The Mutrux Studio Blog

A cross-country move, jumping in with both feet and art creeps back into my life

2010-06-22T14:02:00.000-07:00

It’s been about a year since I picked up a brush, or did anything having to do with art. Many have questioned my all-or-nothing approach and why I had to make such a clean break.

It’s not all that difficult to understand. When you are creating art for a living (and anything else for that matter), the pressure to keep those bills paid can take a serious toll on your enjoyment of that activity. In the case of artistic endeavors, it can take a serious toll on your creative freedom.

My financial and personal world fell apart in 2009, right along with just about everyone else’s. In my desperate attempts to hold it all together; I lost my desire to paint. Everything that was calming about it became filled with anxiety. The strength I once felt became emptiness. The fascination turned to foolishness. I developed an aversion to art, literally feeling sick just going near my easel or even a gallery.

Despite all of those feelings, I knew, given the time, I would come back to painting. It’s a constant in my life. The most wonderful thing about painting is that even without practicing; I can pick up a brush a year later and it’s like I never stopped. So a new series is in the works, based on my new/old hometown and the people in it: Miami.

Below is a preview of a work in progress. I'll elaborate more on the move in next week's blog.
If you live in the South Florida area, my past works can be seen at GAB Studio (Wynwood design district) for the next two weeks. Come by this Thursday between 7-10 and I'll be there!

Thanks for reading and have a wonderful day.
-Marni

Up for auction: Interior with Chair

2010-04-08T17:30:00.000-07:00

I want to congratulate my friend, Micheal Bruce for his winning bid on "Slow Like Honey!"

This week, I'm reaching way back in the archives and auctioning off a painting I did in 2002. I did this one before art school, and it was a real breakthrough for me both technically and conceptually. I took a lot of risks, pulling away from traditional representation and learned in the process.

This painting was influenced by one of my favorite artists, Mark Rothko and I used his technique of placing down washes of color on top of dry underlayers, then scrubbing them off to reveal the colors underneath.

I've enjoyed this painting for years, but it's been placed in storage. Which is why I'm happy to give it a new life in a new home.

“Interior with Chair” is an ORIGINAL oil on canvas.

This piece is a BIG 36x24", on high quality cotton canvas. It is framed in a modern brushed aluminum frame with 2" edge. The painting is signed and dated.

To bid on this lovely beast, visit my Facebook page. Friend request me if you aren't already one. Just comment on the album to place your bid, it's that easy! Auction ends at the stroke of midnight of April 12th PST

A paypal invoice + shipping will be sent to the high bidder via private email.

Slow Like Honey

2010-04-01T10:41:00.000-07:00

She's up for auction on Facebook this week, in a full size (22x28") framed giclee on canvas. Hand embellished, signed and numbered (#2/195)

This is one of the original 3 that launched my nude series in 2008. Painting the body angle was a struggle, and there was a moment when I considered abandoning the painting. I remember staring at the unfinished nude, thinking it needed something...and then hibiscus flowers were on the canvas within minutes. People often mention Hawaii when they see this one, but for me, the hibiscus flowers come from my home in Florida.

The original sold quickly, within a month from completing the painting. In fact, every one of the original three flew out the door. Which is why I'm happy to be able to reproduce Slow Like Honey in a fine art giclee.

If you'd like to place a bid on this giclee, you can find the Facebook auction here. Just comment to bid. Or friend request me if you aren't already one :)
Auction ends April 5th!

A little death, a little love

2010-02-27T18:13:00.000-08:00

Today I visited my blog page for the first time in 6 months…to the day. It’s like a little time capsule at this point, and my life is vastly changed, and still changing.

I’ve been working in an office as a marketing associate, with my very own cubicle. It’s actually been a nice change of pace, like putting on a new persona and acting in a play. I get a steady paycheck and it’s the most wonderful thing ever. I could probably do this for the rest of my life in some capacity, build a career; I’m good at it.

I haven’t picked up a paint brush, hardly even made a sketch the past six months. While it may seem like a sad thing, it isn’t. My art went through a little death and I’m healing. There is still more healing to do, still financials to sort out. It will take more time, but I always return to my brushes and oils eventually.

In honor of this healing process, I’m clearing out the studio; getting rid of all the old, to make room for the new. I’ll be auctioning and selling all my older series of paintings and any canvas prints on Facebook over the next few months. I want them in the hands of the wonderful people who supported me through all of this.

So on to new and better and brighter things!

-Marni

some major changes

2009-08-27T11:03:00.000-07:00

The White Dress #5 (sold)

I've thrown my hands in the air. Working as a full-time artist is no longer feasible. I've given everything to my art, and there's nothing left. The painting will continue, but at a much slower rate. At moments like this, it makes me seriously question my talent, and even my sanity.

I'm once again filling out job applications and sending out resume's. I won't let the electricity get shut off, or the kitties go hungry. There's no way to raise the funds to attend those festivals I'm just dying to participate in this year. Nope. It's time to put this art thing aside for a bit, and focus my energy on a steady paycheck. When I get back on top of my finances, I'll try once again. In the meantime, I won't be accepting any more commissions (sorry for those on the wait list). Any extra time will go to my own work.

It's such a shame that the living artists in our society are not supported better and valued. We don't get unemployment benefits and most can't afford healthcare. When you factor in the hours spent creating and promoting, most artists earn much less than minimum wage. Art is the first thing cut out of school budgets, yet artists produce the most cherished objects in a society's
history.

A new mini (4x4") painting, available for purchase:

From the archives

2009-08-12T17:44:00.000-07:00

I have a huge walk-in closet, which is fantastic, except there isn't a stitch of clothing in it. No, my dream of a closet is stuffed with paintings, canvas rolls, old frames, prints and stretcher bars. I was wading through it the other day, and it seems such a shame that some of these paintings aren't proudly hanging on someone's wall, appreciated the way they should be. Of course, there are some in there that will never see the light of day; experiments gone wrong, class assignments. I'm too sentimental to throw these away, but likely will one day.

I pulled out this gem, it's a nice size, (24x36"), and always received compliments from folks when they visited my old studio. I painted this one back in 2004, bundled in a coat in a cold Salem, MA basement. I hadn't painted in nearly a year and was exploring. It was meant to be a series of three, but I only did the one. In the hope of finding it a good home, I'm listing it on Etsy at a very affordable price

Here's a nifty mock-up of what it would look like in your uber-modern home:

UPDATE: The painting sold. Congrats to the new owner!

fruits and veggies for mental health

2009-08-08T17:12:00.000-07:00

I've been in a holding pattern for the past six months, artistically and in my life. It's been a tough year, financially and emotionally. I try to stay disciplined, forcing myself to sit down and pick up that brush no matter what. This is my livelihood, after all. I don't have the luxury of putting my paints aside waiting for inspiration.
Some healing was in order, and to do so, I turned to an old friend, the still life.

16 years ago, I took a few college oil painting classes, and didn't do very well. In fact, I dropped out twice. A few years later, I tried painting again, on my own terms. I bought some cheap 16x20 canvas and painted a single big fruit on each. There was a pepper (left), a lemon, and a peach. These forgiving orbs lacked skeletal structure, making it easy to concentrate on color, form and light. My success allowed me to gain confidence, branching out in to potted plants and eventually, the human form.

Painting a still life is a type of meditation for me, and in that meditation, ideas form. I've been simmering the proverbial idea cauldron for months, and now I have a new direction. The fruit and veggies will be set aside for a later date (once I finish the few left on the easel).

Purple Pepper (2000)

Some new mini paintings:

Onion
purchase

Radishes
purchase

Kiwi
purchase

images © Marni Mutrux 2009

A nude for Sunday

2009-07-25T17:50:00.000-07:00

Something Only She Knows 30x40"

I finished a new painting this week, and I'm so happy with the way it came out. These large ones are very special to me, and it takes months to do just one. From first conception, it often takes years before they come to fruition.

