MentorMe

FREE ARTIST RESOURCE

AUGUST 2017




























MAHLIMAE
Mixed Media Sculpture









Contents

3 \ Introduction 6 \ Marketing Yourself 13 \ Addressing

ksjbjeCreativity block

4 \ Mentors 10 \ Pricing Your Work










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Beautiful Bizarre Magazine is passionate about
supporting artists and the industry. Through research
and consultation, we seek to develop new ways to
encourage, mentor and inspire emerging artists as they
explore their creativity, develop their technical skills and
find their personal style. This has led us to launch this
newest Beautiful Bizarre Magazine initiative MentorMe,
a regular free resource for creatives who wish to learn,
grow and be inspired by their peers.

This free Q&A resource will provide insights into how
some of the most esteemed artists have made a name
for themselves in an increasingly competitive market,
how they make a business of being an artist, how they
found their niche, intimate details of their practice etc. In

Introduction
each guide a different group of artists and
photographers will share their insights, personal
experiences and advice with creatives that wish to grow
and evolve in their artistic practice.

MentorMe is a free It is with great pleasure that I introduce to you the artists
and photographers who have so generously given their
resource for creatives time to respond to our questions, this guides gracious


who wish to learn from and inspiring Mentors: Mab Graves, Fin Dac, Troy
Brooks, Sarah Joncas, Sheri DeBow, Young Chun, Nicole
their peers. Watt, Jana Brike, and Audrey Kawasaki.

We hope you find value in this, out first MentorMe guide.
If you have any specific questions you would like to see
us address in future guides, please feel free to reach out
directly to my EA, Kylie Dexter on
kylie@beautifulbizarre.net.


Happy Learning Mentees!






Co-Founder and Editor-in-Chief

Beautiful Bizarre Magazine






Beautiful Bizarre Magazine |3

1
2

Mentors

Beautiful Bizarre Magazine mentors

encourage, guide and inspire emerging


artists as they explore their creativity,
develop their technical skills and find their

personal style.

Take a moment to learn about this issues generous mentors below, and on the following pages
each mentor responds directly to three questions, offering their personal insight and advice.












MAB GRAVES FIN DAC TROY BROOKS
Website | Facebook | Instagram Website | Facebook | Instagram Website | Facebook | Instagram

Mab is a self-taught artist Fin DAC is a globally Troy Brooks is a Toronto-
who started exploring recognized urban artist, based contemporary
graphite and pen mediums renowned for his distinctive surrealist painter who paints
before she discovered spray technique and large glamorous women usually
painting in 2009. scale murals of strong ethnic caught between moments

women emblazoned with where something
Her work has been shown colourful paint masks. transformative has or is
globally and has appeared in about to happen.
Having defined an unusual
print articles, magazines,
street style called 'Urban
books and has been sold in He has had many shows in
Aesthetics, Fin has spent the
more than 56 countries. his career from America
last 5 years travelling the
world adding his work to the through to Germany.
urban landscape.
4| Beautiful Bizarre Magazine


