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In the Studio with Rob Maniscalco

November 12, 2015 by Heather Filed Under: Art, Art & Design, In the Studio, Inspiration & Education, Organize, Photography

Today’s Artist Interview is with Rob Maniscalco who I met at a neighbor’s party. We got to talking and I asked him if he would want to be featured on my blog, time got away from us but we reconnected recently since he’s just released a new book from his Quench Project. Rob has a FROG studio space inside his home and I’m thrilled to share his studio organizing tips and have him participate in this interview.  These photo’s are not styled in any way so this is typical of what his working studio looks like on an average day.

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The idea for the Inside the Artist Studio series began while attending an art retreat where I curiously observed the differences in the creative cycle of order and chaos and what that looks like for different individuals. I’m very interested in sharing how organizing affects the artist’s creative process.  Some systems and order are vital to our creative PLAY and learning to find a balance that works to enhance your creativity is what I hope to share with you through these interviews.

Interview and Studio Sneak Peek Part

HKPS::What age did you suspect or know you were an artist?

RM::I grew up in a household full of arts. My father was a professional portrait painter and was always in the studio working. I sat on his lap while he painted, while in the other room my brother played Rachmaninoff on the piano. I was always painting or playing my clarinet or singing. You get the picture. Ironically, I was the only one of four kids that went on to be a professional artist.

HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

RM::I’m primarily an oil portrait painter but I sometimes work in pastel or watercolors. I do a lot of sketching with charcoal. My pants are all in a central location, stored in my taboret. I don’t line my colors up in a row or organize my brushes but they’re all right there ready to go when I want them. I must admit I keep a lot of material that were passed down from my father, which I never use. I keep them around because they inspire me.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

RM::I have a studio in the FROG of my home. The space is more than adequate for me to create what I do. I am very happy that I have high ceilings (& great light), which were absent in my previous location. I’ve been in my North Charleston studio for about a year. I miss my Marshview which inspired me in my previous location on the Ashley River.

HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

RM::The majority of my work is commission portraits. The work comes and goes. Some months I may have many projects and then some months will go by was no commissions at all. None of this is dependent on the constraints of space or organizational systems. My fine Art, that is the art I do strictly based on inspiration, may be affected by physical constraints. But I think it has more to do with the constraints in my mind that sometimes say “why bother?” It’s then I remind myself, I’m painting for the ages and not just a quick sale in a gallery. (BRAVO ROB!-We all come back to this at times)

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Robert’s father once won an award at an artshow for his paint rag abstract.

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

RM::This FROG was an entertainment/family room before we moved in so there is 106 inch surround sound entertainment center that I work around. But it is not distracting. The first thing we did was paint the walls a warm salmon color instead of the bright green from the previous occupants. Otherwise I adapted my set up to the space. It’s not ideal because of the lack of view, but it works well for me. I like to have a view so that I can divert my eyes from my work every so often. It’s important to clear the pallet. Now I have to settle for the occasional block buster.

HKPS::Is making art your primary “job” or source of income? How much time do you spend in your studio weekly/daily?

RM::My primary job has been an artist for the last 36 years. In recent years as the market has become more unstable so I’ve been integrating other related facets, such as videography, photography, Quick sketch art, court room sketching and teaching to help fill-in the financial voids. I tried Uber driving but I didn’t like people telling me where I should drive:). Once in a while I get the urge to find a real job, during the sometimes long period between commissions and sales. But I’ve found not many companies want to hire a middle aged man with no “work” history. Of course, we know, nobody works harder than those who are self-employed! I work about 10 hours a day (being an artist) and I spend 90% of that time in my studio. About 40% of the time is spent marketing and doing office work, like book keeping, etc. The rest of the time I’m writing (blogging and books) or painting. I spend a good amount of time in research and development, meaning I’m planning my next painting or body of work for projects. I think I need to get out more and connect with people. That’s always been my weakest link. My favorite use of time is spending it with my wife Cate and the kids.

Inside the Artist Studio::Rob Maniscalco

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HKPS::How or did you learn your organizing habits and systems? Do you consider yourself to be organized?

