Add to the list: change formats. Try working different sizes and dimensions; tall and narrow, wide, square...anything but the usual. Compose within in a new shape to start up creative thinking.

I wonder if this 'sterility' or artist's block is actually just another word for procrastination (at which I seem to have become something of an expert of late). Yes I know I should be trying all Robert's useful suggestions - indeed have made a list of them already, along with lists of subject matter to have a go at, lists of canvas sizes in stock, lists of paint in stock, lists of frames to re-use - the lists are endless! I've even invested in untried materials and supports, but I just can't get started on anything new or different and instead end up taking the easy option of doing the tried and tested saleable old style. I don't know whether this is credit crunch syndrome or simply lack of self-confidence, but either way it leads to nothing but frustration.

Sterility is a new word to me, but I know I have it. I'm totally different at work shops and classes. People call me prolific. I think it is because of the competition, I want my teachers to be impressed and they are. That does not help me at home though.

Back in the late 40s and early 50s my high school art teacher in Kansas City, Mo. (Miss Flora Wright and I'd hug her now if I could) would not tolerate just sitting around wondering what to do. She'd stay on your case to get moving. If nothing good enough was in your head, get moving anyway.
Actually it works. For all of the decades since, when I move first things begin to come. There's nothing better than a wise teacher!

I think that is a universal truth, Dwight, just get moving. From ancient eastern religion, to modern self-help books, to the "just do it" of Nike commercials, you first get moving. I would add to that, the thing that keeps me moving is to suspend judgement (this one takes practice!) as you work. Don't allow your inner voice to be saying that this looks like crap! Some of it will, but still the seeds of something superb will be germinating in there somewhere.

Picasso's genius comes in his changing medium every day. Everything he touched became art, even his food. He was known to take the bones of his fish lunch and press it into clay to create work. Later he'd fire it, paint it and shazam! ART!
I find when things are going too well for a long period is when the danger of becoming stale emerges. That's true with me. You've hit a stride and everything is flowing. This is exactly when you should think of changing medium or subject.
With the economy in shambles and people looking for affordable art, I've changed my size to smaller works also if you've been noticing art is becoming more traditional and less expressive. Here again I have tightened up and added more finish to my work so those with no art understanding can understand it. Also it gives the work a quality people are looking for.
I did an outdoor show where I always sell something. Well, this time nothing sold, so that has to tell me something. This is a perfect opportunity to try and evolve "again". Artists need to always look ahead. I know art for art's sake, but we all need to make a living. If I have to sell smaller works in lieu of one large piece, so be it. I still do my larger pieces for when the economy becomes livelier.
If you become sterile, look to the masters, make copies (for yourself) re-invent the wheel. Paint things you would never consider paintable. If you try even a little you will be fertile again.

And go through your old sketchbooks. [you do keep them don't you?] Old ideas that have been discarded or unused can be reworked into new inspiration.

I wanted to share an experience that applies here. In a nutshell, I went to an exhibit of an artist friend; my wife invited her co-worker and boy friend to join us. After meeting him for the first time I mentioned to him that he should sit for me because he had a unique face. Strong, chiseled. Two weeks later he called about sitting, we set a time and date, he came to the studio, twice, and the result is spectacular if I have to say so myself. I found out he is a boxer, so I added gloves to his portrait and the painting is done. I asked him to sit again this time in a boxing pose.

The point here is this, be open to new ideas and circumstances and prevent artist sterility. This is a whole new area of subject for me. It also fits with my going back to basics with my figure studies while the economy is slow. Working with a physically fit boxer will improve my anatomy skills. We have to be open to situations when they arise and run with it. In this way we will never get stale.

The answer to sterility or in my book “ennuyer a mourier”, for me has been Change and Exploration. In art school facing a dry spell, my teacher told me to go home and do forty drawings and show them to no one. The idea was to explore new concepts with no feedback from others…to become self reliant in discovering new directions. This lesson has served me well because it seems that sometimes life can force that Change and Exploration.

Several years ago, a skiing accident damaged my right shoulder. As time passed the shoulder and the entire right arm got much much worse. The pain was intolerable. Finally an MRI confirmed that my rotator cuff in my right arm was completely torn off and now was beyond repair. I was not ever going to improve. My ceramics sculpture practice became a daily torture and lifting one of my heavy pieces out of the kiln virtually impossible. What a disaster!

So, with the basic need to keep making art...I get real cranky if I abstain for too long...I adopted the first of your suggestion. .I changed medium. Painting had been a life long adventure before being seduced by ceramics in art school. But before too long, I found that holding my arm up with a brush in hand for hours was now far too painful.

