Robert Genn was a prolific artist and mentor to thousands through his twice weekly “Painter’s Keys” newsletter. His daughter, Sara, a wonderful artist in her own right, has continued putting out the newsletter, since Robert’s death. She takes turns, offering her own insights and advice one day, publishing one of her father’s essays the next. Readers – artists working in locations all over the world and in all different media – discuss, in comments, the topic at hand. I value the connection. It has been a way for me, from this remote location, to get a sense of what is going on elsewhere, in the world of art.
Over the years, Genn gave advice on starting and finishing work, approaching galleries and pricing. One suggestion that has stayed with me is that one shouldn’t talk too long or too much about work that is still in the embryonic stages. Ideas need to be guarded and treated tenderly. A lack of enthusiasm in a response to sharing or – worse – a negative viewpoint can destroy a vision before it has a chance. Sometimes just the act of talking about an idea takes the energy away from it. With that in mind, I am cautious, usually, about talking about future work.
I have plans, though. In this last, dry year, with little time for making art, my mind has still been working. I have several large collage paintings in various stages of completion. The imagery still holds excitement and validity for me; I plan to finish them. Likewise, I have several collagraphs that have been waiting for final touches. I have a coupe large drawings to finish, and a few dozen clay bowls to fire. That would complete the work that is underway.
As for new work, I’ve been intrigued by encaustic painting since I studied the work of Jasper Johns. I have wanted to try it for years. It is a method that fits nicely with the collage/paint/aged surface way that I work. This year, I read three technical books on the encaustic process. I purchased multiple support boards in two sizes, tools, equipment and materials. In the next year, I will do some encaustic painting. In fact, with the idea that I have to leave room for learning, experimentation and mistakes, I plan to do a lot of work in encaustic next year.
There are more things that interest me, ideas I’d like to flesh out and materials I’d like to try…but that’s enough for now.