Hi. Wow. And I thought it was just me stuck this week. It's supposed to be springtime, but it's a whopping 19 degrees f outside right now, not exactly walking weather for me, and so I'll go back in time for a stroll down memory lane - or not! I'm hoping I'll see some of my old stuff in a new way from "today's mind". Or just get off the dime and put on the paint.

I can't believe that comment by Ms Reitz !!!! I'm not poking fun here. How on earth can a painter make such a statement. I don't have time in the day to paint all I want to paint. There is a whole world out there waiting to be interpreted. Start with one object that strikes your fancy and don't try to create a work of genius, just paint it more than once in different light. Paint it until you've said all you want to say, then move to another object. Paint an egg, a tomato, a carrot for crying-out-loud. So much can be learned from this process. You need to re-learn to see life around you again. I believe there is more going on with your life that is interfering with your painting - but to say you don't know what to paint is ridiculous.

Wow! I have just the opposite problem. I am always finding that when I paint something, it leads me to want to explore about a thousand aspects regarding the image. I think I could paint a hundred pictures experimenting with the surface texture of a painting alone. Then there's the fascination with one shape meeting another- sharp edge or soft fuzziness? Don't even get me started on color.

When I feel a blockage in my painting, I look at paintings. I'll start looking through my favorite art magazine, International Artist, for starters. Invariably, I am attracted to paintings there and I will start to feel some excitement begin to build. Painting is about problem solving and as I look and read on, I begin to feel what attracts me to painting in the first place. It is the 'process'! In the end the painter must be excited by the process. Too often artists are really more interested in the trappings of the artist game....sales, ego nourishment, socializing with other artists etc. These trappings will never sustain interest over the long haul. Other tricks that might stimulate creativity for me would be to switch or mix mediums or subject matter. In the end, you need to push on and fight through these frustrating periods in order to get back into a productive mode. There is no easy way out. All artists must face this challenge over and over again.

I think an artist who finds themselves in a rut or running out of ideas can break out of it by getting exposure to new experiences, things they may never have thought of before, and things that have nothing to do with painting: go to the ballet, visit a factory, watch a wrestling match, hang out in a small town diner, go to a fishing port, ride a tractor, climb a mountain.... These things have been known to inspire many artists of the past and caused them to create their greatest work. I expect that something in having new experiences will light a spark and the artist who "can't decide what to paint" will find a whole new stream of creativity that must be expressed.

Diane should have my problem. Over the many years of working in several mediums I have found too many subjects, too many avenues I want to explore, too little time and maybe ability to capture all the images that are going around in my mind. While working on one piece (textile art is often very slow) a whole series can be developed and I can see it in my mind. Often I have spent so much time seeing this series that I do not need to create it. Thinking of images/subjects and ideas, writing them on scraps of paper, and then finding them, long after the fact, is another area of found challenges. Deciding what to paint is not a problem, but getting into the swing of it often is. All I have to do, then, is go to a museum or pick up an art book or magazine and the need to paint, stitch and develop an idea rushes back.

I enjoyed your comments on overcoming the lack of new ideas and would like to offer this suggestion to other artists. We've had a long winter here in North East Washington State and I am tired of working in the studio, but the fussy spring weather has kept me indoors. Just when I think I will venture outside, it starts to snow, hail or blow a cold wind from the northwest. I was tiring of painting from photos and sketches and couldn't think about doing another painting involving snow! When I was in dire need of inspiration and the refreshing but frigid walk did not work; I received an email containing an article about a woman named Debbie Tenzer, who started a website called: www.doonenicething.com . If you go to the site and click on Cards you will come to Operation Feel Better which is a program to send get well cards to kids in hospital. Hey, I thought, I can do that and it would be a great way to try out new techniques as well as cheering someone up. So now when I have a lull in creativity or am waiting for paint to dry, I whip out a blank card and dash off a tiny, fun painting to send on. I would encourage other artists to do the same, it has given me new ideas and makes one feel just darn good. The address to send the cards to is on their website. Please pass this information on to anyone who might be interested.

I have found at various times when I have hit a "block" ( brick wall) that changing my medium helps a lot. I get so involved with the fresh application of paint...even if it is re-doing a past painting that was successful with the old medium. Also, switching from brushes to palette knives is a good change. At least it keeps the creativity going. It is fun to experiment and see where a new path will take you. Actually, it is not what you paint but HOW you paint it that is important.