SARAH JONCAS
Website | Facebook | Instagram
Sarahs interest in the visual
arts developed at an early
age. Eventually the study and
enjoyments of working from
existing images stirred up the
need to create images of her
own; ones that could reflect
the world, yet also appease
the personal feelings/ideas
that she maintained.
MAHLIMAE
Website | Facebook | Instagram
Mahlimae is an
internationally exhibited self-
taught mixed media sculpture
artist living and creating in
the wilderness of Southern
Tasmania, Australia. Each
piece is carefully hand
sculpted, and the final works
are pulled together by a
common theme of possibility,
a longing for connection, and
an aim to intrigue.
SHERI DEBOW
Website | Facebook | Instagram
Sheri DeBow is a sculptor,
painter & doll-maker. She
studied in California & lives in
the Napa Valley.
Her art dolls & sculptures are
her stories to the world. Her
work has been published in
numerous art magazines &
even appeared on Television.
She now has sculptures &
dolls hanging around the
globe.
JANA BRIKE
Website | Facebook | Instagram
Janas main interest is
figurative visual art with a
strong narrative. The primary
focus of Brikes art is the
internal space and state of
human soul-dreams, longing,
love, pain, the vast range of
emotions the human
condition offers. Her work is a
poetic visual auto-biography.
YOUNG CHUN
Website | Facebook | Instagram
Born a ministers son in
Seoul, Korea, and spending
his weekends with imaginary
friends has powered Youngs
imagination, contributing to
his artistic growth.
Before working as a full time
artist, he worked in the
healthcare field as a
respiratory specialist, which
has expanded his outlook on
life; adding to his artistic
vision.
AUDREY KAWASAKI
Website | Facebook | Instagram
Each of Audreys subjects is
attractive yet disturbing. Her
precise technical style is at
once influenced by both
manga comics and Art
Nouveau. Her sharp graphic
imagery is combined with the
natural grain of the wood
panels she paints on,
bringing an unexpected
warmth to enigmatic subject
matter.
Beautiful Bizarre Magazine |5


How do you
market
yourself and
your art to
gain
recognition
from galleries

Q1. and
collectors?

Q1.
Mab Graves
I dont really do any specific marketing to gain
recognition from galleries and collectors. I decided
several years ago that I was just going to be myself. I
do what I do, create what I create and post about my
life, work and things that inspire me. I think thats
the best thing you can possible do. I decided that if
things evolved from there, awesome but if not, I
didnt care. I was doing the same things Im doing
now when I worked 3 jobs, and I would still be doing
the same things Im doing if I as a millionaire and
didnt have to work another day in my life.
I think people place a too high a value and get too
distracted by the pressure to attain followers and
likes. Its really pretty meaningless. The best thing
you can do for yourself is focus on your art. Focus on
growing and on honing your craft. When you are
ready, the galleries and collectors will find you.
Seriously the best thing you can do is focus on your
work and dont pay attention to the noise.
That being said I do have a few social media rules: 1
in every 10 posts needs to be another artists work.
And not just a repost! I post an artist whose work I
really love, and then I talk about why I love them.
Also, 1 in every 10 posts is about something I love or
something that inspires me. It could be a book, a
shell, a weird toy. Just something that helps lend
context to the world I create from. I think its also
important to be personal. Post pics (not too many!) of
yourself and talk about things that are important to
you and fuel you why you create. Also dont over-
post too many progress shots or unfinished pieces.
Post the best of what you do, then shut your phone
off and keep doing it. The rest galleries, fans and
collectors will evolve naturally.
Fin Dac
It seems a bizarre thing to say because you need
buyers to survive but, this was something I never
considered. As a street artist, showing in galleries to
a few people was irrelevant when I had the streets to
show my work to the whole world. That said, my plan
at the time was never to be a full-time artist so I
didnt have the problem of needing to earn money
from it. I was still working in web
design/development so I was informed in terms of
social media, branding, audience engagement and
how to get the best from various channels/platforms.
So, I travelled and painted as much as possible and
promoted everything without fail. Within a short
space of time those sewn seeds grew into an
enviable following and word of mouth that found its
way to the right people.
But for the majority I would say: initially dont make
your art the sole way of earning a living. Paint each
and every hour that you can spare but focus on the
doing and not necessarily the results. Dont get
bogged down in technicalities or perfectionism. Do
the best you can at any given time, do it constantly
and consistently and dont make excuses or beat
yourself up. Own everything you produce, even the
shit, because you have to wade through a ton of it to
get to the sugar. Hone your craft and find your style.
Making your work instantly recognizable helps it
speak for itself and will make it desirable by anyone
who comes into contact with it: be they potential
clients or galleries.
Troy Brooks
Start noticing what gets your attention with regard to
new art. Is it a time lapse video of a work in
progress? Is it an interesting blog or interview?
Beautiful Bizarre Magazine |7

