Bill Suys OPA

You’ve spent your life hoping to learn the “secret” to becoming a better artist – while being told there are no secrets. Maybe there aren’t any magic tricks, but I have come to believe there are two “KEYS” that can help you open the doors leading down that secret hallway. These two keys are separate but complementary, and you will more fully appreciate their importance as your ability grows. Together they can drive you as far as your desire to become a better artist will allow.

In this essay, I’ll share the two Keys, and briefly touch upon their breadth and depth. The first is: “AWARENESS”, and the second is “PREPARATION”. Awareness comes from truly paying attention to the physical, intellectual and emotional aspects of Art, while Preparation will provide you with the tools to express the depth of your awareness.

We all begin with a very basic level of Awareness. Our understanding of the physical world is akin to a child’s vocabulary; we can describe the basics, but it takes years of study and growth to become eloquent. When Louis Armstrong says he sees “skies of blue and clouds of white,” you know through experienced observation how much more there is to “see” in those skies, and if you’re honest with yourself you know there is also so much more in terms of breadth and depth that is beyond your grasp, regardless of your current level of accomplishment. With each passing day, you can become more sensitized to the endless subtleties that add to the beauty and meaning of all you see and subsequently what you create.

Over and above physical observation, as you develop as an artist it is important that your work become infused with what you think and feel. The deeper your intellect and the stronger your feelings grow, the more your work can reflect your personality and soul. This depth can come from an endless variety of sources, and is in part a natural outgrowth of your maturity. When I was traveling the world to curate a collection of art, it became clear that there were a number of young artists who had great talent, but the profound effect of life creates a patina that adds richness to a mature artist’s work. Our lives are filled with emotional and intellectual stimuli. Some artists naturally soak it all in and let it influence their work immediately, while others carefully observe and slowly massage their response into their creative output. I am conscientiously infusing more of myself as I define my intent for each piece, whether it be en plein air or in the studio.

Building artistic awareness is a continual endeavor. Sometimes awareness comes from internal exploration, other times from external forces. One path is studying the work of other artists. Though seeking a style might be a superficial pursuit, it is helpful to pay attention to your reaction to existing work. While some pieces may do nothing for you (learn why!), other work may really “float your boat” on an intellectual or emotional level, and it is helpful to be “aware” of the elements you can incorporate into your efforts over the days and years to come. When I teach a workshop, the theme may be focused on portraits or animals, but I’m always infusing my personal instruction with elements affected by what I’ve begun to understand along with thoughts that can affect how a student approaches their future study.

The exploration of Awareness is endlessly intriguing, but expressing your level of awareness takes Preparation. Preparation comprises all the physical elements and “tools” that enable you to execute your vision. You can improve upon your facility; from your palette, lighting, and studio set-up to building your ability to draw. Just as a weekend golfer might be happy to hit the ball squarely while a professional will develop a myriad of shots, so too, an artist’s success will increase as the many facets of preparation become more proficient and refined. For example, when we first learn to draw, our lines and shapes start to roughly define an image, and as we continue to evolve, our lines and shapes become more convincing…and eventually, expressive. As you practice mixing colors, the sensitivity and beauty of your values, temperatures and harmonies overcome clumsiness and begin to sing. Your first brushstrokes may be coarse and weak; but additional mileage and attention to how and why you’re mixing and laying paint, your brushstrokes, paint surface, and edges will all improve.

Though we can learn from many examples, I’ll use an image of a painting by John Singer Sargent to illustrate how the combination of awareness and preparation can create fabulous work.

Years ago it was posted as an example of the “simple” shapes Sargent used. However, when I saw the image, I was immediately struck – not by simplicity – but by spectacular execution of sublime understanding of value and hue. Using the original sketch at the left, the images on the right each show two columns of dots: one column of dots samples the color and value from the area immediately below, and the column next to it from the area immediately above. Seeing how Sargent deftly handled these transitions can help guide your process.

Because improved execution must be learned and then applied, your level of preparation will naturally trail your level of awareness. Therefore, it is helpful to understand that there is the potential for a perpetual satisfaction gap between what you hope your work will convey and what you are actually able to convey. There are times where we feel we’re actually getting worse! When you look back on your earlier work, the gap will be more evident between what you’ve accomplished and where your understanding is now.

As my personal Awareness and Preparation grow, I am able to adjust my approach, execution and finish to accurately express my initial intent. Here are two portraits that result from very different objectives. In the portrait of former Wisconsin Governor Scott McCallum, the composition, finish and atmosphere were focused on celebrating an accomplished hero, in the beautiful environment where he served as State Senator, leading our state through the 9/11 crisis. In the second painting, I wanted all my elements to convey my earthy response to a rugged, itinerant artist in the southwest United States during the 19th century.