A group of painters were asked to come and paint at our new community college campus. Everything about the landscape was very new, very manicured, and newly planted. The biggest challenge was subject matter. When the group first got there it seemed that there was nothing to paint, but as each artist took time to soak up the surroundings they each found a point of view worth painting. Funny how no matter where you stand, your point of view can supply countless opportunities.

For me, it is no longer "how to paint" but "WHAT to paint" that keeps me awake nights. Last month I got the idea that I should set portraiture aside and do some little still life - endless variations on a narrow theme. Limited choice makes it more fun and creative for me. It gives me endless possibilities of "what" to paint. Also, I've become hooked on blogging. After sitting in my studio watching paint dry throughout this long cold winter, I "discovered" how to blog. Although nobody knows that I'm there, it satisfies my nearly overwhelming need to talk about art & teach. Surely painting can be the loneliest profession.

I laughed uproariously when I read your comment "maybe you know too much". I just can't imagine knowing too much- well maybe in a couple hundred lifetimes- that is whether I remember. <Grin>

Seriously, my BA in drawing and painting just opened the door to possibilities. The degree was only the appetizer to a joyous life of painting. After 22 years, I'm still working on the entree. Dessert may never come as I am thoroughly enjoying the meal.

When I get stalled (not that it happens often) I do something different like sew and paint on tyvek, then melt it into a thoroughly abstract piece of work. Make stamps out of various materials and stamp on fabric or make tyvek beads. Sometimes I make a collage with old fabric patterns and acrylics. My advice is know when you are in a rut, do something different to spark your creativity.

I'll never forget what one of my art professors told me when I was in a rut. "Get a stick and draw with it". He handed me one of his - just happened to have it, he replied. So I dipped it in ink and had at it. It was fun and a mind-opening way to further creations.

And, it still works!

What to paint... what even to do... I haven't painted much. Been busy levitating various projects where I live as far as I can reach. So here I am in Mexico, wondering at times, what am I doing and not failing to notice the beauty everywhere. What I have been doing insidiously comes with me to the limits available. This trip I have Photoshop installed and a wireless connection. Making advances.

Last visit here to a Mexican home I spent some weeks slowly painting flowers on a wall at the entrance to the gardens. Slow going but thoroughly enjoyable. Nothing to bring the house down but passersby sometimes were drawn in!

This visit I began to use photos from the last visit and this one to cut and paste via Photoshop on the adobe walls here in the Pueblo where I am.

...and as soon as I begin to do that the tide begins to swell with good electricity and I know this will be another good one.

Seize the day, relax into it... love the ones you're with with what you are good at.

After one of the worst artist blocks I ever had, lasting for almost a year, my Muse came to me in a dream (as a coyote) and told me to "sleep on my hands". The next night I slept on my hands and the next day the block was completely gone and I went into the studio and just couldn't stop making art. Ever since then I have totally believed in and trusted my Muse.
To access my Muse, I have to allow my mind to become completely still. As Eckhart Tolle says, "True creativity flows only from stillness. When stillness becomes conscious, the spiritual dimension enters your life and you begin to be guided by an intelligence far greater than the human mind."
I'm not too good at meditating and I find that taking a walk helps me to find this stillness and to get in touch with my Muse. As I walk, I practice "exquisite noticing", really seeing what is there, and exercise my sense of wonder. I talk with/ to my Muse as we walk together, She gives me guidance and inspiration for the art that I want to create and sometimes if I'm stuck, I ask her to show me an image that closely represents the essence of what I want to express. I find that her advice and this image may appear any time during my walk or it may come later. I just relax and make no attempt to control what unfolds, I just let everything develop in its own way. I continue to remain in a receptive state after I return to the studio, take care of other tasks, and remain relaxed and open.
She has never failed to inspire me but sometimes it takes a little longer as it has to penetrate all the layers of gunk that can build up on my "doors of perception." I find that taking the time to commune with my Muse regularly, helps to keep them clean and helps me to stay in the creative flow.

To those who wonder what to paint, I would like to add that finding out what is wanted in helping others, in this troubled world, I have found a rewarding exercise in the use of my talent.

I have found that while sketches and idea journals are very beneficial, sometimes an artist needs a 'head piece.' This is a piece that is done for no reason, with no intended end or result. It is purely and simply whatever wants to come out. No planning or preconcieved notions about what is going to be done. No expectations of a beautiful piece, or a new innovation. No worries, stress, or contemplation about it. It is just for the head. Let the whole body get involved if it wants to. The wrists, the elbows, the calves, the quads, the spine. Let the expression be a dance of sorts that stimulates and releases any hindrances. Sometimes drawing or painting with your non dominant hand can stimulate the brain, and make the ease of sketching with your dominant hand much easier. I have also found that the preparation process can be quite fruitful by way of manifesting ideas. Build a wood panel by hand, glue it, sand it, gesso it, and take great care in craftsmanship. By the time the lengthy, and satisfying process is done with, the mind should be more relaxed and prepared to address the subject.

