor do I do it from competition from other artists. We all have God given talents, some more than others, but who has the right to tell one that they cannot show their work because they haven't been doing it long enough.

I also, teach, especially during this time of need. I mostly teach seniors who want and need to feel creative. I give this back, without pay, as I know how important it is to have something or someone that means a lot to you.

I think we should all be careful of the jealousy that rears its head, when we see others excel, without knowing how they got there.

It's been 10 years now that I've been doing outdoor festivals. I'm very serious about my painting, and the notion that each piece should be a path to education, not merely a process of production. The simple component for me is stamina. No matter how tired, just pick up the knife and start mixing. Arrange things, be ready to get nothing done, but get busy doing it. The first mark needs a second mark, the first piece finished is only the beginning of the next series. Stamina, don't lose the momentum, just paint. All the ideas that assault me after staring at my work for another weekend are just part of the fuel. Don't be paralyzed by thinking too much, be enabled by being challenged by your own work, especially after a show.

Concerning sales by not so great artists: I too teach classes and workshops so I guess I am helping my students to compete with me in the market. The way I look at it though is they are selling to ones that probably would not buy from me. In return, many who paint with me also purchase a painting from me.

I take real pride in the handful of students that have really blossomed and end up making a career of art. So instead of sour grapes when I look at poor work in galleries; I think about when I was one of those just starting out and thankful that some people saw some merit in my work and made the first few purchases.

Indeed, we artists are truly blessed, my motto is to try to create the beauty of our world that the Master Creator gave us. My avocation is my vocation and how many can say that! Not a lot are blessed doing what they have a passion for and getting paid to do it!

Like Bonnie K. and many other artists, I too live and paint in the Okanagan. I am a portrait painter and the portraits are of people and 'things'.... (boats, etc.). I find that I mostly have bits and pieces of our 'soft' hills and sparkling lakes, Ponderosa Pines and so on, somewhere in all my outdoor portraits, yet I insist that I am not a painter of 'scenery'. I am at this time immersed in a two year period of paintings for a show that will be coming up in November...... Two years is a long time to keep enthusiasticly painting one theme; luckily it's a theme I'm totally committed to. The title of the show is "Girlfriends"...... The subjects are involved in many occupations with one another...... I believe the show will be popular and a success as it's in aid of my favorite charity "Hospice House Society". I find painting to raise funds for needy causes is very uplifting and very energizing. When I get tired or feel 'painted out'...... I start on the next work and since it's all planned out...... and the photos were all taken months ago, I find that each subject recharges me brilliantly. I do take off now and again for two or three days. Not often and I keep goals ahead of me....... So as not to feel "done in" when this exibition is on display. Right now I have exciting ideas for two new solo shows....... and will go to Vancouver next week to photograph Finn Slough in Richmond ..... for their upcoming 2010 show in March. It'll be boats for me.
Tom Lockhart should count his many blessings and not be a bit concerned re other artists such as myself coming on the scene. We all have 'paid our dues'. I've been painting and teaching for over forty years..... Teaching children since I was a child of eight years, myself. I never am concerned if someone emulates my style..... I am the only "me"........ and if my students can overtake me so quickly, then I must work with more gusto. Time to move onward and upward and improve. In my teaching I have never kept back any secrets re my techniques and am always willing to share. I'm in this art scene for the long run and I'm loving it. Sell or don't sell....... I'm an artist. I don't really care.
P.S. by the way, no I'm not wealthy. I'm a starving artist in my underground garret. Most of my traveling is done in my headspace and my friends are my many subjects.

P.S. again !

I told my doctor that when I retire from being a painter, I'm going to take up medicine !

Perhaps you have forgotten the times you were selling your work and you were happy to sell anything at all. Everyone is at a different level Tom. And everyone gets to try to sell their paintings. I am as overjoyed for myself and my artist friends when they sell whether they have 25 year careers or 6 month careers. The buyer buys what they like, not what you want them to buy. Since they are the ones with the cash, they get to choose! And if what they can afford is a beginning artist, well then, isn't it great that beginner gets that "rush" of a sold painting and a little money for the next painting which he/she hopes will be better yet!

