Checking Off Boxes

Believe it or not, I’m still not finished putting my VIP promo packages together. A few more things need doing before I can check that box off on my to-do list.

First off, I’ve had such a hard time eliminating ten people from the list. As I said before, I thought I had enough to make 40 packages, but I only have enough for 30. I also forgot that I want to keep one for myself and give one to Craig Krull, too. So that’s actually 12 I need to remove in total.

This morning, I spent a few hours signing and numbering the mini limited-edition print for the promo package, then putting them in plastic sleeves and sealing them. I think they look pretty good.

I still need another page of images to be chopped, then I can finally compile the packet. I’m also going to hand-address each one because it’s more personal than sticking on a generic label.

I’ve been working on other things, too, not just this one project. I’ve been doing some admin and assessment stuff. Namely, I’ve been studying how to conduct fruitful virtual studio visits. When I make decisions about new things to incorporate into my art career, I kinda go all out on the research and learning aspects. I do this when I want to buy something that’s a bit expensive, too. I’ll research the shit out of it.

I’ve watched a few videos about best practices for online studio visits, mostly on Paddy Johnson’s Netvvrk that include members with experience doing it. I’ve been keeping notes on what needs to be done before I even embark on one of these “visits.”

I’ll first need to update my website completely. Hannah and I have been working on that, but it’s not quite finished. Not so’s you’d notice, but still, it may take some time. In the meantime, I’m making a list of how the virtual studio visits would progress, including what to say first, how to present a slideshow, and questions I’ll need to ask before wrapping up, all within 60 minutes. There are lots of little details, and I’m thinking I have to make a few different slideshow versions depending on who attends.

One main task on my agenda is answering a few short questions of myself: What do I make? Why do I make it, and why does it matter? This would be something I have to explain not only at the intro of a studio visit but also anytime someone asks me what I do, what kind of art I make, like during an artist’s talk or on grant application narratives. It’s useful for several things I run into.

The problem is, not only don’t I have this down pat, but I don’t even really know the answers to these questions! It might sound super simple, but not for me. Not that it’s complicated either, I just make a lot of different things, and for the life of me, I don’t know why I do any of it! Ha ha ha.

But I know that the answers to these questions are necessary and fundamental. I have prided myself on helping other artists understand themselves and how to work to achieve their goals. Yet, here I am stumped applying this to myself. I’m also very self-conscious in person. It almost feels “put on” to explain what it is I do, why I do it, and especially, why it matters. I mean, does it matter? Probably not. Why would my work matter to someone else? I should find the answer to that.

Shouldn’t it be easy to say, “I work across various media—predominantly oil, collage, and watercolor paintings, book arts, soft sculpture, and installation.” What’s so hard about that? I don’t know! It’s just that I want to say it while sticking a fork in my thigh for some reason. Plus, why do I make art?The first answer that comes to mind is that I feel compelled. Like, if I don’t, I’ll most likely die. It’s probably part of a mental illness—one of the many I already have.

Besides all that, I’ve decided to co-run an accountability group for some artists on Netvvrk. I’ve been spending a lot of time creating documents in a Google Drive for the participants: goal forms, meeting schedules, a contact database, meeting agendas, that sort of thing. I’m also trying to come up with a name for the group, but so far I’m blank. I guess it depends on how the artists interact after the first meeting or two.

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