RM::I don’t consider myself fastidious but I do like a neat studio. I have a photographic memory so I am replaying pictures of scenes in my mind. If my scenery is filled with clutter that means I have more information to process which is a distraction. Dali painted in the studio with nothing but white walls everywhere. I’m somewhere between him and the crazy hoarder down the street. I’m organized in as much as I know where to find most of my materials when I need them.

HKPS::What tips can you offer regarding your use of schedules systems tools or processes that help you maintain organization in your studio?

RM::I have several databases programs that I use to organize my contacts and client base. I maintain my own website and have a very large email following. I use mail poet on word press which does a pretty good job. I’m finding it difficult to organize my clients into effective groups so that I can contact them more specifically about what interests them. I have an ACT database, but I’ve been using for several years and updating. It records the history and appointments so that I can keep my schedule straight and plan marketing strategies. I try to focus on what is important followed by what is urgent. I have things on my to do list that of been there for several years, that I simply don’t consider urgent or important. I’m trying to integrate my smart phone and centralize all of my programs so that they work together but so far I haven’t been very successful.

HKPS::Do you purge clean or do you clutter your supplies – and space and a regular basis?

RM::Nope. Like most some people I wait until it becomes overwhelming then I purge and clean. But my work space is relatively neat most of the time.

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HKPS::Is there anything you keep in your studio strictly for fun or inspiration? Is there anything you intentionally don’t have in your studio due to distraction?

RM::I keep a few inspiring books on my shelves and a few sentimental artifacts. I’ve always fantasized about having a studio filled with fascinating things to paint and draw but I always think what will I do with it after I’ve painted it? I try to keep a few things around for my students to draw. But I have them working mostly with organic objects so I could probably use a plant or two now that you mention it. (& see his comment about his father’s materials-kept for sentimental inspiration).

HKPS::Do you know the cycles or phases of projects that are more or less organized in your creative process?

RM::Since I got Photoshop I’ve been able to plan paintings much more efficiently. But as far as cycles or phases I’m not sure what that means. My materials are pretty much right here ready to go when I need them. I guess I wish I had a wet bar or sink near my studio but you can’t have everything. I could wait a long time for my set up to be ideal. I don’t have that kind of time.

HKPS::How much thought do you give to your artistic body of work in terms of historic value in the overall legacy you will leave behind? How do you store archive your work or records?

RM::I used to keep a metal box with all the slides of every painting I ever did. Now everything is digital and can be found somewhere in my computer. I say “somewhere” because if I were not here to find it I doubt anyone would be able to find my archives in my computer.  This is probably something I need to fix pronto.

HKPS::What if anything did you learn about your organization process through this interview?

RM::It did reveal areas of weakness, particularly in my archiving. Most of my computer files are buried deep in my documents somewhere. It’s not very intuitive. I do have a good backup system. Surprised you didn’t ask about that. The other thing I was hoping you would ask me about was how I organize my palate? That I think is my proudest piece of organization. My palate is called the power palette and a temple of my palette is available on my website for sale.  My palate is organized by value, which I consider the most important aspect of any color I will ever use. I think it’s very important a person should find, develop and use a pallet that is consistent and dependable usable under any known number of circumstances. What I learned in this interview is that I am organized in the most important areas of my profession. I’m organized in the way I think about, plan and execute paintings. That is, after all, why we are here.

Thank you Rob for sharing with us a bit about your space and how you work!  Please see more of Rob’s work on  his site and in his new book from the Quench Project!  If you are interested, Rob also flipped the table and interviewed me on his blog here! That was very fun, thank you for that lively conversation Rob! It’s in many ways a continuation of this interview.

Artist Studio Process

Friday Fieldtrip::East Coast Adventures Part I

July 31, 2015 by Heather Filed Under: Inspiration & Education, Museums & Galleries, Photography Leave a Comment

I spent the better part of late June and early July in the car and adventuring up and down along the east coast (PA>MD>SC>FL>GA). I spent a grand total of 64 hrs at home over a four week period! The adventures began outside of Philly with a long weekend packed with family fun! In 3 days we had a memorial service for my husband’s late and wonderful grandmother, followed tby a cousins family reunion and we rounded the weekend out with a celebration of my in-laws 50th wedding anniversary! When we left Charleston temps were in the triple digits and for the duration of our trip to PA & MD it was in the 70, what a relief from the heat! Fun times were had by all, despite pouring rain and the intensity of so much family for a sustained period. We had a lot of laughs, reconnecting with family we don’t get to see often and meeting new members of the family.  We took in a Phillies game (die hard fans can’t be stopped) and we ate our way through hoagies and cheese steaks. On our final day in PA we took a trip to Longwood Gardens, long on my list of places to visit and I was not disappointed.