This one was teetering on being "finished" for weeks, but I kept making small adjustments; fine tuning the color arrangements, flow and overall solidity. There's always a moment (after working for hours), when I take a step back to look at the painting with fresh eyes. It either tells me it's done, or it's set aside to for another day. How do I know when it's done? It's when I can look at it as a whole, without my eyes being drawn to this part or that. It's when I know I haven't neglected any one part, trying to convince myself it's good enough. The whole painting settles, and in some way, becomes it's own entity. It tells me it's ready, and I let it go.

New paintings, proliferation and compulsion

2009-07-21T15:35:00.000-07:00

Tango
purchase

Looking back on my mini collection, I'm amazed at how fast they proliferated. I started painting them in March, and here we are a few months later with nearly 40 of them (I'm including the few sitting on my desk unfinished). What was intended as a brief project has mushroomed into an entire series.

I'm debating if I should take a break from the mini project. I love the mindless intensity of painting these little beauties, but wonder if my time is better spent on other paintings. These are choices we all have to make as artists. With so many creative ideas, it's difficult, but important, to edit. Time will tell if the mini's make the cut.

This latest batch continues several themes. The cherries (top) are part of a little subgroup. I spent a whole afternoon arranging and photographing cherries in my backyard for these. There are more in the works, all pairs of ripe cherries dancing into the night.

Apricots
sold

"Apricots" continues my fruit theme. I've developed a habit of scrutinizing the produce section for painting subjects. It looks a little nuts, as I hold up each fruit to the light, examining it from all sides for character, shape and color. Perhaps I should extend my search to the meat isle, or canned goods. The possibilities are endless.

Claws

sold

Claws is part of a commissioned group of kitty paintings. The intense close-ups are my own compromise on painting cats. I loathe painting "pet portraits", despite their popularity. By getting so close and cropping, these become something beyond a portrait.

Siamese Fighting Fish
purchase

Lastly, little fishy. I can't help myself with these. I've painted a slew of little fish paintings throughout the years. Most were sold or given away. I don't even have photographs of them. It's the play of light and color that I find irresistible, and the tremendous personalities. Or it could be the guilt from when my entire tank of fish died from ick when I was 12. Every time I finish one, I want to start another.

My audition for Bravo's Untitled Art Project

2009-07-15T16:36:00.000-07:00

Last weekend, Bravo TV held their LA auditions for The Untitled Art Project. It's a reality show backed by Sarah Jessica Parker with a format similar to Project Runway and Top Chef.

It took a lot of convincing before I decided to go to the audition. I don't take a 6 hour drive (each way), and the cost of gas and a hotel room lightly. I went, not because my hopes were pinned on winning a spot on the latest reality show (quite possibly a career-killer). I was curious, and felt it important to stick my neck out once again, even if it's only to add another rejection to the pile. I'm very proud of all those rejections. It means I'm out there, trying to do whatever it takes for my art. In the very least, I'd meet people, artists willing to take chances, and that is always worthwhile. Plus, I have this interesting blog to write!

Jeff and I arrived at the audition an hour early, and the line already spanned half the block. The morning sun was still low, leaving just a few feet of shade. With temperatures in the 90's, we hoped to get in before that sliver of shade disappeared. In front of me was artist, Patricia Anders, an LA native. Behind me, artist Scott Ward, who flew in that morning from Seattle. As people arrived, I was pleased to recognize a few of the paintings they carried to the audition. Some were artists I'd shown with, others I'd seen on Myspace or some other Internet site.
There was a buzz in the air, as we all speculated about the show.

Finally, the line began to move, as small groups were taken inside the gallery where auditions were held. By noon, just as the shade vanished, our group was ushered to the back of the building. At least a thousand people were left waiting in the sun. At this point, I became a little nervous, wondering what sort of questions they would ask. By now, I'm accustomed to talking about my work, but I'm intensely camera and stage-shy. I tried not to think about it.

Walking the line

We were each given folders, numbers and name tags, and our photo was taken. Then we waited once more for our numbers to be called for a portfolio review. Minutes later, our group was led into the building. We entered a small gray room with a table at one end, where two staff members were quickly checking portfolios. I remember thinking they were awfully young to be doing portfolio reviews. Patricia went before me, and two minutes later, she went onto the next room.
When it was my turn, I sat down, giving the staffer my portfolio. She breezed through the first images, (my figure series) without a pause. Then she stopped at my portraits of Billy Holiday and Quincy Jones, saying, "these are really good". She rushed through the rest, disinterested. The only one she lingered on was Breakfast in Bed. There were no questions, just a "thank you', and I left for the next room.

This is when things became a little odd. The next area was another holding room, where people wait for the next phase. Patricia was gone, but someone I didn't recognize was in front of me, probably from the proceeding group. One of the staff was explaining to him in a soft voice what to expect in the next phase, what they were looking for, and how he should present himself. They seemed chummy, shaking hands and patting each other on the back. I tried, but couldn't catch all he was saying. At that point, the rest of my group filed in behind me. The same staffer approached them and explained something to them under his breath. I was distracted, and didn't pay close attention, assuming it was a shorter version of what I just overheard. I realized my mistake when everyone behind me turned and walked out the door. This is when I had to chase down the staffer to ask what he said, and was given a "thank you, but you aren't what we're looking for."

Baffled, I walked out into the summer heat. It wasn't the rejection. It was the expectation there would be some sort of interview, or a few questions asked. They could have looked at portfolios with a mail-in entry.

From what I can deduct, from casting director interviews I found online, and through my own experience, Bravo is looking for a very particular style of art. From that pool, they will cast some very particular personalities. At the LA audition, several invitations went out to well-known pop-surrealist artists. Perhaps that's who the portfolio staffers were on the look-out for.

In the end, I'm happy I went. It was an experience, and I was able to be in the presence of hundreds a professional artists-a breed of person I'm endlessly fascinated with. Knowing the show's criteria, I won't try again next season, but I look forward to the guilty pleasure of watching the artists fight it out on TV.

New Mini Paintings and a Studio Update

2009-07-09T15:39:00.000-07:00

I've been working away this week, finishing up two new paintings in my ongoing figure series, plus mini's and commissions. Taking a quick count, I have 17 paintings going at once. Even by my standards, that's a lot!

It's not over-ambition (well, maybe a little), but my process that makes this the norm. Working in oil, it's important that the paint dries before I continue onto the next layer. I like to work in intense, straight-out-of the-tube colors, and if you work a painting too much while it's wet, those colors mix together and become mud. By letting each layer dry, I can layer a transparent wash of cadmium green over pink, and they don't blend together.

I have a few new mini paintings completed. My favorite of the three is the poppy. I just love them, and their thin, nearly transparent petals.

Poppy
purchase

Cherry Love
sold

Ginger Cat (sold)

purchase print

On the show front, I've been doing some serious thinking about the festival circuit and where I need to focus. Financially, many of these shows are out of reach, so I'll be cutting back significantly. I dropped the Mill Valley, Beverly Hills and Sacramento shows, but added a small event at a Polo club in Petaluma on the 19th. I'll continue to add small events for the rest of the year, when opportunities arise.

Instead, I'll be focusing my efforts on gallery shows, and improving and expanding my jewelry line. I feel silly just saying I have a jewelry line, because I'm not a jeweler-but I have one. Go figure.

Marin Art Festival Review

2009-07-05T13:30:00.000-07:00

A few weeks have passed since the Marin Art Festival, and I have to admit, this one wore me out! It wasn't the festival itself, since set-up was relatively easy. It was the mental strain of preparation, and that difficult switch to the "selling" side of art that did it.

