Jean Haines

Lifted
Original oil painting  28x22"

by Susan Roux

I'm sure you remember the post I did a short while ago on modern-day pirates where Hugo Diaz Mapi was selling images copied from other artists. This post was carried by several other artists (thank you) in hopes of getting the word out. Copied art is a real problem and unfortunately it strikes many artists. Usually the pirating has been going on long before the artist becomes aware of it.

Artists are kind people as a whole. We move from our soul and we pour ourselves out for all to see. It's a complete exposure and when you come to actually know the artist, you can clearly see them in their work. We're often so involved in our own creative process that imagining other artists aren't moved the same way, seems unfathomable. Why would a creative person be satisfied copying another's work when so many of our own ideas want to explode out of us? Because of this we're probably far more trusting than we ought to be.

 I recently came upon a post by Jean Haines where she's being affected by a copying issue. Her post is very well written and I recommend you take a few minutes to go read it. It's about an encounter with a personal collector. Imagine her surprise meeting him at an opening and the conversation turned to copying! He was very concerned about original art he had purchased from her at a lofty price, that was now being mimicked by another. How original was his painting now?

I'm certain it was an interesting conversation, though not one you're expecting at your art opening.

As the UK artist points out, the problem with copying hurts more than just the artist being copied. Though there may exist an ounce of flattery involved, the effects carry on to representing galleries and buyers. Does this raise the value of your art or is it cheapening it? A good question that I'm not equipped to answer.

What do we do about it?

I've stopped posting high resolution photos of my art. It's too bad to have to resort to these changes, when there are so many artists out there interested in seeing work up close. Sometimes I add detailed clips to offset this, but I know for myself that when I find art I really like, I enjoy scrutinizing every inch of it. For that I apologize. Haines is taking it a few steps further. Her art has been evolving in a new direction and she'll be eliminating images of it altogether. It's really a shame to have to resort to such severe measures.

We spend so much of our art life getting as much exposure as possible. Art inspires people. It can have a very powerful effect on viewers, even to the point of changing someone's life. It's impossible to know how yours has affected others. So how terrible is it that an artist is moved to stop exposing any current work? It really saddens me. I hope I never get to the point where I want to hide my art from the masses. I'm not blaming Jean. As her career escalates, she feels it necessary to protect herself and her buyers.

I don't know what the solution is. Perhaps there really isn't one. Copying an artist's work to understand art with intensions of improvement is one thing. Copying art with intensions of sales is a whole different ball game...

How are you dealing with this problem? How are you protecting yourself from the few unethical ones?

But... what's in a title?

But...

Original oil painting 28x22"

by Susan Roux

This is the final painting I completed while away on my artists retreat. A week has passed since my return and that amazing carefree feeling slips away a bit more each day. Soon I suspect it will be but a memory. As I talk to the other artists who shared this wonderful experience with me, transition back to normal has not been easy.

I hesitated painting this red-skirted female after the thrashing Scarlet the tartlet gave me. Somehow my fears stepped aside because something about her pose sucked me in anyway. I approached her differently. Being keenly aware of the power of red this time around, I began by instantly adding lots of it in my background. I even kept her skin quite red to balance her skirt. Since the focus is directly on her red bottom, the color aided pulling the eye. She actually fell into place easier than I expected. I wonder, did being in the presence of all those other artists give me the nerve to attempt another red skirt? After the last, I didn't think I'd ever paint another one.

What do you think of the title? Is But... too severe? I had quite a few other titles come to mind, but somehow But... stuck. One of my other potential titles was Dry Skirt. Not nearly as catchy. I feel like I need to explain myself. (I'd go swimming) But... (I still have my clothes on). Do you think a potential buyer would cancel the sale because of a title? I wouldn't want to offend anyone. Perhaps they'd see the title as cute and sassy as my sweet model is? I'd love your opinion on this.

Do you have subjects or colors you shy away from because of past difficulties they've given you? It can feel good to face your fear head-on and keep in control to the end. It's very empowering. Why not give it a try?

And I don't want any But's for excuses...

Red Hot

Scarlet

Original oil painting 20x16"

by Susan Roux

Sometimes a painting has a mind of its own. So was the case with this one.

I've been having fun exploring soft colored shadows, especially in white. I'd hoped to paint another similar to my past two. Capturing a soft sexy yet innocent feeling. But this hot ticket would not submit to my desires. Her red skirt caused so many problems! Innocence was the furthest thing this painting was ever going to possess.

It was a frustrating journey as I tried to gain control over the attitude of my young lady. In my attempt I furiously added colors to my background. Layering them over and over each other. It was quite odd looking when I dipped my big brush in red and scribbled it everywhere. I just wanted to calm her flirty skirt! That red just screamed.

I'm not sure how artists like Diane Leonard can continually paint red dresses without getting out of control. I see others who have mastered handling such a powerful color. As for myself, I think I'll stay away from the Valentine hue. I'm far more comfortable with the likes of white...

I exploded verbally as night fell and after toiling all day, she still mocked me. I washed my brushes as she stared down over me. I wanted to pull her off the easel. She made me so mad. Perhaps she reminded me of how some girls made me feel way back in high school. Looking down at me like I didn't belong.

The mind can play crazy games sometimes...

A new day can cast a totally different light. I expected to be upset with my canvas. I pulled her off the easel, placed her in a gold frame and set her in a different light. Backing away, I was surprised to see the background shine and glisten as though it had been gilded. The skirt that screamed so loudly at night, calmed in the shimmering atmosphere. The photo doesn't come close to capturing this effect. As I moved around the room, those endless layers that formed my background were as alive as my hot ticket. She's trying to steal the show, but she exists nicely in her environment. I wish I could show her to you as she really appears.