First and foremost, I think its important to have a
decent website, and not a flash website that takes a
million years to load. Then to promote your work, I
think its important to know your audience. Track
down an art blog that fits your aesthetic and try to
get them interested in sharing you with their
audience.
There is so much opportunity for talent to connect
with an audience now its almost overwhelming.
Sarah Joncas
I started showing my work when I was 17, just in an
art community centre in my hometown. I got some
exposure from the local newspaper and by doing
some TV interviews, which in turn got me in contact
with people from another city looking to display my
work at their caf. After that a gallery owner saw my
stuff and it has kind of snowballed from there.
After getting a proper website running and putting my
art on the net, I managed to make some more
connections internationally. Really I think your best
bet is to work hard at developing a nice body of work
and then taking a chance with it dont expect great
success right off the bat, but take your time and start
small. If there are venues online for displaying your
work, use those as well! Social media can also be a
great way to develop a following. And if you can keep
a professional attitude and way of dealing with
business and people, itll help you out in the long
run.
Sheri DeBow
Before I even considered marketing, my first goal
was to create a large body of work. As a sculptor and
doll maker, I wanted to actually have a solid handle
on my own style and the way my work could
eventually be a voice to the world. I started
approaching smaller galleries online in the beginning
as I felt very humble to even be considered by a
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gallery. It was and still is an honour to be chosen for
a show when there are thousands upon thousands of
talented artists in this world and amazing art to be
seen. I have the attitude that it was important to
show up for the openings and meet the other artists
and gallery owners. Meeting some of the artists
opened doors in a way that they would mention my
name for a show to another gallery and eventually
that led to larger galleries and eventually to bigger
cities and solos, etc.
In the meantime, while those things were happening
of course I have always utilized social media. I cringe
a little bit at how we all have to self promote but it
comes with the territory.
Also submitting your work to relevant magazines has
been awesome too! Not just art magazines, but
product and artisan type magazines as well. I have
been on the cover of Art Doll Quarterly twice and
the Featured Artist for Polymer Caf which is the
product I sculpt with. From this the clay company
found me and asked if they could use my work as a
sample of what to do with their product. That was
also a wonderful honour! I think reaching out to
people whether in person, at a show or via social
media is key. Once you have a solid body of work
then its time to begin to build some solid
relationships in the art community.
YOUNG CHUN
Soul Effusion 2016 (DETAIL)
Oil on Canvas, 18 x 24




Young Chun
The majority of collectors, galleries and magazines I
have worked with in the past have indicated they
found me via social media, so it has been the most
I think that marketing one-self as an artist has successful marketing too for my work overall.
become a lot easier now days, especially with the
rise of social media. So it's definitely good to take That being said, I think an easy to navigate,
advantage of the different online platforms. Also, if professional looking website is another important
the budget allows, magazines and other media can factor in a marketing plan. Although it may not get
be extremely beneficial. the same traffic social media may attract, it certainly
helps to have an up-to-date website that you can
The key is to have good marketing materials; guide people to should they wish to learn more about

artwork. However, this can be a little tricky, because you, browse previous works, view upcoming

what is considered "good" in fine art is exhibitions, purchase work, etc.

somewhat subjective. Personally for me, I just create
art that I enjoy making or I find entertaining, and There are loads of great sites out there with easy to

hope that others will enjoy or be entertained by them use templates to help you build your own website for

as well. free although it will cost you to purchase a domain

name and subsequent hosting. There are ways to

Getting into galleries is probably a lot different now, create a beautiful and basic site without it costing
the earth, and if I can build my own website then I
then how it was when I started. But, basically I
am positive anyone can.
started out by showing slides of my work to a gallery

and was asked to show with them. The more I

showed my work, the more exposure I gained.
SHERI DEBOW
Eventually, other galleries asked me to participate in I am the Warrior 2016
Mixed Media Art Doll, 12 x 29 x 8
their shows as well. This is the way it has been for

me, so far.