You did not get to 75,000 -100k a year without starting at 0. And your first works are not the ones you are churning out today. There is room for everyone at the table even when the table is hit by a bad economy.

Do remember, all those emotions of feeling cheated, or that the public is stupid, or that anyone should tell the public what to buy, or that somehow someone else's journey hurts yours...all that hits your paintings. And it will show.

Maybe take a breather and get a little grateful? It might make churning into painting again.

Just a thought.

Thank goodness no one gets to "tell" the public what to buy. And thank goodness there really is room for the person who just got back to painting after 20 years in some cubicle along with someone who spent 20 years building a career. One is, in my opinion, not more worthy than the other. All journeys are good ones if you are the one in the journey.

The joy of creating a vision of the landscapes I paint is the great reward of being an artist, yet it is the thrill of sharing that joy with a true collector of original art that carries me through the long slow periods between sales! I refuse to do giclees and discount what I do because I so value the process of creating original pieces. By only creating originals I feel true to myself, and the rest of the tacky world of cheesy cheats be damned! I don't want to see 100 copies of my best paintings hanging on dusty walls where there is no regard for the spriritual aspect of creating art.
I ignore those who denigrate art by recreating it cheaply, as those people are not even on my radar. Call me a snob if you want, but I'm always driven to do a better job of creating something special and unique! Every day is a joy!
Julie Trail, watercolor artist

Learning how to paint is an education in art, always a good, positive and enriching experience for all humans. The more one learns about art, painting, sculpture, etc., the more appreciation one has for a painting done well. As an artist, I often fall in one with other artists' paintings, and there's been many a time at a show that I say "if I sell today, I'm going to buy that one of yours"...with that, I have a wonderful art collection on my walls, and I've never regretted buying any other artists work. People ask me why I don't trade paintings, but that's because I usually fall for work that is different or better than mine. The karma is great; more than once, I have bought another artists work after a day of no sales only to promptly sell one of mine before the show closes. It's all a web of interconnecting reciprocity, and as artists, we of all people must be aware of all the wonderful, simple, human connections we make every day. The public is not so foolish all the time, and quality will win in the end, one way or another. The seniors who take art classes get great joy from the act of creating and increase their appreciation for our work; many do not have the wall space and the budget for collecting our work. It feels pretty good when someone comes up to you and tells you how much they love your work. It's nice when it sells too, but we can't always equate respect with financial success. Making reproductions of one's paintings is time consuming and not always lucrative when everything is added up. Better to just paint more paintings!

Hello E. Garneau,

I never teach unless asked. So it's not sad, but, many of you are right. It's a catch 22, teach and create your competition? Probably, but look back several hundred years. Have you forgotten history? No one did art except by way of the master, the apprentice learned and then went on from there. Today it is different. We don't have to be rich to paint, we are not supported by the aristocracy. It is my purpose to teach correctly, and the best that I can. I am not perfect nor do I have all the answers. I learn everytime I teach. But like to doctors and lawyers that you think I've scorned for entering the art field. They wouldn't expect less from there students, I have many that are encouraged to continue. It's just that everyone wants to be an artist until they realize how difficult and competitive it's become. Lawyers & Doctors don't have artists retiring wanting to be them. Think about it. I teach because people want to learn if they create quality work it will show and people will respond. It's up to us as artists to educate people about our work, style, interest, etc. etc. I never expected to be defending my comments but that's how I feel and I'm done.

Thank you

Liz Reday - I tried to answer your email. I guess your watchdog blocked it. I tried several times. Your not answering tells me you didn't get it.
You need a better system.

I understand PSB, I guess we all do, artist or not. One thing I do is have another project (show) in the making. If you line up several shows, you won't have time to sit and feed your PSB. Try and always work on new work for the next show.
Of course, I've also said there needs to be some down time to recharge the engine. Take that time and either use it to think of new projects or get away from it altogether and go to a museum or read a book or better yet, get to know your significant other again.