The show wasn't a resounding success. It wasn't a failure either. Like most shows I've done this year, it was so-so. Marin puts on a gorgeous art festival. The quality of work was high, the food was very good, and the live music and entertainment was engaging. Attendance could have been better, but people were buying. Unfortunately, When you pay $1,000 just for the booth space, it's difficult to break even.

Despite the cost, I'll continue to do fine art festivals when I'm able. They are worth the effort for the opportunity to meet people face-to-face. When your art is hanging in a gallery, you usually don't get that chance. Someone I meet at a festival this year could result in a commission, sale or connection years later. When you spend most of your time holed up alone in the studio, that's invaluable!

There I am, in requisite floppy hat

Booth interior

The show from above

artist, Hines

another female figure artist (a rarity), Chelsea Croy

some very elegant stilt walkers

glass sculpture by the bay

Countdown to Marin

2009-06-13T18:03:00.000-07:00

Time is whipping by me as I prepare for the Marin Art Festival, June 21-22.

To be my guest at the most beautiful art festival in the country next weekend, print this free admission ticket to save yourself $10 per person.

There are paintings to finish, prints to make, and giclees to stretch. My list is always a mile long preparing for these shows, but I have the hang of it now. The trick is to do what is absolutely needed first. If the rest doesn’t get done, it will be ready for the next show!

I’m going to post a few I completed last month, since they never graced the pages of my blog. New paintings are in the works, and I’m so excited to finally feel the gates of possibility opening up once more.

30x40" Quincy Jones, a commission.

A few more of the continuing mini series:

Goldfish #7 -sold

Daylily buy

Petals buy

White Dress #4 buy

Two Years in the Making

2009-06-06T21:33:00.000-07:00

So much has happened since my last blog. It’s been a nail-biting month, where I dealt with some very difficult decisions.My leap back into the workforce was short lived. I was hired as a bar manager for a new restaurant, and given the task to stock a full bar, create a cocktail menu, staff and train within 12 days. We were only open 9 days when the whole restaurant went belly up. It was the most hectic, ridiculous few weeks of my life.

This experience taught me one important lesson: I belong in the studio! Within those few weeks, I lost out on a gallery show in San Francisco because I didn’t have time to drop off the work, and was inundated with 14 commissions. I’m still trying to catch up. There’s nothing like a cosmic kick-in-the-butt to put you in the right direction.

That said, I want to thank everyone for the heartfelt words of encouragement. I’m so humbled and amazed to reach anyone through my bumbling adventures and the outpouring of support made all the struggling worth something. Thank you, thank you.

So I’m back to clawing my way along. Rent may be late, the creditors are calling, but I do what I can and hope for the best. It’s out of my hands; it’s in my hands, through my hands. Something like that.

I want to introduce my new painting, Tangle. It’s something I started in 2007, and stuck in the closet for a few years. My first attempt fell short of what I was trying to accomplish; a vibrant blend of human form and abstract painting. Instead, it was heavy and awkward, and often confused for a statement on anorexia. You can see the original version here.

The new version has a more narrative approach, and I enjoyed bringing the painting back to life.

Tangle 30x40"

The mini series has grown and expanded. Here are a few new little lovelies:

Ringneck Dove -buy

Red Onions -buy

Raspberries -sold

Whiskers -sold

Jellyfish -buy

A very serious blog

2009-04-08T12:41:00.000-07:00

The White Dress #3

SOLD

For the last 3 years, I’ve been working full-time as an artist. It’s been an amazing journey. This has been a dream of mine since I can remember, maybe not a conscious one, but when I’m creating, it’s the only time I feel truly whole. It’s always been that way; like I’m doing what I was meant to do in this life-there’s no question.
Getting here is the hardest thing I’ve ever done. Anyone who’s been in my shoes can tell you how risky this life is. There’s no salary, no benefits, no security, no unemployment to collect. I put relationships, savings, credit, my heart, sanity and ego on the line. I can honestly say I’ve given it my all.
I’ve been blessed to have the opportunity to give it a go, and proud I took that chance. That’s why it’s so painful to be sitting here, filling out random job applications. We have so little time in this life, and to spend that time doing something other than what we love feels like a waste.

The last six months have been some of the best in my career, despite a failing economy. Unfortunately, everything else is falling apart. My partner has lost his job several times in the past few months, credit cards are killing me, the savings are gone and the bills are piled up. For the first time in my fiscally-responsible life, I’m faced with debt collectors, loss of utilities and the possibility of eviction. I can't take the risk of a slow month, that’s the truth of it.

Of course, I’ll never stop creating. No true artist does. Give me nothing but some straws and a pile of Easter Peeps and I’ll make something out of it. There will be plenty more paintings and shows in the future, it just may take a little longer. This is just a small detour in my journey. Right now, it’s about survival.

For those of you who have followed my progress and routed for me along the way, I thank you from the bottom of my heart. Art is about communicating, and I’ve met some wonderful people through that connection. I hope my journey inspires others, even if I feel like a failure at the moment. At the very least I can serve as example.

I complete this very serious blog with an update on shows, and three lovely mini paintings. The San Diego Art Walk is in less than three weeks, and unless a miracle occurs, I won’t be able to go. Art Couture in Vegas was canceled, due to the economy. The Marin festival IS a go, thanks to all my friends and family.

I just attended a wonderful gallery opening at the 57th street gallery in Oakland, and I’m happy to have ongoing representation there. In May, there's a month-long show at Eclectix Gallery in El Cerrito, CA.

The mini paintings will be going up in price very soon, as $55 is a steal for the amount of work that goes into them. Grab yours now before the prices are raised! These new ones focus on more of my favorite foods, a portrait, a goldfish, kitty feet, and my continued obsession with white dresses.

Figs-SOLD

Promise

Oyster -SOLD

An Artist's Guide to Brushes

2009-03-25T17:22:00.000-07:00

A professor and his wife visited my studio last year. He stared at my brush collection and was appalled. “You paint with those?” I told him some of them were over 20 years old, and his wife chided him, “See, honey, you don’t need to spend so much money on brushes”.

I’ve accumulated a sad set of brushes over the years. None of them cost over $10. Some were purchased at an auction 5 years ago in Boston. It was an artist’s estate and I bought his used easel, paints and brushes for $15. Lucky for me, his brushes were much higher quality than the ones I purchase. I still use them, though they are beginning to disintegrate.

I purchase a new brush every few months, use it until it’s a stump, then buy a new one. The way I figure it, if I can paint this well with crap brushes, life will be a whole lot easier when I get some good ones. Good brushes are a distant dream, lumped into my hopes of someday taking a vacation, or buying new clothes or a fancy new van to take me to shows. Until then, I’ll make do with what I have.

Some old relics

The three stages of a detail brush

Most of my brushes are synthetic. I’ve been told oil painters should only use natural hair brushes, but they cost 3x as much. You don't need them. I use flats and filberts, in different sizes. Fans, angle brushes and mops are useless. I rinse them with turpentine, then soap and warm water. When I accidentally let paint dry on them, a brush restorer works magic getting them back in order. Over time, a flat brush turns into nice, bushy blending brush. A new detail brush eventually becomes a stump that can be used for applying little spots of paint.

Having quality brushes will make painting easier, but if you are on a budget, I suggest spending money on quality paint. Below are my latest paintings, all painted with my beat-up brush collection.

Billy Holiday, commissioned portrait 30x40"

Pomegranate-SOLD

3 new Mini paintings, 4x4" available for $55 each plus shipping on Etsy.

Minis are Love

2009-03-20T14:45:00.000-07:00

I’ve been working at a manic pace, painting 5-8 hours a day. My poor brushes are disintegrating at an alarming rate. The first results of my mini painting series are finished, with more on the way.

My last large painting, Marilyn, went into photo-realism more than usual. Painting this way is technically challenging, but leaves me feeling stifled. It’s nice to have a break from all that, and explore. There’s nothing I love more than a bold brushstroke, unusual color mixing, or the odd drip. The big canvases are benefiting, and I'm having fun again.