Mahlimae


The only conscious decision I made in regards to

marketing my art initially was to sign up to a range of

social media platforms. Although social media now

seems to be a changing landscape for artists, with

the various algorithms to contend with and

suggestions for paid/sponsored posts. I still feel this
is the best way to reach a worldwide audience of
potential collectors and galleries alike. I dont feel
particularly comfortable with sharing a whole lot
about my personal life on social media so in some
ways I chose not to market myself and let my art
speak for me.





Beautiful Bizarre Magazine |9



Jana Brike
Honestly, this is not the first thing you should think
about. Before any marketing comes really strong,
well executed work, which is persuasive on its own
without any strategies, and which shines with your
own personal unique vision in an honest way. All
recognition I have gained was because someone
every now and then who I (usually accidentally) met
on my path, connected deeply and strongly to my
work, and helped open the next doors for me. So I
havent thought about strategies.
SARAH JONCAS
Ascension 2017
Oil on Wood, 6x12
Audrey Kawasaki
Over ten years ago, before I was a full-time artist I
spoke to coffee shop and boutique store owners,
and they agreed to have my work displayed on their
walls. One of the stores was a part of a monthly art
walk night event in the local area, and from there I
had my opportunity to meet gallery owners and
collectors, and things took off.
Since then I make sure to keep updating and posting
on various social media (e.g. Instagram, Facebook,
etc.), blogs and my website. Im continuing to work
and show at galleries and taking part in projects
where my work can be seen by the crowd. Mural
work, I feel, really helped expand my audience.
I tend to be a bit of an introvert, but I am realizing its
really important to challenge yourself with things that
youre not quite comfortable with. To try to get out
there and be involved with the community and form
connections with people, that you might not
otherwise.


How do you

Q2. set a price for

your work?


Q2.









Mab Graves


Every artist is different and has a different My only advice would be to try not to get attached to
the work because that emotional connection can fool
market/demographic/collectors base. When I first
you into thinking something is worth more than it is.
started selling paintings 9 years ago, they were $50.
If youre just starting out, go slow. Dont expect
I made about $2 an hour from painting. When they
sold fast, I went up to $65 and on from there. I know
incredible rewards straight off the bat: you have to
work for your supper.
its hard, but start low find your market, and earn the
trust of your collectors. We all have to start from the


bottom and build. You will find your market and your
collectors bracket pretty quickly. Every artist attracts Troy Brooks
their own unique group of followers and for some
of them its very hard to sell original pieces. Dont be It can be difficult when you first start showing to
discouraged. If your art attracts a younger audience, know how to set your prices. The important thing is
you may want to try offering prints and lower-price to not start out too high. I was lucky that my first
point pieces. If your demographic has a lot of music gallery helped me to set the prices. I would do some
research and find other artists who are at the same
fans, shirts might be a good investment.
exhibition level and communicate with them. Its

been my experience that most artists, no matter
what level, are happy to help each other. Going to

Fin Dac
local galleries and familiarizing yourself with price
points and the process of other artists can help give
you a reference point.
Always a difficult thing as an artist and something I,
luckily, rarely involve myself in. By the time I started
to sell my work I had a small network of friends in the
business and gallery owners who I trusted as friends. Sarah Joncas
They did the pricing for me and I stuck to those

prices whether I sold with them or privately. I never
did discounts or deals (except to close friends who My only advice would be to try not to get attached to
were sworn to silence) and I rarely, if ever, the work because that emotional connection can fool
entertained the notion of doing things for exposure. you into thinking something is worth more than it is.
Anyone offering that as an incentive was, and is, If youre just starting out, go slow. Dont expect
given a short shrift. incredible rewards straight off the bat: you have to
work for your supper.