My painting, The Immigrant, which was on the cover of Art of the West (Jul/Aug 2022), offers an intellectual and emotional narrative while going beyond a simple illustration. 

Throughout your life and career, the areas and options for improvement are endless, and specific needs may be unique to you. Answers will appear from many sources: workshops, individual study and serendipity. One of my reasons for teaching is that working with students at varying levels and areas of skill highlights and reinforces opportunities to strengthen awareness and preparation for both students and teacher.

I believe if you keep my two “Keys” in mind as you approach your study and growth, they will help organize your efforts and clarify needs as they arise. You will also find yourself blessed with moments of illumination where your understanding or facility take a leap forward!

As the world seems to spin out of control outside of our studios, this may be a good time to revisit the ONE thing that truly enables you to stay engaged as a life-long artist: satisfaction from, and a love for, the PROCESS.

Wanting to become a ‘great’ artist is the norm for someone new to art, but with experience, what compels you to STAY an Artist? I have been an artist at my core since I was a little kid, spread out on the living room floor sketching on scrap paper, and with the global turmoil and its likely sobering effect on the Art Market, this is a good time to refocus on the one thing that will help you stay on track.

I’ll start with an excerpt from an early oil, “Self-Thoughtrait,” where I incorporated an essay of my thoughts on ‘Art’. Though written about 20 years ago, it still offers a glimpse into what excites me: 

“The blank canvas offers absolute creative freedom. Within its two-dimensional surface, it provides the same opportunity afforded past artists, from Leonardo to Picasso, Memling to Warhol, and beyond.  Each new surface sparkles with wonderful opportunity and incredible challenge.  

Today, alone in my studio, I choose to reflect upon this opportunity.

My dual relationship with each canvas begins with an emotional and physical exploration…the current culmination of my thoughts, feelings, experience, practice, and desire. I’m free to create an intimate painting of quiet beauty, or a bold and involved expression of spirit and persuasion.  The quality and depth of this personal and passionate process is infinitely variable, and I derive satisfaction and–when lucky–intense joy through the creative dance and budding conversation that takes place between canvas, paint, brush and artist. 

Once complete, the piece becomes an individual, left to stand alone…and the second half of the artistic process requires a viewer to complete the connection.”

Too often, we correlate the ‘success’ of our work with the ‘second half’, where others are in control, and though there is usually plenty of healthy feedback, we also find silly ways to be disappointed. Let me share a recent experience where the ‘process’ was joyful and rewarding, while the ‘sharing’ could have been just another source of discouragement:

A couple of years ago, upon our arrival for an extended stay in Santa Fe, my wife and I came upon a beautiful concert being held in the City’s famous plaza. The atmosphere and the music were fabulous, and watching the performance over the crowd left an impression powerful enough that I knew I would explore it in a painting. 

About a year later, with the memory still strong in my soul, I created a portrait of that evening. I placed the canvas on my easel above eye level to recreate that sense of looking over the crowd and as I painted I could feel the atmosphere, hear the music, and alone in my studio I was able to sense and celebrate that wonderful experience. 

Once the painting was complete, I felt it had lasting strength, so I decided to enter it into an important National show. To my delight, it was accepted and I shipped it off, knowing I would happen to be in the city where the show was taking place and I’d be able to attend the opening.

On the night of the opening, I entered the beautiful venue and as is often the case, the show was hung salon-style in order to exhibit as many pieces as possible on the available wall space. When I finally spotted my piece, I saw it was hung at knee level, which in the case of this particular painting was devastating to me…lost was that above-the-crowd ethereal atmosphere. If the connection and impact were lost for me, I knew the judge would never sense it and potential buyers would drift past. I immediately understood this painting would languish and it was destined to come home. 

Thankfully, the disappointment was short-lived because I still treasured the experience of my personal artistic process. My time in the studio with this piece still fed my soul, and I knew I would have more opportunities to grow and create.

With the impact of our current pandemic on the economy, and knowing the importance of the health of the stock market on the people who are able to purchase art, there will likely be a slowdown in sales (and more mac & cheese) over the next months and years. Rather than allowing this to lead to disappointment, lean into the importance of the Artistic Process and let IT feed your soul. Get in to the studio and get back to the creative dance and conversation that take place between canvas, paint, brush and artist. Your artistic life will be better for it.

For a bit more insight into the creative process, take a look at my earlier blog post, where I talk about the “two keys“ to progressing as an artist. 

You can follow my work on Instagram @billsuys.
My best to you as we walk this path together — yet socially distanced!