Moving past fear

The Long Shadows of Wonderland by Bryce Widom

In the field of art, there are many fears to address. Many times artists will push themselves to try new techniques, use a different subject matter or even switch mediums in an effort to grow in their discipline. Even the first step of becoming an artist can be steeped in worry. There's often a fear of failure, even before stepping into the role of an artist. Because art is something that people judge subjectively, it can be scary to present works to be critiqued. Often, a beginner will have less apprehension, because there are no expectations and the self-pressure is less than that of a more established artist. Beginning artists can also find encouragement from those around them, but the encouragement can sometimes taper off the longer one keeps at it. An important aspect to bear in mind when dealing with the fear of starting a piece of work is to know that any perceived failure can teach, inspire and eventually lead to improvement for the next time. In a sense, there's no such thing as a mistake. Instead, errors can be seen as lessons to direct us and take us in new and different directions. Another point to address is that taking small risks while working toward a larger goal can be less intimidating. The man thing is to keep the joy in the process and work with any fear that arises --address it, define it, but don't get caught up in it. In fact, focusing more on the process and less on the outcome can be a great way to lessen anxiety.

Bountiful Sweetness by Bryce Widom

For Bryce Widom, an oil painter at SmithKlein Gallery, fear is something with which he is intimate. 

He describes his relationship with art and fear in the following way:

"The longer I go without painting, drawing, sketching, the bigger the fear grows. For me, the fear is borne from a core of doubt regarding my own value. There's a story, deep inside my psyche, that I'm deficient. It rarely surfaces in full, instead leaving only threads of anxiety in its wake, thoughts like "I can't paint", "I'll never create anything of value again", "I should just give up with art, and find another career", and "I'll never be able to serve others through my art".

Acknowledging this fear, yet persisting, diving in again and again into my work, is the biggest challenge I know. So challenge isn't something that I need to search for or create. And as I mature as an artist and individual, I've learned that this fear is not something that I actually need to listen to; that I can allow it to be present, while simply doing my work, regardless. There are times when I feel like I'm being pulled into a black hole, a void - and no matter how dark it's been, or how strong the pull, I've always resurfaced.

The main learning for me has been to simply do the work. To allow the anxious and fearful thoughts, the dark and damning emotions, the heavy lethargy that sets into the body, but to not believe that it's the totality of the Truth. It's as simple as picking up a pencil and paper, and as the graphite works its way across the paper, the thoughts settle, the emotions relax, the body becomes lighter and more energetic, and the creative urge is allowed to have its way with me. 

Certainly, there are technical challenges - color, composition, materials, light/shadow, etc. in each work - but in my experience, these challenges all rest upon that larger internal challenge. And when I am able to find the courage to allow all the thoughts, emotions, and sensations that are here to actually be here - and to dive into the work, regardless - then new discoveries in all these other fronts are often bountiful, enjoyable, and surprising."

Bugle by Sandy Graves

Sandy Graves is a bronze artist at SmithKlein. She identifies many fears around being an artist including: deadlines, worries about whether or not people will buy her work, critiques of her work, making enough money in her chosen profession, artists' blocks, the possibility that she may one day lose interest, and concerns about the direction and future of her work. Sometimes the fear of not creating exactly what we imagine can be paralyzing, but sandy has found that letting go of attachments and putting energy into her work allows her to move through many fears.


She states:


"Creatively, the fear gives me incentive to sculpt even if I don't know what I am going to make. I get excited about what the future will bring and how I will expand my style to meet the future. I am MUCH less fearful now that I made the commitment to being a full time artist and quitting my day job ( Scariest week of my life). I think that the biggest thing that I have learned is that if I sculpt enough so that I don't get overly emotionally attached to every idea that I have, throw away what I don't like, and finish what I do like, people out there will feel the energy that I put into my art. Also, Not everyone is going to like my work and some people will love it more than I could ever imagine, and that is OK!"

Influence of Orient by Matt Abraxas

For some, participating in the art world isn't about fear per se, but can still involve overcoming limitations and other challenges.


Matt Abraxas addresses some other concerns in the following way:

"I don't really have any fear in art, but I do struggle between pleasing others (which tends to equal financial success) and creating work that evolves and pushes my limits. My aim lately is to do both at the same time.


I find the most difficulty in not jumping too far out of my body of work whether in style or theme. One of the greatest challenges to an artist is to stay fresh and yet consistent. I have to pull the reins in a bit on ideas that leap way out into a whole new look. I like the idea of slow growth. It actually requires more trust than leaping off the ledge because a series of work requires a commitment and often I don't know exactly what I'm committed to until much later. I'm inspired by John Singer Sargent, who gradually altered his technique while simply executing a different brushstroke. I'm far from this level of discipline myself, but I like to think I'll raise up to it one day."

White Glow by Matt Abraxas

Grace in Motion by Judy Greenan

Judy Greenan approaches fear in a way that allows her to make new discoveries. Grounded by the safety of her studio, she is able to face fear, go out on a limb and have the courage to push herself to be a better painter. She feels that oil paint is very forgiving, and this can allow her to be more fearless and less worried about making mistakes. Judy states, "I really think that  the motto 'Just do it' ought to be replaced with 'just start it'. We need to recognize that getting lost in fear leads us to a dark, dead end while faith and detachment to outcome will open a door, allowing light to permeate. This can eventually lead to great joy and excitement."  

Tiny Dancer by Judy Greenan