12| Beautiful Bizarre Magazine


I started selling my work really young (at 17 years
old), and priced it very low. I was selling 18 x 24
paintings for $50. It wasnt until I started selling
more in galleries that I was given advice on raising
my prices. I would suggest looking around at what
other artists of your calibre and stage are selling.
Dont be greedy, but no need to be so modest that
you arent covering your time and materials. Once
you start selling consistently, you can increase your
prices slowly and periodically. I wont raise mine more
than once a year by any more then 10% - and some
years I dont at all. Though Im sure this can vary
depending on your popularity and demand.
Sheri DeBow
Pricing is my absolute least favourite part of being an
artist. So that being said, I try very hard to remove my
emotion from the piece and just think time, materials
and expertise. To be fair in the end the money is
icing on the cake. Most of us do our art out of
passion or compulsion, and we were doing it when
we were making hardly any money. Even when, at
times it can feel like slaves wages, we are still going
to keep doing art.
Young Chun
There are various different ways prices can be set for
artwork. In some cases, (for the more established
artists), price is based on auction results. Others will
set the price based on time spent on a piece. I set
the price based on the size, in order to be more
consistent; and every couple of years, raise it 10-
15%, depending on how in demand my art is. The
cost of materials should also be considered.
Mahlimae
Pricing is something I have always struggled with. For
me, creating my art is such a personal experience
that the process itself it what I do it for. To then put a
price on the finished work feels very strange, it turns
it into a commodity or form of business which is
something I still grapple with. Although I have come
to realise that if I am to eat and put my girls through
school, it is a necessary evil.
Obviously the amount of hours invested, various
techniques employed and types of materials utilized
are the bare bones of pricing which need to be take
into consideration. I have also been very lucky to
have found myself surrounded by incredibly
supportive gallerists along the way who have kindly
offered their advice in regards to the pricing of my
work, this objective guidance is something which I
have found to be an invaluable resource.
Jana Brike
I ask for advice from my galleries, as they are the
ones who actually do the selling. I also do an
examination every couple of years of what the
average prices are for artworks on a similar level.
Personally, my prices in general are on the lower
side. I like them to find good homes where they are
loved.

JANA BRIKE
The End of a Lonesome Road, 2016
Oil on Aluminium Panel, 39 x 31

Beautiful Bizarre Magazine |13



Audrey Kawasaki
At this point, I know how to price by size. Each
square inch is a certain amount. But that can be
adjusted according to how much time and detail
went into the work. But in the beginning of my career
I wasnt quite sure how to price. What I would do is
research how other up-and-coming artists are pricing
their work. Visit galleries and take note of the work,
size, price and see if it sold or not. And then when
determining your own, just ask yourself what amount
feels comfortable for you.
For me, many years ago, it felt reasonable to price a
12 x 12 for a couple hundred dollars. If it sold,
great! The next show the following year I would
charge $300. If your work continues to be
purchased, then there is a demand for it, so your
prices will steadily increase. If it doesnt sell, thats
ok. Keep creating, keep experimenting, and keep
perfecting your skills. Continue to have your work be
seen. And eventually, things will start to take shape.
MAB GRAVES
The Dream [Detail] 2015
Oil on Linen, 8 x 10


What are your

top tips for
others who
wish to be
creative but
feel stuck,
dont know
where to start,
or feel like
they arent

Q3. good enough

to do so?