Education consists mainly of what we have unlearned.~Mark Twain

Paintings can be purchased for a reasonable $55 from my website. Proceeds go toward the festival fund.

Not Without a Fight

2009-03-12T15:28:00.000-07:00

As many of you know, it’s been a difficult few months. In fact, the last nine months have been some of the most trying in my life, but I’m determined to make this work. In betting terms, I’m all in. Despite all the hardships, it’s been my best year yet as a full-time artist. There is no turning back, so I keep pushing with my career, hoping for better times.

A week ago, I was accepted to the Marin Art Festival. This is one of the top shows in the county, billed as “the most beautiful art festival in the nation”. With just 92 spots available, and over 900 applications, I was accepted!

I’m struggling right now just to pay rent, and can’t afford the booth fee. The folks at Marin were kind enough to give me two weeks to raise the funds. I have even more acceptance letters coming in, and I'm doing everything I can to do these shows.

To help me accomplish my goals, I’m turning to my Internet friends and family. Over the next month, I’ll be creating mini oil paintings to post in my Etsy shop. Subjects will focus on food, flowers, and whatever else catches my fancy. They will be priced at only $55 each! If you have a request, post it here, and I’ll make one just for you.

I’m also offering a $25% discount on all my Etsy prints and necklaces and (discount refunded after checkout). Just make sure you mention my blog.

One more thing-I’ve added a Paypal “donate” button to my blog. Even a few dollars will help make these shows happen for me. Every bit helps, more than you know, and I'll continue to do my best to help others learn through my experiences.

I'll have the first few paintings up within a few days. In the meantime, here are some examples of mini's I've painted in the past:

A Study

2009-03-10T16:51:00.002-07:00

I’ve been working on big canvases lately. Big canvases are imposing, sometimes daunting. They are also expensive, and require layers and layers of oil paint, which is also expensive.

With all this pressure, big canvases can become a chore. To alleviate the stress, I’ve begun some oil studies. These are sketches in oil, and I’m doing them is an exercise of sorts. It’s also an exorcise, hashing out all the ideas keeping up late at night.

This little one is 8x10”, and while I won’t be using the image in a larger painting, it led me a step closer to the heart of what I’m trying to convey. I have several more studies in the works. The rest will be larger, so I don’t have to paint with a teeny brush. Teeny brushes restrict my freedom of movement, and I loose some expression in the process.

I’d write about what I’m trying to convey, but I’m still hashing that out. It’s been weeks now, where I write every day, and stay up working through sleepless nights. I’m crystallizing themes I’ve been painting my whole life, and trying to express them in a more direct matter. This one touches on dreams, fairy tales, and castle walls, with a bit of fashion thrown in. I’m not entirely happy with it-but it’s just a study, and that’s the beauty of this process.

As an artist (as a human), it’s important to challenge yourself to break out of old habits, and jump into new territory. Push harder, and learn as much as you can in the process. You may not come up with the masterpiece of your lifetime, but you will always break new ground. Paint on!

Ebb and Flow

2009-03-06T16:38:00.000-08:00

Today is the deadline for booth payment for Vegas Art Couture. I was excited about this show, since it’s one of the few festivals my art fits perfectly with, it coincides with the national broadcasters convention (150,000 attendees), and it’s in Vegas! Unfortunately, I can’t afford to go. My financial situation, like many others, is tenuous at best. Even if I could go, art sales are suffering. It may not be worth the effort.

In hopes of securing a spot for next year, I wrote the promoter to decline my spot. It turns out less than half of the artists are able to go, and the show may be canceled entirely. It’s a sad turn of events.

The art world is rapidly changing in the downturn of the economy. There are fewer opportunities, fewer buyers, and even more competition in a field full of hardships. In a year when I planned to go further, bigger, and better, I’m scaling back (on everything but the better). From now on, I’ll do fewer festival shows, stay local, do more gallery shows, and look for alternative venues.

So how does an artist survive in this economy? Getting a day job is probably your best bet, but this article may help. Excerpt from an article by Alan Bamberger:

For you artists interested in overcoming the formidable challenges ahead, this means demonstrating your art has the kinds of values buyers will be looking for, not only today, but beyond. It needs to have more going for it than simply that you’ve christened it art, you loved making it, or that it means something special to you. This may sound harsh, but the days of navel-gazing on obscure irrelevances, flimsy justifications, shoddy product, dabblers, overblown attitude, and "It is because I say it is" are over. Being an artist ’cuz it’s cool, aimlessly gallivanting across the prairies of artland, random unfocused art-making, expressing yourself only when you feel like it and purely for the sake of self-expression-- these approaches may be fine in boom times when money burns holes in people’s pockets, but not now.

Your art will have to fight for survival. You’ll have to conclusively demonstrate why it’s worth owning by offering tangible, intangible, theoretical, philosophical and related forms of proof (not the least of which is visual) that it embodies concepts, ideals, inspirations, and aspirations potential buyers can identify with-- or if you’re not that great of a communicator, providing your dealer, agent, or gallery with that information so that they can demonstrate on your behalf-- because convincing people to let go of their money will soon become more daunting than it’s been in decades, assuming it hasn’t already. Why does your art deserve a place in someone’s home or business? How will it enrich or enhance another person’s life? In short, what’s in it for the buyer? You know what’s in it for you, but that’s no longer enough to consummate a sale.

The upshot? You as an artist have to dedicate yourself to creating the absolute best art you can possibly create. You’ve got to look beyond yourself, think seriously about what you want to communicate and about how you intend to effectively get those points across, however arcane or concrete they may be. Work hard, work daily, be productive, embrace quality, and commit yourself to prevailing as an artist regardless of the adversity of the circumstances. By approaching your discipline with consummate dedication and seriousness, you maximize your chances for success. It’s that simple and no more complicated.

For some good news, I was accepted and confirmed for a local show, the 52nd Annual Saratoga Rotary Art Show. It’s only 15 minutes from home, and the largest one-day show on the west coast. This was another show that initially rejected me due to the nudes, but we worked out a compromise. If anyone is in the area, it’s Sunday, May 3.

I also want to announce another show coming up at the Space Gallery on March 27^th(1141 Polk St. San Francisco) A tamer affair than the last show; No naked people, except the ones on the walls!

To sum up everything on a positive note, I finished the Marilyn commission I’ve been working on. I enjoyed doing this painting, and it was a challenge, working from a soft focus, and low resolution black and white photo. I ended up using a mirrored reflection of my own face and various color images of Marilyn to get the skin tones and details right. She’ll be leaving the studio tomorrow. 30x40" giclee prints on canvas will be available through the 57^th Street Gallery.

Valentine's Day, Opening at the Space Gallery

2009-02-16T11:46:00.000-08:00

Having done a few shows by now, this one was a show I normally would stay away from. I’ve learned there are three places one should avoid showing. Those include restaurants, cafes, and bars. There are more I could add to the list, but those are the main offenders. Unless the circumstances are exceptional, you risk getting into a situation where:

-you are decorating someone’s business for free
-artwork can be damaged by food, liquid, and theft if the business isn't properly insured or provide adequate protection.
-there is no promotion by the staff because they know nothing about you.
-your work won’t be hung with the best lighting, placing or curating.
-should your art sell, it’s possible you’ll never find where it went or who purchased it.

This show was an exception. The Space gallery is part bar/part gallery. It has a downstairs bar, with a large gallery space upstairs. While risky, the show gives me the opportunity to meet new people, explore SF, and get out of the studio for a day. Yay!

The evening started with an early dinner and some gallery hopping. The dinner was a disaster. Having lived in culturally deprived Paso Robles for the past 2 years, I was craving some good Greek food. Jeff and I stumbled upon a place that looked promising, or in the very least, authentic.