I have never had troubles finding subjects to paint. In fact, I have many of them that have no time to paint them all. The reason is almost that everything I see, my brain turns it to a painting. My problems is to create a new composition for each away from merely copying a photograph. To get inspiration, I have to live the subject and not to worry about time or speed the finishing part. Quality comes before quantity and meaningful subject is before just painting a painting and add to my studio.

I love to paint, one the the reasons being that I paint what I love -- for me, it's as simple as that. Carl Jung said ... "the creative mind plays with the objects it loves" ... that thought has always resonated for me.

A lot of artists get so caught up in the mechanics of things, they forget to just look at the world around them. And the "knowing too much" bit was hilarious.

I am insulted at your suggestion that having a degree in Art somehow handicaps a person (artist) ...by that insinuation someone with an MFA must be paralyzed... Ignorance and artists' blocks abound in the self educated as well as the "educated" but apparently you have a prejudice...

Little "flashes" of image ideas pop up in my head frequently. Wherever I am, whatever I'm doing, I quickly scribble these ideas onto a scrap of paper, then throw them into my "Idea Box" when I return to the studio. These little "Sparks of Spontaneity" will stay preserved until I sift through them later. Picking up a few of them at random, one of them is bound to give that little jolt of enthusiasm I'm looking for. And that's enough motivation to get started.

Taking a workshop is a great way of rekindling the creative fires. No matter what your credentials are, you can always learn something new. Just emmersing yourself in a group of artists for a few days is an inspiring experience, especially if you are experimenting with a new medium or genre. At a workshop, nobody expects you to create a masterpiece, although occasionally it does happen!

Creating art is such a freeing experience. When completing a painting or a series I love the realization that I have a clean slate, I can create anything I want. This is my favourite stage of the process. Shall I continue in the direction of my recent work? Maybe I will, or perhaps I'll be affected by music, the children playing across the street, a book I'm reading or the daily news. If you are blocked remember that you are gifted to bless others with your art. The rest of humankind actually need to see what your next piece is. So, get to it, Diane. We are all waiting.

I have people that want me to paint the same thing over and over again, but I don't want to paint the same thing over and over again, but, maybe I can paint the same thing, just in a different way.

After painting for over 25 years now, I feel like I'm just starting to explore painting. However, now I seem to require the subject to move me more now & I ask the question early on, "what do I want to say here". I'm challenged to paint a mood or light condition I haven't done before, to push myself out of my comfort zone, rather than just recording an object. As a representational painter, with a background in commercial art, I am constantly fighting the temptation to render the "life" out of a subject. So, I'm concerned now with what I say, but also how to say it.

I enjoy different styles, different techniques, and different subjects. The thrill of painting representational, traditional, impressionistic or abstract is a planned process... I also have four rules I apply to my paintings:

1) Do something un-expected
2) Value is more important than color
3) Eliminate! Eliminate! Eliminate!
4) Quit, when you are three-quarters done.

To add to Diane Reitz's comments about what to paint, I guess we all have additional questions about: (1) Should I paint to sell or paint to satisfy my own self imposed challenges? (2) Am I being influenced by observing someone else's work? and (3) If anyone else can paint this subject, is there a need to create another work like it? I know that these topics have been covered in past Twice Weekly Letters, but the concerns are ever present.
Recently I have started attending some group sessions on life drawing and portraiture and it does help to associate with other artists and practice some quick gesture drawings. It's a nice change of scene and seems to create a new spark of interest.

Tell Diane to put out the opposite hand from the one she paints with, and do a self-portrait of her hand! We always have our hands with us, and since they can be difficult to paint, anyone can use practice. They can be placed in innumerable positions and one need never be bored. Wasn't it you that said, "Just begin...?" Smiles!

Using previous paintings as reference works like a charm when in need of and idea. There is always room for improvement and investigation. Starting from an existing painting, one can explore the possibilities of a different palette, drawing the thing in black and white, painting its reflection in a mirror, upside down, going more and more abstract, changing the cropping, altering the emphasis of certain elements in the painting, using a different size brush, technique, medium, support, size or proportions. Some wonderful surprises may come of it and new ideas may emerge out of the process. At least, this can do till the "REAL" thing comes along.