Q3.
Mab Graves
This one is hard for me. I have actually never yet
been stuck. I think it may be because I came into
painting later then a lot of people (I was 21 when I
first picked up a brush). I think I have a lot of backlog
inspiration to catch up on. I would probably
recommend not pushing it though. If it doesnt want
to come, try playing around with a different medium.
I draw paint with gouache, acrylic, oils and
watercolour. I also sculpt, sew and needle-felt. I think
playing with so many mediums may also be a reason
I havent gotten stuck yet. I have so much to explore
and lifetimes of learning to do. If the medium you are
working in isnt singing for you, maybe its not your
medium. I think when you find the material that
makes your voice sing, it will flow. It may be a
medium you totally werent expecting.
As far as being good enough thats something
Ive never worried about. Ask yourself who you are
painting for? As long as its you, painting makes you
happy and you like your work dont worry about
anyone else. Every artist is different and there is no
best in art. Its all completely subjective and never
try to compare yourself to someone else. Work that
brings one person to tears could be totally meh to
the next viewer. Just love what comes out of you,
create for yourself and dont put too much value on
praise or criticism. Its your voice and the way you
process the world. There is no wrong way to do that.
Fin Dac
Alas, doubt kills far more dreams than failure ever
will. Most of us think that we arent good enough to
16| Beautiful Bizarre Magazine
do so self-doubt is after all the creatives curse.
Youre not alone but know that those doubts and
fears are why most people end up working jobs they
hate
For me personally, there came a low point in my life
when the fear of never creating outweighed the fear
of failure. I felt like I had a wasted talent and wanted
to prove, even just to myself, that I didnt suck at
everything.
For those who dont necessarily have the belief in
themselves or what theyre capable of Id offer this
analogy:
When you first get behind the wheel of a car, are you
a good driver? Chances are, like most people, you
suck. What makes you a better driver is practice
its that simple. Apart from a few gifted individuals,
being an artist is the same. Practice makes perfect
but dont make perfection the principle point of
departure: it takes hard work and dedication to get
even close to that.
You honestly have no idea what youre capable of
until you start dont let those doubts and fears stop
you from starting and finding out. Your art or
creativity could be the one thing in your life that gives
you reason to live, the thing that gets your heart
beating that little bit faster, the thing that will give
you highs and lows that you never thought possible
and that gives you pride in yourself and who you
really are. Can you really give all that up because
youre a little bit frightened or unsure of yourself?
Troy Brooks
I think the worst thing you can do is to make your art
a means to an end. If you feel stuck I would turn to
meditation, not art. Having said that, Ive always

noticed that the people who find their success are
people who dont go looking for advice. If you can
truly assess your own individual situation, youll start
coming up with innovative ways to advance your
work, and it usually never matches anyone elses
path. Its easier than its ever been for a visual artist
to be noticed. Unless you have inhibitions about
sharing your work or theres a laziness factor, talent
will find a way to rise up and attach itself to an
audience like a magnet with iron filings.
Sarah Joncas
I think every artist feels that way in the beginning. I
thought for sure I was going to fail and have to get
another job, but I loved painting so much and it was
really all I wanted from my life, I had to at least give it
my best shot. The fear and anxiety surrounding your
work and confidence will always be there, sadly. I still
get anxiety every time I have a big show, theres a lot
of uncertainty. Putting those fears on the back
burner is the only way to deal with that though. If you
let it control you to the point of not even trying, then
youll be more miserable about it in the long run.
If you are wanting to start out, Id suggest getting
more involved attend art shows, meet people in
the scene, talk to them, start up a website with your
work and submit it to galleries by following their
instruction for doing so. Youll probably experience
some rejection, and thats alright. Most of all though,
keeping at your work and improving your skills is key
too. If taking some classes to help with that is worth
it to you, I would do so. At the very least you meet
others like you and have a community of sorts to
help.
Sheri DeBow
When I feel stuck I do busy work make armature,
organise tools, work on my studio. Then I always go
back to sketches. My old sketches spur on many of
my new ideas.
As far as where to start, you just have to start. You
have to be brave and go for it. The whole beginning
is trial and error, so just dont be afraid to fail
because there is learning even in that. In the world of
good enough you will always have moments of
doubt and also amazing moments of triumph, so
dont get hung up on the doubt. Its a rollercoaster,
so hang on for the ride. There are times you want to
scream, and times you are on top of the world. Its all
part of the process. You obviously werent looking for
easy or you never would have chosen the path of
being an artist.
Young Chun
Truthfully, I don think there is such thing as not
being good enough, because what is considered to
be good in art is a matter of opinion. But, if one
feels that he/she is lacking in technical skills, to
create the art envisioned, it is important then to
strengthen those skills; either by taking art classes or
learning through books, etc.
FIN DAC
Shinka [Detail] 2016
Acrylic and spray on wood panel, 48 x 72