We sat down to a meal that was over-salted, under-seasoned, over-marinated, too cold, and over-cooked all at the same time. It’s one of the very few times in my life where I couldn’t figure out what type of meat I was eating.
Before leaving, I made the mistake of using the restroom. Getting there requires a walk through the kitchen, where chefs absent-mindedly hack away at a large slab of meat. Once there, I locked the door, and assumed a hovering position over the toilet, tights pulled down to my thighs. Suddenly the door swings open, and I’m in full glorious view of one of the kitchen staff. Lovely. Now I get to parade back through the kitchen, my dignity abandoned at the broken lock.

The night improved with some gallery hopping. Jeff and I stopped at the Shooting Gallery , where they were exhibiting a show by Patrick Segui. He makes these amazing dioramas out of cardboard.

Compared Anatomy

The staff was kind enough to bring out two paintings by Joshua Petker for us to see. I’ve been following his work for years, but never had the opportunity to see it in person.

After a few more stops, we headed over to the opening. It was 8:30, and things were just getting started. The show was varied mix, all mediums, all nudes. Work was squeezed in everywhere, and prices ranged from under $100 to the thousands.

Some live painting

The “scene” was here. People were dressed up, dressed down, a few wearing nothing at all. They mingled; champagne cocktails in hand. I tried my best to keep up. I met some artists, discussed the work, exchanged business cards, and met some possible new models, and new Facebook friends…but then this wave of heat hit the room.

My god, it was packed. By eleven, people were lined up waiting to get inside. They were five-deep waiting for drinks at the bar. Paintings were jostled in the stairway. I took up a post near one of my paintings. It was in a good spot visually, but as the room filled up, it became a magnet for leaning drunks. I watched in horror as a girl flicked her jacket across it, then leaned on it with her hand. By 12:30, I’d had all I could take. No one was looking at the art anymore; you could barely see it through the throng. I left my paintings to their fate. Oil paintings are tough little bastards.

Fellow artist, Mindi and I

The throng

The show was an experience. I had a good time, and an initiation to my new city. The fact there is a “scene” at all is an improvement over San Luis Obispo. I have to give credit to Chad Christianson and Gogogracie galleries for organizing the event.

There’s one more thing I need to mention. ONE token naked person at a gallery opening is fine. It’s entertainment. More than one, and any “performance” that ensues is disagreeable. Someone please disinfect my eyes.

Work in Progress

2009-02-08T16:53:00.000-08:00

Works in Progress

I’m always hesitant to post works in progress. It’s a double-edged sword. Incomplete paintings aren’t the best they could be. Yet, it’s important for me to show how paintings are created, and the crazy journey they sometimes take.

When I start working on a painting, I see what it will be. In my excitement, I’ve often shown people my new (sloppy mess of a) painting, not realizing they don’t see what I do.
This becomes a big issue when working on commissions. I’ve learned it’s best to reveal a commissioned work when it’s complete, for my own piece of mind. I say this, because there’s nothing more suffocating to one’s creative juices than a client looking over your shoulder making recommendations.

That said, I’m breaking my own rules today, and posting two commissions I’ve been working on. They are part of a series on iconic women, all 30x40” in size.

Marilyn

Marilyn has been a struggle for me. Part of me wants to really destroy it, and do something bold, brushy and drippy. Another part of me wants to make it glowing and pristine. I’m leaning toward the pristine, but I wish I could do two of them.

Billy Holiday

Billy is just in the beginning phase, I think I’ll be able to do a nice balance here, and won’t be overly tight in the rendering.

Back to the blog: 3 months, 7 shows

2009-02-05T08:20:00.000-08:00

First off, I need to apologize. I dropped the blog. The past few months have been life-changing, and excruciating. I had so much to say, and in typical form, I clammed up. Then I found out that people were actually reading this thing, people I didn’t already know. I met a few of them, and was deeply touched. Knowing there are people out there rooting for me through this crazy journey is a blessing. Thank you for that.

I’m going to quickly catch everyone up. I’ve done 5 festival shows since my last blog, had a gallery opening and an open studios.

Danville seems so long ago! October 4th, 2008. It's my birthday, and I'm alone in a strange city setting up a tent in the rain. Danville is a small suburb, located southeast of San Francisco. The jury for this show initially rejected my application because of the nudes, but allowed me to reenter with landscapes.

I ended up bringing both, and despite rain, and a terrible turnout, I did very well. This early on in my career, “very well” is making back my costs with a small profit. Oh, and all I sold were nudes :)

my landscape "buffer" wall

inside the tent

After Danville, I had small local show in Pismo Beach. It was cold, and wet, and miserable, but only one day. I won’t be doing this show again!

Two weeks later, I was in Sacramento. This was an expensive show ($700!!!), and my first one indoors. The economy was tanking, but we were all still in denial back then. Looking back, I can say this was the highest quality show I’d been to. Most artists showed up in formidable custom trailers, big rigs and vans. Here I was, alone; with my lowly Uhaul trailer in tow.

The show was fun, and I did well, selling two originals for the first time at an art festival. This show also resulted in several commissions and a small publishing deal-I’ll write more about that in the future. I came home ready for more!

My booth, all dressed up, with lights!

Amado Pena-he’s been doing this for 30 years

Another artist who makes these out of old cars-I’ll post his name when I find his business card.

This is what take-down looks like. It takes me forever!

In November, there was the 31st annual Pasadena fall art festival. Sounds fancy, but the show was a bust. Horrible! I was in tears just trying to find parking for my car/trailer. The promoters promised artist parking, but it was a mess.

Located in front of city hall, the show was poorly attended and badly organized. There is nothing more frustrating than jumping through hoops to meet all the requirements and rules of a show, and then seeing they aren’t enforced.

For example, the show required HANDMADE items, and that the artist be present.

Directly across from me was a photographer’s booth. The actual photographer didn’t make an appearance the whole show. There was also a woman selling beaded bracelets. They were cheap, plastic beads, 3 for $5. What on earth was she doing at a fine art show?

Good for her, though. She was the busiest booth in the show. Half of the show was taken up by car dealerships, timeshare sellers, window and blind companies and a kid’s inflatable party jumping raft thingy.

I don’t want to sound angry, but I was. The show was a sham. It looked like a flea market, and I paid $300 to be there, plus gas and hotel and STRESS.

No people…

where did everyone go?

It’s all part of being a (working) artist. You take risks in the hope they work out, but there’s always a chance everything will go wrong. You live, you learn, you adapt, and move on-if you can afford to.

Speaking of, my last festival of the year was also a disaster. It was the Paso Robles film festival, and I took a chance. They stuck us out in a dirt-filled field in the middle of no where. Yet somehow I managed to sell an original right off the bat.

Bands were scheduled to play the site that evening (The Bacon Brothers), so while all the other artists closed up shop early; I went home, grabbed my track lights and rented a generator. I ended up staying there until ten at night for both days. There I was, the lone artist, all lit up in the dark and the freezing cold, hanging out with drunken concert-goers and port-o-potties. In moments like these, I wonder at what point I lost my mind, or if I even had one to begin with. All the hard work resulted in a decent show, but I’m still cleaning up the dirt.

Somewhere amid all the festivals, I held my last open studio in Paso Robles, and had an opening at the Haub Gallery in San Luis Obispo with my abstract work.

That’s a brief history of my life in art festivals for 2008. There is so much more to write about. I haven’t even touched the surface. I’ve gone through a move, a major personal loss (my kitty of 18 years), relationship issues, depression, pending bankruptcy…oh, yes.