Longwood Gardens

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The rest of my east coast adventures included a visit to see my family in MD, where we spent the 4th of July, a trip to FL to help my grandparents prepare for a move and a trip to GA for a business symposium.  While I was in Atlanta I had a chance to visit two incredible fiber art exhibits which I’ll share with you on the next Friday Fieldtrip.  I have an album of even more pictures from Longwood here if you care to spend a bit more time looking at details of this spectacular garden. It was a long day of walking and there was so much visual stimulation I left feeling completely inspired and filled up by natures beauty.  I find I often need to escape and recharge someplace tranquil following being surrounded by lots of people, no matter how much  I may love them!   What do you do to recharge after intense time around a lot of people, or does that fill you up? What are some of your favorite “Field Trips” or vacation plans?

Full Moon Spring Walk

April 4, 2015 by Heather Filed Under: Inspiration & Education, Photography, Wellness & Mindset

If you are just seeing signs of spring emerge where you are this Easter weekend I hope you will celebrate the season by going out in your environment to really notice all the ways that Spring is emerging.

Just now there is a Full Moon Eclipse.  I’ve planned to spend it on the beach, stretching my arms and eyes out to both the Sun rising and full Moon setting, directly opposite one another.  At this beautiful time of year I invite you to share a Spring walk through a very special garden outside of Charleston-Cypress Gardens.

Come along with me…

Spirea

Spirea

Redbud

Red Bud

Wisteria

Wisteria

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Tulip Magnolia

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Anemone

Anemone

I’m not sure about you but Spring has certainly come on in a big way in my life-personally and in business. I’m a busy, busy bee, how about you? I hope your weekend is deeply restorative and relaxing-filled with all the delights of Spring as it Bursts Forth!  Happy Easter, Full-Glorious-Spring-Blood-Moon-Celebration!

PS. If you would like to see a few more shots from Cypress Gardens, visit my Flicker album.

In the Studio with Sarajo

January 22, 2015 by Heather Filed Under: Art, Art & Design, Handmade, In the Studio, Inspiration & Education, Organize, Photography, Textiles & Pattern

This month I’ve tied the two artist featured In the Studio together via location, Maine!  Today we are In the Studio with Sarajo Karl Belvedere. It’s all about connections and I’ll be continuing in this manner to connect the artist via medium, location or some other thread each month in 2015. I happened across this Antique Asian Textile shop when a friend was showing us around the Portland arts district. I saw amazing textiles in the window (which my friend is also a huge fan of) and so we were pulled right into the vortex…and so glad we were! I was mesmerized by the incredible textile collection at Sarajo. After a few minutes looking around I spoke with the young man working in the gallery and learned that he was the conservator and that he did the work right in the back of the shop…so I boldly asked right there on the spot of I could take some photos and “Interview” him via email when I returned. Thankfully Glen agreed and I’m so happy to share not only his work space at Sarajo but also his home art studio.

HKPS::What age did you suspect or know you were an artist?

GM:: I was drawing before I can remember and by age ten was determined to be a comic artist.

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HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

GM:: At Sarajo I work primarily on antique textiles and use basic hand sewing tools. Aside from textiles, I’ve also repaired objects made of wood, ceramics, glass, paper, barkcloth, hair, bone, metal, feathers and the list goes on. Hence, there seems to be no end to the tools and materials that I use at work. Most of my sewing supplies are attached to my work table or in the closets behind me. I keep my trusty shears in a holster on my belt.

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HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

GM:: I repair antiques in the back of the gallery. My workspace is roughly 400 square feet and I’ve been there six years.

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HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

GM:: It varies somewhat, depending on how many antiques my boss has purchased at the time and how time-consuming whatever I’m working on is. On average, I’d say that I repair four or five objects at a time.

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HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

GM:: The set up definitely evolved organically. I wasn’t completely sure what my job was going to be and my boss had never hired someone to specifically do conservation before. Each new assignment required a new procedure that had to be researched. As I read everything from textile conservation manuals to woodworking guides, I learned which tools I needed to purchase or make and hung them from hooks on my worktable, the wall or made shelf space.