So that he/she can effectively express and
relay to others the art that is imagined.
Also, I think that it can help to have other
interests besides just art; such as music,
sports or whatever, in order to prevent one-self
from feeling stuck or drained, because often at
times these other interests become the
foundation or theme to ones art.
Mahlimae
From the perspective of a self-taught artists, the
most important element for me when I first started
was putting my blinkers on and by that I mean
cutting off your peripheral vision to enable yourself to
focus inward stop looking at the work of others,
stop comparing yourself and your techniques to that
of others, and stop browsing online instead of
tapping into you. The creative spirit is such a delicate
wisp of a thing, a vivid and personal extension of
oneself which when nurtured, can change the world.
I believe it sits dormant inside everyone so deciding
to light that creative fire requires searching within to
find it and always working to protect it from the
extinguishing rains of self-doubt and uncertainty.
I expect not everyone feels this way, but for someone
starting out who may be feeling lost, finding within
yourself what you want to say and how you want to
say it is a great way to start. Experiment, practice
and refine like crazy, dont be afraid to hate it and
start again, be true to your own expression and start
growing the seed of belief in your own work.
Bumble Sonnet for Saint Lucifer 2016
Oil on Canvas, 24 x 24
18| Beautiful Bizarre Magazine
Jana Brike
Thats like asking me how you can ride a bike down a
road when you are blocking that road yourself. Well,
you cant! Even if you find your way around that
particular obstacle you have created, if you cant get
to the core of the issue it is likely that you will keep
putting new sticks in your own spokes and throwing
new rocks into your own path. You need to
understand if this is a deeper issue, are these fears
and blocks affecting your life in other ways, or only
as an artist? If it is deeper then you need assistance
beyond that I can provide here, otherwise you will
spend the rest of your life sabotaging yourself with
your never good enough attitude in all your
endeavors.
There are no short tips on problems as deep-seated
as that, they are deeply and uniquely personal for
each individual. You need to both completely accept
yourself and love yourself, and for many these two
are incompatible. You will need to learn to join them,
and honest and peaceful acceptance of the current
moment is a solid base to work from. So, if you
calmly evaluate your current work as an artist at the
beginning of your career and decide that your output
is not ready for sale or show well thats perfectly
OK! Everyone has been there at the beginning, all of
us. So be wonderfully, magnificently, incredibly bad
for the current moment, and work to be a little bit
better tomorrow!
TROY BROOKS

All I can say is that intention is actually the number
one force to go and be out there and do things.
Intention above all, above even talent and skills and
voice, these are things which you can work to
achieve and develop, if you just have your intention
pure and clean and strong. Examine yourself for that!
For me, working to become a better human is
working to become a better artist, and vice versa at
the core its the same thing.
Audrey Kawasaki
I get stuck all the time. I feel like Im constantly
battling a tiny voice in my brain that nags and tells
me Im not good enough. Sometimes for days, even
weeks, Ill be in my studio, and nothing comes to me.
I know I should be making something, but what? I
just dont know. I dabble at this and that, but nothing
seems to feel right. I actually went through this exact
bout of insecurity recently. So this is what I did. I
thought about the earlier years of my life, when I was
a teenager, in my room, at my desk, furiously
scrawling away in a sketchbook, late into the night.
Back then, drawing wasnt my job. It was simply
something I enjoyed doing, and I found myself
spending hours on it, getting completely lost
in it because I was on a mission to make a certain
image. There was no pressure. It wasnt going to be
graded or judged. It was just something I wanted to
do, because it excited me. Because it was fun.
Learning to draw can be work, but it didnt feel like
work. Yeah, difficult at times, but the process wasnt
strenuous, because I simply enjoyed the act of
drawing. I knew with each one I was getting better at
it, and that sense of personal fulfilment was
rewarding.
Its important to tap into the groove. To find a
theme/idea/topic/concept that you are drawing to,
and really hone in on it. To have focus and
determination, while having fun with what you make,
messing around, experimenting, and to not take
things too seriously. For instance, in my early
sketchbooks, my drawings could be super weird,
vulgar, and shameless. But thats ok. It was my
young self venting, ranting, and blabbering away, and
it kept me drawing, page after page.
For me, since I was young, Ive always wanted to
draw women, the figure, the face, and eyes. I did a
lot of research and collected images back then (and
still do). I had piles of magazine cut-outs. Fashion
spreads, ads, photographs, illustrations, paintings, a
certain model, a face, a pose, hand positions,
colours, lighting, moods, anything and everything.
If I liked it, I kept it. And this helped me develop my
taste for images; a type I am drawn to. An
instinctive liking to a certain something. My goal
since then, is to recreate that feel, using my painted
girls/women in various ways and forms.
Once you find that certain personal something for
yourself, you focus in on it. You dive right in and you
explore. If you find yourself thinking and obsessing
over it, while your away from your studio/desk, youre
doing the right thing. And thats how you can get
things going. However, the challenge (for me at least)
is that, that wave can die down sometimes. That
thirst and drive can fade away and get jumbled up
with daily life, and you start to get used to things.
Creating becomes work-work, a burden, a chore. It
happened to me just a couple months ago. I couldnt
find my groove and I was getting frustrated,
impatient, and being really hard on myself. This was
no good. This wasnt the right state of mind. So, I
decided I needed to relax. And I took some time to
reflect. I thought about when I was younger, and
what drove me to want to draw. What was it that got
me so excited? And how can we get that back?
First thing I had to do, was shed myself of pressure
and expectations from others. I couldnt worry about
how my work would be seen. It wasnt meant to
please others. It was meant for me. It had to be
personal and relevant to myself then. Sometimes, I
get suggestions from people and what they want to
see me draw. Most are great ideas. But when it came
to actually executing it, something didnt feel right.
Because I just wasnt enjoying it. It wasnt quite what
I wanted to be doing. I realised that there are other
artists who are already good at that specific
something. That is their speciality. So what is mine?
What am I crazy, head-over-heels about?
Beautiful Bizarre Magazine |19