Some important things I’ve learned:

-navigating a trailer in reverse
-dressing the part at an art show is important
-light rain isn’t a bad thing because people have to take shelter and end up staying longer
-my tolerance for driving long distances is increasing
-northern California seems to like my work better than southern California
-given you have good work, the size will often determine whether it sells or not
-given you have good work, the colors will often determine whether it sells or not
-lowering prices does not mean you’ll make more sales (strangely, raising them may).
-once you have all this information about SELLING art, CREATING art while keeping true to yourself becomes more complex.

A little buzz

2008-10-14T11:23:00.000-07:00

I spent last night on the Internet updating and cultivating my various Websites. I joined a new one, Yessy. I've had my eye on this site for a while, because it has an International presence, and is geared toward original art.

Yessy gallery

Enough about websites, lets get to the fun stuff-buzz!

I googled my name last night. Try it sometime, when you are really bored. More precise information comes up if you bracket your name in quotations marks, like this: "Marni Mutrux". Enter it in google, and see what fun comes up. If your name is more common, enter your city/state after the name.

The search pulled up pages from over 12 years ago, but there were some new ones.

I came across this little piece of press from the San Francisco weekly. It features my Drift painting, along with some pretty cool company.

I also came across the article in The New Times here is San Luis Obispo. The concept is strange, but appropriate for Halloween. We all die in the photos. Since my photo was featured full-page at the beginning of the article, they didn't include a quote. I'm guessing that's the reason, otherwise they didn't like what I had to say.

New times Article

Here's the photo of me dead after falling down my stairway. It's not my favorite photo, but was fun to shoot.

Last, but not least, I want to give Sandra Williams a thank you for featuring me on her blog,
Eclectic Studio.

That's it for now, have a great week everyone!

A little whine

2008-10-10T13:04:00.001-07:00

This weekend is San Luis Obispo's Open Studio's Tour. They make a big deal of it, printing a glossy catalog of the participating artists with maps. It costs a fair amount to enter, and the catalog sells for a steep $20.

Artists are spread throughout the county and traffic to your studio is mostly determined by location. I'm sure there are artists who do more promotion than I have, but after having my studio open all last year, I've come to realize that my time and money are better spent elsewhere.

Anyhow, I'm incredibly bored. Only two people have walked in in two days, and they weren't connected to the Studio tour. I honestly feel trapped right now, and just want to close the doors so I can get some things done. I have my tent set up outside the studio, full of abstracts. The hallway is full of my older figurative stuff. My studio is full of nudes. The necklaces are set up and looking pretty. I even bought balloons! It's not just me. No one is in downtown Paso. The stores are empty too. The economy is tanking and no one is shopping. The wind is gusting outside-they are predicting up to 30mph all weekend-so I'm terrified the tent will blow away...and my back hurts.

Yes, I'm whining. Forgive me. It would be nice to have a little audience for all my hard work, but I'd rather just close the door and have the day to myself.

Old Town San Diego Art Festival Review

2008-10-09T10:01:00.000-07:00

I've been trying to write a blog for days now, but can't seem to focus. There is too much information. It's like I'm going through a crazy roller coaster crash course of tent mastering, solo traveling, and the fine art of art sales all in one. I recover, get back to painting, and finish projects for the next show when I'm home.

The business side to being an artist is one most people are unaware of. It's necessary evil if you want to be a working artist. It's unnecessary if you can hire people to do it, or play an artist on TV.

My second San Diego show was my first show out-of-town ALONE. Am I crazy? Yes. I can absolutely confirm my insanity. Even the other, seasoned art festival folk think I'm crazy for taking this on alone. On top of it all, I'm showing figure paintings. No one is showing figure paintings at these shows.

So I take off for a 6 hours drive to San Diego a day before the show. I always feel so alive at this point. The sun sparkles a little more; I breathe the fresh air and crank up the music.

Driving through Lost Hills, CA

Once I hit LA, the fun is over. Have you ever tried to get off the LA highway in some awful area to find a place to pee while pulling a trailer? Don't do it.

I check in with my hotel an hour before set-up. Most 2-3 day shows allow set-up the day prior, and I won't do a show if they don't. Returning to the car for my bags, I notice the trailer is leaning to one side. Incredulously, it has a flat tire. Thank you, Uhaul. After freaking out for a moment (ok, a few moments), I realize there's only one choice. I detach the trailer from the car, and unload it into my car in two trips to set up the tent. It's freaking exhausting, to say the least.

Unloading the trailer

Grrr…I need my own trailer, but at least they fixed it.

The next morning, my mood restored, I have a good breakfast and set off for the show with a steaming cup of Earl Grey. I drive to the artist parking lot, find a good space, and look down, only to find my cell phone floating in the steaming cup of tea. This is the point where I nearly cry.

I ended up making it through the day. My neighbor, Nha Vuu is a blessing. She let me use her phone, and we chat the whole show. Her art is lovely, so I want to share it:

http://www.nhavuu.com

I learned a lot at this show; from other artists, and from the experience. I was visited by some friends I met at Artwalk the week before. We went out for drinks, and it was nice to get out of the hotel room. Even my new friend at the art gallery came by for a visit. Which reminds, me…I need to mention that I have all my paintings back. The gallery agreed to wait until I finish the show season. At that time, we will discuss an arrangement again. I am so relieved, because I didn't feel right about the situation. It's all written in my last blog if you want to check it out.

People at the show

My tent

Show review: This show had a good amount of people, but most of them were tourists, uninterested in art. The quality of the work here was below average, with people selling things like key chains and poor quality jewelry. There was very little high-end 2D art. Both days, the locals came early, and that's when I made sales. From noon on, the sales tanked, and I had to deal with a never-ending steam of giggling, pointing, and joking tourists. There were also a lot of creepy old men with beards who enjoyed hanging out in my tent for some reason. I didn't lose money at this show, which was a relief. I didn't make much, either.

I may be back next year. We'll see.

Best quote of the weekend: A boy about 6 years old walks by with his dad. He points to one of the nudes, exclaiming, "Daddy, I don't want to BE like that". I'm sure dad was relieved.

Part two will be up soon, the Danville show. Thanks so much for reading.

The Most Successful Unsuccessful Show Ever

2008-09-18T11:16:00.000-07:00

I have two more art festivals under my belt; first let me backtrack to the Sept 7^th show in Shell Beach. Driving down from Paso Robles, I entered a low, misty cloud and remained in it for the rest of the day. It was cold and damp the entire time.

the cloud

I’m getting fairly accustomed to setting up the tent, but had some technical difficulties with the dolly. It lost a wheel, so setup and take-down required extra trips.

The crowd was drastically different than the month before. For the first few hours, they walked around, remaining a few feet away from the tents. Arms crossed, they acted like us artists were going to accost them with sales pitches and grab their purses.

a new necklace display

Luckily, I had some visitors to keep me company. A few of my lovely models stopped by, and some friends stopped in to chat. I barely broke even with sales, but had a fun day nonetheless.

this guy was popular

San Diego’s ArtWalk (Sept 13-14^th) was my first art festival out-of-town. Applying to these shows is risky, since I’m incurring hotel and gas expenses along with the entry fee. Entry fees can range from $300-$800 for some of the bigger shows, so it’s a gamble, especially since I don’t know what to expect. I took the gamble for the networking opportunities. I’ve outgrown the central coast, so I’m hitting the road to get more exposure, bypass the gallery system and take the reins of my career into my own hands. The work is hard, and I’m teetering on the brink of bankruptcy, but at this point, the only direction is forward.

the night before, setting up

The setting is beautiful. Right on the bay, the tents have the ocean behind them, with a thick jasmine bush to keep everyone hedged in. My first “fine art” show, I was in awe and intimidated, but thrilled to be there. Some of the art is impressive; gorgeous paintings, sculpture and glass. I recognized some of the artists from magazines, but my admiration was tempered by a good amount of displays lacking in professionalism, to put it nicely.