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HKPS:: Do you consider yourself to be an organized person?  How or where have you learn your organizing habits and systems? Have you ever worked with another artist or gallery that you learned any organization from?

GM:: I would say that I’m organized even if it doesn’t always look like it. I’ve mostly learned to organize by trial and error, due to the fact that I need to work in a space for a while before I can really know where everything needs to be. That said, I’ve also learned to organize from previous jobs and art school. I was a shop tech for the printmaking department at Kansas University and my primary job was to keep the place neat and clean.

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HKPS:: What tips can you offer regarding your use of schedules, systems, tools or processes that help you maintain organization in your studio? Do you purge, clean or de-clutter your supply stash and space on a regular basis?

GM:: I do purge the space of things like spare cardboard and fabric scraps every few months or so. For safety’s sake I always try to keep the the floor clean and first aid easily accessible.

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HKPS:: Please describe how creative cycles of organization or dis-organization affect your creative process? Are there certain phases of projects that are more or less organized?

GM:: As I work on more than one project at a time, it’s hard to keep the space continually clean. It’s also important to have space to work, though, so I take short breaks throughout the process to clean up.

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HKPS:: How much thought do you give to your artistic body of work in terms of historic value and the overall legacy you will leave behind?  How do you store/archive your work or records?

GM:: I work on antiques, so I suppose the historic value is already established. My primary goal is always to assure that these things will last as long as possible. Most of the textiles are folded and stored in rolling shelves, behind glass. The more fragile ones are rolled on tubes as they cannot withstand folding.

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My greatest wish is that through seeing how other artist work we can learn from one another.  There is no ONE correct system or way of organizing.  There are as many creative systems as their creative makers!  My aim is to highlight these unique makers in each interview.  A HUGE thank you to Glen for allowing me to intrude and put him on the spot in the shop!  It was so inspiring to see both his conservation and his personal art studio.  Thank you Glen (aka Karl) for sharing both spaces with all of us and how organizing affects his creative process in all of his creative work.  I’m envious of his job and was amazed that he learned all his conservation skills while on the job! His work is truly amazing and speaks to the historic value and cultural legacy of textiles all over the world. I’m so grateful for companies like Sarajo and the talented conservators who work with them.  It was such a delight to stumble across Sarajo last fall and I’ve been so excited to share this.  Please check out their website (or go in person if you are in Portland)  and the personal work of Karl Belvedere who is a really talented artist working in all sorts of mediums AND you can Ask Him Anything!

* Inside the Studio was my brainchild in 2011. There are a lot of popular studio features on the web and in magazines but I’m specifically interested in showing how organizational process influences the artists studio work. These photo’s are not styled and are typical of how the artists working studio looks.  I request that each artist leave their space as it would be on a daily basis (just like I ask my clients).  This series is meant to highlight how artist REALLY work rather than showing STYLED shots (popular in home and organizing magazines and blogs).  I’m sure just like me, you are fascinated by the “behind the scenes” sneak peek into these artists working lives!

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Wednesday Wellness::The Great Purge Urge

December 17, 2014 by Heather Filed Under: Organize, Photography, Systems & Techniques, Wellness & Mindset

For the past month, maybe 6 weeks even, I’ve had this very strong desire to purge things. I’ve come to recognize this “Great Purge Urge” and I seize the opportunity when it strikes!

When I’m in this Mindset, I know I will act with certainty in decision making and get a lot more accomplished in a short amount of time then if I just pick away at the process little by little.

Sometimes this urge just comes out of the blue, maybe it’s an astrological event or some other outside influence I’m unaware of but I don’t generally care why it’s happening.

What I know from experience is that getting started, making quick choices and continuing eagerly creates momentum.

This type of action and the momentum generated can be LIFE CHANGING!  It’s for this exact reason that I work the way I do, in 3 hr (or longer) time slots and with appointments scheduled frequently (multiple days in a week or month).

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Things get DONE, progress happens quickly, SPACE EMERGES where there was none.

I know I’ve got the bug, do you?  If it strikes and you would like some help, get in touch and let’s schedule some time so I can help you to get started!

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