Im currently working on two small shows for the end
of this year. And I managed to find themes that Im
really excited about. I feel like its been a while since I
felt this way. To be so obsessed and so focussed. It
took a good amount to time to get here though. It
didnt happen overnight. It came from several
attempts at different ideas, one thing leading to
another, and it slowly developed into something
substantial.
The main thing is to recognise what you really enjoy
doing. For me, its drawing, painting comes second
(though paintings begin with a drawing). I enjoy
drawing lines, carefully positioned and thought-out
lines. I like playing with line-quality, details, shapes
and patterns, rhythms and flows, each with a specific
purpose. I like to draw this one thing in the top right
corner, that leads to this other thing in the bottom
left corner, which leads to changing this bit, and then
refining that bit, and so on and so forth. Then comes
tones, shaping, rendering, and colours, and in the
end everything comes together in a unified image. I
ts like a puzzle to me. Its a problem with many
possible solutions, but the key is finding your own
unique one. And that is what makes it so much fun!
20| Beautiful Bizarre Magazine
Its about finding your own specific something that
makes you go a little crazy inside. Its about being so
into it, that hours go by without realizing. Ill force
myself to step away and get out of the studio, only to
find myself constantly thinking about it and wanting
to get back to work. Its great to find a way to reignite
that passion. The way it felt when I was a young one
scribbling away in my sketchbook. There is a strange
excitement there. A thirst, a need, a craving, and you
cant help but chase after it. That is where the magic
happens!
Its going to take time and diligence though. You have
to be willing to commit a good amount of time and
energy, first in getting basic skills down, and then
even more to find your own voice. But once you are
able to tap into something (and youll definitely feel it
when you do), its really hard not to want more of it.
The energy you feel from creating something
meaningful, exciting, and worthwhile to you, is
incomparable to anything else, I believe.
AUDREY KAWASAKI
When It Begins 2014
oil, graphite, and ink on wood panel 36 x 20


MentorMe: Artist Resource

Audrey Kawasaki (Cover)

IF ONLY YOU KNEW

2013, oil, graphite and ink on wood panel, 24 x 24

Jana Brike (Back Cover)

TWO WOUNDED ANGELS ON THE BEACH

2016, oil on aluminium panel, 31 x 20 beautifulbizarre.net
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