ArtWalk provides tents. This is good, because I don’t have to tow a trailer around San Diego (this time). It’s bad because I lose control over the presentation of my work. Luckily, the mesh walls from my own tent fit over the provided one, and set-up went smoothly. That night, we had a good night’s rest and showed up at the show ready to go

all set up

I soon discovered the crowds were not art buyers, for the most part. They were families and couples, here to enjoy the day. I sold some necklaces and prints, but no where near enough to make up for the money I shelled out. Useful art sold the best. The woman next to me sold $10,000 in stained glass lady-lamps, and a furniture maker was mobbed the entire weekend. It seems like artist here do really well or not. It’s tricky, because it may take a few years to build up a clientele. There’s also the possibility I’ll find my audience in places like Beverly Hills. Still, I had a wonderful time, and met some incredible artists who gave me invaluable advice.

the lady-lamp

The second day of the show, I was visited by a gallery owner. He carefully looked at all my pieces, and said he wanted to meet with me in his gallery-that day. He was looking for nudes, and wanted most of my originals. The gallery is located in the Manchester Grand Hyatt, and carries fine art, sculpture, and glasswork. The artists are way out of my league (not in quality, but in exposure and career level), so I’m left feeling unprepared, and a bit confused.

In the end, I left San Diego without rent money, OR paintings. I want to be excited, but I'm filled with trepidation. The gallery may not work out, but for now I am represented by them. The reins are once more out of my hands, and there's another show in three days.

The best quotes of the weekend:

A man walks into the tent, his wife remarks, "Course you know where Joe goes...naked ladies". She rolls her eyes and walks out.

A little boy and his mom were passing by, the little boy sees my stuff and shouts, "Ewwww!" Mom says, "just cover your eyes, cover your eyes!" They RUN by me.

late nights, paint-stained hands

2008-09-05T00:27:00.000-07:00

My festival tour kickoff starts this weekend, and I've been on lockdown in the studio for weeks. The solitary time spent creating is part of the appeal of being an artist, but it can also become frightening. After so long, I sometimes have difficulty carrying on simple conversations. My vocabulary is shot. I don't know what happens, but I feel the need to read a book-out loud, just to use my voice.

Oh wait, that's not very social, is it?

I should probably get out of the house.

I'll be out of the house soon enough, starting this Sunday! There's Shell Beach, San Diego (2x), Danville, Slo open studios (2 weeks), Sacramento, Shell beach (again), and Pasadena. Whew! I'm so excited.

If you don't know much about fine art festivals, let me give you a little low down. You are required to be in your tent at all times. That's 2-3 days sitting outside in any kind of weather. Some of these shows have 10,000+ people in attendance. That's a lot of meeting and talking, and hopefully selling :)

You are required to have a high percentage of original art. Some shows require up to 80%. If I sell all my original art in September, there's no way I'll have enough paintings for October and November, thus the long hours in the studio.

Plus, there's a zillion things to do. I'm not even going to get into that because it stresses me out, and I'm trying to calm down, despite all the coffee I've been drinking.

So I'm going to take a few deep breaths and just do the best I can. I'll be back with a report.

Thanks for reading!

Art Festival Review: Shell Beach

2008-08-04T16:55:00.000-07:00

Yesterday was another art festival, Art in the Park at the Dinosaur caves in Shell Beach, CA. It was a gorgeous day, and this is my second show. It's my first time doing a show alone.

The day before, I was relaxed. Jeff and I packed the car with relative ease, and I slept like a baby. The show had an 8:00am set-up time, so I woke early, had a big breakfast, and set off on the 45 min drive to Pismo. Some ambitious artists were already set up when I arrived at 7:30, so I got my space assignment and went to work.

Art in the Park is located in a gorgeous park, right on the ocean. We weren't able to drive on the grass, so everything needed to be carried from the car. Lucky for me, I had an ally in my convertible dolly.

It's genius, and I was able to carry my whole tent in one trip.

Upon seeing my tent contraption-a very large mess of heavy poles and bags, people around me were shaking their heads, "that poor girl"… I stubbornly set to work, and with some difficulty, had the thing up by 9:30. The only casualty was my finger, which was bloodied by a shotgun bungee cord.

Once assembled, the tent was the envy of the show. I keep telling myself it was worth the extra cost and effort.
A burry cell phone pic:

This show had tents arranged in single rows, with people walking in front and behind the tent. With some quick thinking, I eliminated the back wall, allowing free access for people to walk through. I didn't realize most people would be walking on the grass, making my display backwards. Oh well. I'll get it right next time.

My reception was much different than the Cambria show. People were here to look at art. Being the new kid, my tent was intriguing to the locals, and the artists were very friendly. Sales started before I was completely set up, and continued throughout the day. I was only able to leave the tent once to run to the bathroom, and happy I ate that big breakfast. The only other food available was kettle corn and ice cream.

My new painting had lots of attention. :)

My improvement list for this show is much shorter than last time.

-bring a mirror (for necklaces)

-find a better necklace display

-bring many more prints (I sold out of most of them)

-stop selling cards and sell matted 5x7 prints instead

-get a banner sign

-devise a better way to display bio and business cards

-bring lunch

The most common phrases for the day:

"How did you get my picture?" (A joke made by women repeatedly). "YOU'RE" the artist?"

The oddest question of the day:

A girl asked me, as she was holding up a 5x7 card to the original painting, "how do you paint each one so perfectly?"

The best thing I bought since the last show:

My convertible dolly. In second place are the slightly more expensive, but biodegradable plastic bags for purchases.

I also discovered it was slightly uncomfortable eating a big frozen, chocolate & nuts covered banana in a tent full of nudes.

When the show was over, I broke down the tent with some help from a new friend, artist Abbey Onikoyi.

Here's his website: www.spiritsofafricagallery.com

I drove home exhausted, every bit of my body sore. It's much like moving out-and-into an apartment in one day. The next few weeks will be spent preparing for the next shows. This is what I've been practicing for.

Three shows in a row, starting off with another Art in the Park in Shell beach (Sept 7th), followed by Art Walk on the Bay in San Diego (Sept 13-14), and the Old Town San Diego Art Festival (Sept 20-21st). (Evidence of my masochistic tendencies)

killing me

2008-07-14T11:29:00.001-07:00

Yesterday I had a photo shoot for The New Times (San Luis Obispo's version). This is the same New Times you find in Phoenix or Miami; an alternative weekly publication.

The concept is for their Sept issue, and will feature local talent, including a writer, producer, actor, dancer, painter etc. I'm representing the painter in the bunch, and we'll all be photographed dying in some dramatic way. Dying because it's the fall issue, and because what we do tends to live on when we die if we are any good. The theme will be a Gothic Victorian, with a nod towards Sweeney Todd.

It's a great concept, and somewhat edgy for this area. The New Times folks have been very kind to me since I landed here in Paso, so I jumped at the chance.

My death with be a fall down my stairway of doom. I'm told there will be costumes and corsets. Cool!

Trying on the outfits, I discovered my vision of the shoot wasn't quite what their vision was. I was thinking sexy, busty corsets...you know, "sexy dead".

They were thinking...."dead".

So I ended up in a white lacy thing that reminded me of the scratchy Polly Flinder dresses I was stuffed into as a child. The makeup was that smelly oil based stuff you use on Halloween. I kept ducking into the bathroom every now and then to add a little more black eye shadow. The stylist did a good job, because I looked awful, and dead, and 10 years older. I even got a big bruise on my face. Ahhh! The hair was just about the only thing aligned with my vision of the outcome.

-Yes, that's terribly vain of me, but I reserve the right to be concerned with the outcome of a photo in a publication with circulation of 40,000 people.

Steve, the photographer, was set up at the bottom of my stairwell. He had a wide angle lens and would be shooting upwards. My job was to somehow position myself upside down on my teeny steep stairs without slipping to the floor. It was extremely uncomfortable, but I got through it.

