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Kirsten Savage

Reclaim Your Attention

Kirsten Savage · Feb 20, 2023 · 12 Comments

Does the thought of being without your phone for a week fill you with joy or dread? I know that for myself and many other artists, it is a constant daily struggle to disentangle from technology- to just slow down, simplify, and focus on artmaking. In recent years, I have welcomed multiple invitations to participate in extreme experiments that force you to “unplug”. I have camped in rustic off-grid properties without cell service in the Rocky Mountains, went plein air painting in a rural Mexican fishing village only accessible by boat, and attended an intensive workshop on a Mediterranean island where they confiscated your phone for the full week.       

Wandering Thoughts by Kirsten Savage OPA
7″x16″ – Oil

Maybe it will come as no surprise to you when I say that I was a much happier and wildly prolific artist throughout these experiences. Getting into the state of “flow” came naturally. Each time I was reminded that it is essential as artists to eliminate digital distractions and reclaim our attention in order to allow for the mental space and sacred time needed to create deep, meaningful work.  

Taking much needed intentional breaks from the easel are one thing- getting distracted involuntarily is another. A recent study from the University of California Irvine shows it takes an average of 23 minutes to regain your focus after a distraction because different parts of your brain are activated each time you switch between tasks. Multiply those 23 minutes with answering a couple texts, replying to some emails, and scrolling social media- and suddenly you are wasting hours of mental energy every day that could be better used at the easel.  

Send a Sign by Kirsten Savage OPA
12″x 9″ – Oil on panel

Since running off to the hills or isolating ourselves on an island isn’t always practical, we must be vigilant and purposeful about creating a studio space that eliminates distractions. We also need to protect ourselves from the psychological effects of the constant barrage of sound, stimulus, and information in a technological world.  

In one of his renowned TED Talks about listening, Julian Treasure states that our increasingly noisy world is gnawing away at our mental health and offers some solutions for softening this sonic assault. He recommends 3 minutes of silence per day and listening to sounds of birds, wind, and water. Birds only come out to sing when all is right in the world, so the theory is that there is some deep-rooted evolutionary instinct that allows us to relax and regain focus when we hear these sounds.

Surrender by Kirsten Savage OPA
24″x 36″ – Oil on panel

Some other helpful tools to minimize distraction include turning your visually attractive phone to greyscale, putting it in “do not disturb” mode, or leaving it in a different room, out of sight. If you still find yourself compulsively checking your phone, try using the Forest app. On your phone’s home screen, you will see an animation of a growing tree. If you don’t touch your phone during your studio work session, the tree continues to grow.  But if you check your phone, the tree withers and dies. It may sound ridiculous, but it’s a surprisingly powerful motivator. Then over time, each tree eventually creates a forest that represents your progress in conquering your digital distractions.

Brugmansia by Kirsten Savage OPA
8″x 6″ – Oil on panel

In my studio practice, I have been listening to sound recordings of nature, seeking more silence, and growing my silly little forest.  I am picking up the paintbrush more and leaving the phone alone. The effects have been profound. My hope is that all of you can carve out a little peace and quiet in the upcoming weeks.  

Patiently Waiting by Kirsten Savage OPA
7″x 5″ – Oil on panel

What other tools and tips do you utilize in order to eliminate digital distractions during your studio time?  Share in the comments below. 

Finding (and Keeping) Your Muse

Kirsten Savage · Sep 24, 2014 · 2 Comments

Andrew Wyeth created a series of 240 paintings and drawings of his German neighbor, Helga Testorf. Picasso painted photographer and poet, Dora Maar, repeatedly during their nine year love affair. Modern day oil painter, Jeremy Lipking, frequently uses his wife, Danielle, as a model. So why would we return to the same subject again and again? It may be partially about convenience. It is sometimes about love or lust. However, a certain type of magic happens when we truly begin to see and understand a specific model. When we repeat subject matter, it frees the artist and allows us to simply focus on skill and process. Rather than comparing beauty from one model to the next, design and concept becomes the highlight within a body of artwork.

In Greek mythology, the muses were the children of gods who inspired and embodied the arts. For figurative artists, our “muses” are the models who bring that certain beauty and energy to the artwork. We share a friendly rapport and they often surprise us with a thoughtful expression, the perfect costume piece, or holding the hardest poses for hours.
So how do we find, and keep, our muse? Here’s your checklist:

    "Quiet Fire" By Kirsten Savage
    “Quiet Fire” By Kirsten Savage

  • Don’t be creepy. Most people will not respond to a stranger’s request to model. There are better resources found within your community. Local art colleges or universities may allow you to advertise a job posting on their message boards or websites. Ask other artists if they will share their contacts. Seek out friends of friends. Avoid Craigslist- there are a lot of weirdoes out there. If you want costumed models, talk with the administrators at dance studios and theaters.
  • Pay well. Modeling is harder than it looks. Prices vary city by city. Depending on where you are located, models get paid $15-$50/hour. Check with your nearest college art program to see what they pay models. That’s usually the low end of the scale. If you can’t afford to pay a model a decent hourly wage, get a couple other artists to split the fee with you and do a group session. If they have to travel far, compensate them for these expenses and tip generously.
  • Be clear in your expectations. How exactly do you want their hair or make-up? For clothed models, have them bring a few options. How long of a session should they expect? If it’s a group setting, let them know how many other artists will be there and ask them to show up 15 minutes before others arrive to show them around and get the pose and lighting sorted out.
  • Get it in writing.
    Example Model Release
    Example Model Release
    Have the model clearly state and sign something that says “Artist is hereby authorized to use Model’s name and likeness in all forms and media for art sales, advertising, and any other lawful purposes.” A more detailed model waiver should also outline pricing and expectations. See an example model release for artists.
  • Remember that their comfort is your responsibility. Have a space heater, fan, and extra pillows on hand. Provide a comfortable, private place to change. Depending on the pose, agree on a reasonable time to take a break and set a timer to announce it. If the model looks uncomfortable, encourage mini stretch breaks and give more frequent breaks. Provide coffee- a comfortable model can easily fall asleep naked in front of a room full of strangers.
  • Repeat.

There has to be a mutual trust between the artist and model. They need to be comfortable and understand your vision. When that happens, all you have to worry about is finishing the painting.

"Puddle Jumping" by Kirsten Savage
“Puddle Jumping” by Kirsten Savage

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