The next of your suggestions came into play. I mixed my media. I discovered painting in encaustic. I traveled almost weekly to study a term with the venerable encaustic artist Hamid Zarvi of the Seattle Fine Arts Academy and I am acquainted with several artists who work both in ceramics and encaustic. Encouraged, I ventured forth.

As a medium, I found the hot wax and oils to be somewhere in that mystifying place between ceramics and oil paint. It is at once process, texture, imagery and above all colour. Opaque, translucent, transparent, shifting, difficult colour.…my favourites. Old tools are now used in a different way. My ceramic tools have become the very thing to work with wax and some of the practices such as scrafitto, underpainting, layering, stenciling and glazing are similar. Most of all, painting in encaustic is done pretty much on a flat easel and my shoulder works just fine. Halleluya!

Next, the work environment needed re-arranging. I have not really given up clay, but have reduced the size, numbers of pieces and certain processes. So I needed to accommodate a working area for both media. My studio became better organized and repositioning of my industrial strength fan made it much healthier. I cleaned my studio and lead glazes, barium, lithium and uranium, once a mainstay of my glaze making were banished to comply with health standards. My glazes are environmentally sound and I am working on introducing wax to ceramics.

Exercise the body? Whew! Jump around a lot? No kidding.

Now, I search out other artists working in encaustic. A shift in perspective has come into play. My three dimensional eye still calls up textures, movement and imagery and of course colour dominates as usual. The work is different to be sure but I regard that as a good thing. I love it and look forward to new ideas and the pursuit of art happiness daily.

For an ancient medium, encaustic sure has become a new and fascinating adventure. Sterility? Banished. Change? I thoroughly recommend it.

Katherine McLean Studio
http://www.katherinemclean.com/

Robert....What a great subject to discuss. Sterility haunts us all and is usually accompanied by fear. I am an abstract painter and love what I do. However there are times I stand before the canvas and wait for the muse to come. When several days pass and she is requiring me to be patient I start asking questions about my art and how I paint. Is it deep enough, does it have its own voice....what else could I say if I were open to something new?

Last summer my beloved German Shepherd, Annie, died. She, like all our dogs are personal gifts from the gods. They love and cherish us without question. Since we were so close I wanted to do something special to honor her. Having never painted a dog I decided to give it a try only to discover my hands and mind worked together to capture the heart. After painting Annie I decided to go to the local Humane Society and photograph the shelter dogs. The idea of doing a series of shelter dogs excited me as this was a whole new world. My mind had to think different, my brushes were forced to apply paint in a different way. There was a soul waiting for the paint to share.

The dogs actually seemed to enjoy having their photograph taken. After all, they each had a story to tell. I did a series of shelter dogs that literally painted themselves.

This experience expanded not only my ability to paint, but allowed me to see in a different manner. It put a zest in my step and opened the door to a new world of possibilities. I thank the dogs everyday for their gift. It is only when we are open to try new subjects, new mediums, new ideas that we grow as an artist. When we decide to accept this challenge of an unknown journey we also need to embrace the word..."failure". It is only through failure that we are able to step into a new psyche that screams "artistic success".

I am an artist that paints every day, with a 8-5 working time for my love. But the ideas you share have some good to be taken. With that in mind I am today going out on a ''Walk about'' with my water colour kit and do some different scenes. I am normally an Oil Painter, painting entirely with palette knives. So this morning's journey will bring me back to another time (when I was an ''illust'rator'' when I used brushes a lot more.

Perhaps there are lapses when our muse may not inspire us at the time. We take a pause from our painting and take walks or observe children and adults as they play or involve in any activity may stimulate us to new ideas or just observe our surroundings an old broken down barn or animals in the pasture. People with pets or just any old objects in our own home environment may generate ideas for our subject. I have a lot of ideas in my mind just thinking how to compose them is a challenge. I think that would at least stop us from being sterile. Take interest at even the most mundane things around us they may even excite to creativity.

Hi Robert...
Ecclesiastes 7:5 says "Better to be criticised by a wise man than praised by a fool" So maybe nothing has ever changed!

So many inspired people, and inspiring ideas! Bless you all for your insights shared through this wonderful newsletter. All the best to everyone, struggling or otherwise!

Thank you, Robert, and all the artists that contributed today. I really needed to hear all of it. I will now go into my "Lonesome" (for me) studio and stir up some mischief!