I'll post the article when it's released.

Some shots:

Whoa, honey...don't go in there Part 2

2008-07-12T16:40:00.000-07:00

Part 2

Once the tent is up, Jeff mans the tent while I check out the fair. It's a small one, with about 20 exhibitors. The show is predominantly "hobby" crafters and artists. Most set-ups are makeshift, which makes my monster-tent-o-nudes stand out even more. That may not be a good thing for this show, but it shows me I'm on the right track for big shows later this year.

The few "pros" are there because they live close by, and the conversation goes something like this:

"Your tent looks amazing. Why are you here? You should be at a bigger show."

*disclaimer: I hope I'm not coming across like a festival/art snob. This is my livelihood and career, and I treat it as such. If you want to make art your career, you should too.

As I speak with the vendors, something I never anticipated becomes apparent. Over and over, I'm asked a variant on the same odd question: Are you the muse for the nudes? I'm confused at first. Artists usually aren't their own muse. Then it dawns on me. Everyone is assuming Jeff is the artist. Ahhh!
So I begin a list of things to buy/make for future shows.

As I hunker down in my tall director's chair (tall so I can sit at eye level with my guests), another strange thing happens.

My paintings are getting some extremely odd reactions. My exhibitor neighbors, The Craftinistas notice it too and begin to laugh. As customers meander past the tents, a look of shock comes over their face when they see the nudes. This doesn't happen with everyone, but it's enough that it becomes a sort of entertainment for us throughout the day.

Funny comments get thrown my way, like the man who quickly ducks in (trailing his wife), to say he likes my work, but his wife would never let him have it. Then there's a burly man with his young son. He loudly points out the naked ladies saying, "You'll be interested someday".

A nervous couple comes in, giggling. I suddenly get the feeling that I'm selling dildos instead of paintings.

The highlight of the day was a middle-aged couple. The husband is numbly walking into my tent when his wife body blocks him, grabs his arm, and steers him the other way. What is going on?

Without getting into the conservative nature of the American psyche, and my own interpretation of the figure (I'll leave that for future blogs). I'm going to blame this strange behavior on the show. It's not entirely their fault, because I shouldn't be in this type of show in the first place.

The festival is poorly advertised. There aren't any signs on the main street to announce it, so it's much like a band of tents decided to randomly pitch in downtown Cambria. The customers who manage to find us aren't expecting art. They are tourists and shoppers who stumble across what looks to be a flea market, hoping to find some neat stuff to take home.

I don't take it personally. In the end, we manage to break even on the $25 entry fee. I meet some wonderful people who I hope to see at future shows. I accomplish all I want to accomplish and gain a deeper insight into this festival world I'm delving into.

Here's the completed list:

-a sign, with my name and a photo.

- a credit card terminal

-some sort of desk for credit card transactions

-sturdier picture hooks

-a folding table that fits in the center of the tent

-a table cover

-baskets for the 8x10" prints (to go on the table)

-hand wipes to clean my hands and whatever else gets dirty

-a jewelry display

-small merch bags for the cards

-gloves

-better title/sales tags for the artwork (ones that don't fall off)

A side note:

To demonstrate the rollercoaster ride of the art world, I ended up selling one of my paintings on art festival day; except it wasn't at the festival. As I unloaded the car to place the paintings back onto Vihuela's gallery walls, a woman purchased one.

Whoa, honey...don't go in there.

2008-06-30T12:30:00.000-07:00

Part 1

Yesterday, I participated in my first art festival. I plan to do these things full-time next year (12-18 shows), so it’s a milestone.

First, let me explain a bit. In order to enter fine art shows, you need to send an application 6 months, to a year ahead of the show date. Included in that show entry, you need a “booth picture”. This photo is a picture of your art tent, fully set up at a show. This is an important part of entry, because it determines weather or not you’ll even get in. These shows are strictly juried, and many enter year after year without getting in.

Did I mention it costs big bucks too? I just paid $600 for a 10x10’ space in San Diego later this year. Fees can easily be in the thousands! That’s not even factoring in gas and hotel stays. Let’s not think about that right now.

Back to the booth picture. Since I’ll need to enter shows so far in advance, I bought my tent months ago, just to get that little booth photo. That’s a big leap of faith. I didn’t want to start small either. I’ve been showing paintings for a long time, and I know presentation is important. I want to play with the big boys. I’m cannon-balling into the icy deep end. This means I need a monster tent with all the bells and whistles. It’s heavy. It’s hard to set up, and I’ve got to learn how to transport and maneuver this thing all by myself.

Yesterday’s show was a local show in Cambria. This was a dinky one-day show, part of Cambria’s heritage day celebration. I found out about it from a Craigslist ad and entered because it was cheap, and close-by. I don't expect to sell any paintings, but hope to break even with a few prints and card sales. This show gives me a chance to test drive my tent before the 3-day shows later this year.

My little Nissan Xterra was loaded a day ahead. This was tricky, because I didn’t even know if everything would fit in the SUV. The other tricky part was maneuvering the heavy, awkward tent poles down my stairway of doom. After stealing all my paintings and prints out of Vihuela winery, I tried to squeeze them into the car without damaging the canvas. It was tricky, but I managed to do it.

I'm only showing nudes at this show because I want to present a cohesive body of work, which means I need to pick a series and go with it. So I’ll show nudes in San Francisco, abstracts in Palm Springs and landscapes in the suburbs. I won’t know what works until I actually do a show, but at least I have flexibility when I enter. (i.e., I was just denied entrance into show because they don’t want nudes, then re-entered with my landscapes and got in).

Back to the Cambria show… I barely sleep the night before. Lists are floating around in my head. I still need to remember to pack the tent instructions.

The next morning, I forget the tent instructions. Luckily, there are a few practice set-ups under my belt and the poles are marked with color-coded Sharpies. I get to the site on time. It’s 8:00 in the morning, and everything needs to be up by 10:00. Jeff is helping with this show, so we finish 30 minutes ahead of time. My anticipated tears of frustration never show.

Whew! Here it is, all set up:

and me, trying to look awake...

Stay tuned for Part 2!

New Painting

2008-03-15T00:13:00.001-07:00

Over the next few weeks, I'm working on an ambitious project:

Five 60x48" abstract expressionist paintings done oils. I'm nearly finished with the first one. It's a battle. I have paint everywhere, several ruined brushes and a badly bruised foot. While I enjoy the challenge of doing realism, these are my true favorites to paint. I love the texture and the process.

My original concept was to paint them all at once, on five massive easels positioned outside my studio. Since my studio is open to the public, I thought it would be an interesting thing for the folks to witness. To test my theory, I began this first one as an experiment, to test how the canvas and easel held up to the wind. Within the first hour, a gust of wind collapsed the easel on my foot-thus the bruise.

Anyhow, this is a quick blog, since it's past midnight and my eyes are shot. Here is a photo of the painting in it's unfinished state. I'll be posting more photos when I'm satisfied with it.

Title ideas: Creep, Shallow, Tidal.

an introduction

2008-03-13T13:14:00.000-07:00

If I have any readers out there, my name is Marni Mutrux and I'm a painter.

You will mostly find me on Myspace.

Occasionally, I'll log into my Facebook account. Since their search feature only works with the big-name email hosts, I don't use it much.

I also have a website, with portfolios of my recent work.

I hope to share a bit of my life here, in my venture into the world of blogging. Time will tell what comes of it.

Apartment Therapy

2008-03-13T13:05:00.000-07:00

I just found out my print of, "Drift" was featured on the front page of Apartment Therapy. If you haven't explored this site, it features amazing furniture designs, something I go nuts for.

Here's the link
to the (now archived) feature page.

If you are too lazy to use the link, here's the painting they featured:

image copyright of Marni Mutrux

I can't believe they had the ummm...balls, to use a nude on their main page. Now I really like them.