"What do I want to see?" This question became imperative for me after an intense experience I had in a painting class taught by Tom Wudl at the College of Creative Studies at UCSB in Santa Barbara, California. After several years of raising a family and helping to run a business, I had reentered the world of art, taking classes, studying with various mentors, traveling to see art. I was crammed full of so many images of "art" that I was blocked into a real corner of total confusion. Tom's class was an open one and the 12 of us were each painting in our own direction and style. My (unfortunate) project was basically copying a Corot painting I liked in a book. We had our first critique, and after many wise words and encouragement for the other students, Tom finally directed his attention on me. He became all fired up and started pacing about, waving his arms. "What am I going to do with you? Every now and then I get a student who is so f____ing afraid of her own power!!!" He went on: "You have a BIG vision. You should be working on big canvases." I was absolutely shocked, extremely embarrassed and uncomfortable. In my whole life I can't remember anyone ever shouting at me like that. I mumbled that I did have a big canvas at home, and he said "So go and get it NOW." I borrowed my friend's van and drove back to town, put the canvas in the van, and began the drive back to the university. By then I was in tears, and I asked myself: "WHAT am I going to paint? What do I want to see?" And as I drove along the freeway, in the back of my mind upon the inward eye I started to see an image. I saw what looked like trees, with light behind them coming through the leaves and trunks. When I got back to the class, I put the canvas on the easel and immediately began to develop this image. After awhile, Tom came around to where I was working and said, "That's better!" I count Tom as one of the best teachers I've ever had, and am continually grateful for his help in yanking away the blocks in front of my vision.

I was so excited to see this post. It wasn't even the "what to paint" question that interested me -- it was the "knowing too much".

I have been working on a presentation around the concept of the benefits of knowing less. I recently learned of a zen meditation concept called "Shoshin" - or "Beginner's Mind", which sums up the situation beautifully. The saying goes: "In the beginner’s mind there are many possibilities, in the expert’s mind there are few."

Forget what you know, and leave your preconceived notions behind. Let curiosity be your guide and discover the world with new eyes.

I get a creative idea. I share it with another artist, it becomes twenty ideas, I share it with a few more and it becomes a wildly unattainable project. Then I tackle a small part. Or another artist shares an idea with me and ...

Regarding the diminished value of art on paper vs. art on canvas (Apr. 4), this may also be due to the fact that art on paper is perceived as being less permanent: in the past, if an artist wanted to leave a permanent record, the work would be done in oils on canvas, preparatory work or studies likely on paper. In today's world, with new media, methods and techniques, permanence may be less of an issue. In our increasingly "throwaway" society, permanence itself may lose its cachet, but we'll probably have to wait 100 years to see if this transpires. In the meantime, yes, let's celebrate joy, achievement and excellence in all that we do.

I am intrigued at how many times the same themes come up, when it comes to being "stuck" as to what to paint! Go for a walk, clean the studio, and paint an abstract, getting out of the comfort zone, perhaps. Great suggestions, all.

Two more things:

1) I have a BFA, and I can tell you I know too little. But then again I have learned that to know what and when I don't know--which is a lot of the time.

2) Marcel Proust said it perfectly, "The real voyage of discovery consists not in seeking new landscapes, but in having new eyes."

I am amazed by the number of readers who rushed to judge Ms. Reitz without regard to what she actually wrote. She said only that she can't decide what to paint. That might mean she doesn't have enough ideas. It could also mean she has too many.

I have to agree with Clare - I have many, many ideas, but sometimes I still can't decide what to paint.

For me, because I prefer to do detailed realistic images, it is often because I'm afraid my passion for the subject will fade before I can get the painting finished.

That's when I know I need to lighten up, and just "play" - as many above have said - not all paintings need to be masterpieces.

The World is not too rich for high art masterpieces. So any additional copy of famous painter masterpiece is great business for future generations. Except, the good copy has good price. It is not worthy to do if only artist says himself: "I am not artist while, I am not able to copy Ayvazovsky, Zurbaran and Buguero".

It could be Diane, that your own state of mind is allowing the 'empty canvas' to reflect back all your previous ideas and work, resulting in your feeling trapped, robbing you of the confidence to make any decision. Instead of 'losing' concentration, you need to 'let loose' your concentration - let your mind play!