One of my favourite ways of beating the sterility blahs is reading these bi-weekly letters. I also comb through the illustrations that accompany responses, and copy my favourites to my computer, utilizing the images as shifting screen savers to remind me of what is REALLY important. Beauty is everywhere in creation, and can even enhance a computer!!

This letter/forum has done so much for me in inspiring creativity, and Robert is so right in saying that it's an inside job. No class or workshop can tell you how to reach down inside yourself for that wellspring of ideas- that will only happen if you're already standing at your easel, scraping up old paint, squeezing out interesting colors, noticing different combinations and textures on an old used paint rag or exposing yourself to that barrage of sensory information that we call modern life. The teachers and the classes are there to get us started or give us and idea of how others go about making art, it's not about being the best painter in the class or critiques, or being on first name basis with a famous artist. Sure, shows and receptions are good occasionally to get out of your studio, but I've seen a distressing preponderance of people totally dependent on the workshop, art class and art club activities to the detriment of getting back into that studio alone to "listen to the sounds around me". Tolle is great, he really gets to the meat of art, creation and being the conduit of the divine.

What has motivated me all these years was the movement of many artists away from realism and into creating totally unique to the individual - never seen before abstract work - work that can have all the qualities of good design, exquisite color interaction & interesting technique (not just painting) but in all art forms. And artists I've most admired over the years have had an ability to express something new. But we live in a world where folks will tell you it's all been done before. I disagree. While I am a fiber artist and love great fiber work that pushes the boundaries of everything - most fiber artists don't push any boundaries at all. This may actually apply to most painters too - but I don't know that. You can all ask yourselves whether or not your work is in fact unlike any work that has come before you. My opinion is that most work isn't unique. Yet my understanding of what constitutes a truly great artist - a MASTER - if you will- is that quality of uniqueness.

I'm self-taught. At this point in my life I'm very proud of that fact. Early on I read available public library books. I finally - from the 8th grade - had public school art instruction. But my best teacher in high school saw that I was both self-motivated (already) and working in a media that he had little connection to - and he supported me by letting me pursue what I was interested in - not by forcing me to do what everybody else was doing. I then made it through one year of college - which was all my finances would allow - having little to no familial support - and 10 years of non-stop public abuse because I'm gay. What I learned in college was to not pursue art. And I wouldn't actually discover just how destroyed my self-esteem was for 20 more years. One gets up in the morning and does one's best to hide the despair and depression to prove to one's self there's a reason to continue to live. Healing that inner blackness took a bit of work- work I'm also very proud of having been able to do. Of course - it turned me into a person who challenges bulls**t the instant I see it - but oh well.

So - Robert says - go to your room. Go to your room and create. Go to your room and make art. BY YOURSELF. Art that is unique to you. But society says - take another workshop - at least if your finances will allow it. Mine won't. Take another workshop so you can have a fun time with your hobby and make new friends and share and play with each other because making art is in fact all about your community experience - right? I hate to say this - but this is mainly a female perception of things - where it's all about community and sharing. And of course - making art is about all the beautiful places you get to visit while taking workshops - right? And art making is of course - all about your new toys - because you're still in grade school - right? Wrong. People who do little but attend workshops never make any work that isn't derivative of their teachers. But the teachers are making a living off intermediate artists - so I guess there's that. But when - oh when - do you graduate? And go to your room and create unique work? Oh that's right - HARDLY EVER. It's too much work to think for yourself and actually have an original thought.

I know there's been a substantial discussion on here recently - thanks to a gentleman named Tom - about hobbyists & middle-aged empty -nesters & retired folks and artist wannabees who start out late in life. Some of us were not afforded that reality. The need to create was too strong and along the way we gave things up in order to continue - instead of having some non-art-related job or spouse support us. And often that road was filled with darkness. Some of us - a very few - found our way out onto the other side of that darkness - and we persevered - and still - we gave more things up in order to continue. And that reality is what informs my art - not some silly workshop I've taken to learn a new technique - and another - and another - until I have all the techniques available to the entire world - but still can't paint myself out of a unoriginal bag.

And truly- that reality never even touches upon the idea of MASTERING what you're doing. Until you stop taking classes from everybody else - you will never get anywhere near mastery. Until you stop looking outside yourself for the answers - you will never become a master. I'm a person pursuing originality and excellence - and I'm degraded for being arrogant because I am in fact very good at creating something ORIGINAL.

Here's a book by Sir Ken Robinson (see The Painter's Post note) that comes to mind: Out of Our Minds: Learning to be Creative