My advice would be to give up all those commitments that make life too hectic. Up until a year ago I had trouble deciding what to paint or create as I am a textile artist first, and most of my efforts were rewarded with uninteresting (to me) or a look of being 'forced'. Since then I've been invited to exhibit in an art space in my hometown and in my efforts towards achieving this, I've given up the commitments I had, such as membership of committees, etc. I freed up my time so that I could spend it instead on perusing galleries, books, photographs, walk in the forest with my friends, or just have an afternoon siesta! All good for rejuvenating oneself!

Paint what you love! I go out to the beach and many paintings unfold before me. Friends send me pictures of their granchildren, children, dogs, even birds, and the paintings emerge.

I find that when I get a "block," sometimes it is good to go back to the good ol' basics....contour drawings, value drawings, good ol' black and white drawings...my favorite tool being pencil. It keeps you "moving" and I find that a lot of times with pencil , I slip into the realistic representation of what I am doing and makes me feel like 'hey, I can draw!'

I think a good way to call up the next one is to follow the advice of the last one. While painting, see what it is your eyes and brush are learning. Understand the direction your work is going. There is a natural progression. Ask yourself questions about why a certain thing looks the way it does. Relate the things you see to the basic tenants of shape, light, atmosphere. In answering these questions you realize where you can explore a subject further. Don't think of the present work as The One. Think of it as a study, an exploration, a lesson. Taking the pressure off yourself with regards to what importance the piece will have will liberate your mind to go where it will. If you are stuck at a certain size, change it. Go BIG.....go tiny. Variety, and forcing yourself to think in different boundaries will energize your idea stores. What makes you happy? Excited? Sad? Paint it. Go out for a day and take pictures. With digital media you can take as many as you want. Crop the photos. Find design. See patterns. Breathe. Paint. Grow.

Good advice and it might include attending a one or two day experimental workshop in a different medium. A workshop in a different medium can be fun and might relieve some of the pressure of "what to paint." Put the onus on the instructor.

I started out as a copier of famous paintings on the sidewalk in Spain, mainly to survive as an American in Europe, but then I discovered how inspiring copying was for me and also that´s how I LEARNED HOW TO PAINT (after years of doing it)...Now I do alot of original things but whenever I run out of new ideas I just copy one of my favorite painters again...it works, it keeps me painting, learning, until the next new original idea hits, which it always eventually does.

Pick something, like a pear. Then paint pears. Pretty soon you will either enjoy it or you will think of something else to paint!!! If there's more than one thing that comes to mind, make a list. Enjoy.

It is said that no matter what we paint, we paint ourselves. My painting dwindles in times of personal crisis from whatever reason. If I am blocked with my art, that is always just a symptom of something else, unrelated to art, that requires attention. As an artist I take refuse in my art, but that something else keeps knocking on my shoulder and saying - you have to take care of me first before I let you paint!

Whenever I can't think of anything to paint, I merely need to hang onto a few books--sometimes only one. These are picture books of artists I love and admire. Just holding onto them helps me to feel the weight and integrity of artistic history, and the triumph of creativity over dullness, and I am soon able to think of something I want to do.

Looking back, Bachelor of Fine Arts (BFA) gave me mostly an understanding of what was acceptable as art and what was not. I realize these attitudes and opinions were fashions of the times (90s) and since I'm now on my own and successful at what I do I'm not quite so rigid.

I know I was totally turned on by the wide ranging knowledge of my instructors, both conservative and liberal, and feel I was well prepared to be informed and literate about art. While I do not practice art for a living, I feel I was deeply enriched and stimulated by my three happy years of art college.

All the letters and comments are very interesting. As a fairly new, elderly, person who loves painting...my problem is a "block" in understanding perspective...one does need buildings to look believable. Also, dealing with unending illness in the family seems to put a damper on ideas. Any good ideas on the perspective block? thanks.

Marylyn - Without seeing how you paint and what level you are, my response to your query is "who says you have to put perspective into your work. You might see things differently if you let your imagination soar. There are countless books on perspective but you need to learn to trust your instincts first and let that guide you. If you are a realist, then perspective is important but being a "new" painter, paint your vision and see what happens and let perspective come later. Perspective didn't trouble Picasso or Miro or Brack or many other wonderful painters.
Trust yourself and paint what "YOU" see in your minds eye and let perspective be d--ned. Good luck

I often work in series, that is I paint the same subject 5-7 times. That way I always have some sujbect to paint. The artist Hunt Slonem will paint something fifty times. Just a thought.

What a shame! If persons have to ask what to paint, it's time to quit, and go on to doing something else - knit etc. Have drawers full and cabinet full of ideas - will never get it all done in my lifetime! So don't ask - just do or give up! We all have days where we don't feel like it - but then there are other jobs need doing etc. Martha.