A Recognizable Voice
Today I would like to ask for your input. I want to talk about creating an unique artistic voice and I think the best way to define it is to have you, the readers, break it down together. Are you up for it?
The primary question is, what does it mean to have an artistic voice? I think the answer is in understanding what sets the well defined and easily recognized style of one artist apart from all others? Sometimes it’s the choice of form or imagery, maybe even a standard set of colors. But what if that artist does a wide range of things. Is their particular voice going to stand out if they jump from one thing to another. I think, if they are following their true selves, that voice inside that directs the inquiry and steers the fascination that motivates the artist to create can be apparent in a wide variety of work from the same person.
Take a look at the piece below. Even if you have never seen this type of work from this artist, you may be able to guess who this is. I did pick a fairly easy person to recognize.
Did you guess? You can click on the image to take you to the artist’s website if you like. But we’re going to chat a bit more about this before answering. So … this piece is not one of the more popular, widely seen pieces from this artist and is not one of her more well-known styles (perhaps … it’s hard to say that any of the phases or styles of this artist aren’t fairly well-known) but how quickly did you come to recognize the artist? I’m guessing for most of you it took almost no time. And why is that? Why, when this artist is known primarily for her translucent techniques, her imagery, her purses, do we still recognize a vegetable sculpture by her so readily?
Some of the reasons are pretty simple but they do matter … like the fact that she’s widely shown. But what else? What is is about her work, no matter what form, technique or imagery she uses, that allows us to recognize her? Are there other artists that come to mind that you know you’ll recognize right away? Why?
I would love to have as many of you chime in as possible. If you are getting this via the email delivery, you can click on the title of the post in the email to go to the blog and comment at the bottom of the post. If you need, you can reply with an email and I can post it for you. But do get in on the conversation if you have anything to add. I can have my say about why I think Kathleen Dustin here is so readily recognizable but its just my view. We are a large community with many, many different views. Let’s hear what you think.
Thank you for the topic; it is one that has vexed me, in my less-than-four-years of polymer clay playing. I DON’T have a signature style, and am more of a technique/style/color sampler as I try out nifty new things I learn about on the internet.
There are many polymer clay artists I easily recognize, besides Ms. Dustin: Sandra McCaw, Janice Abarbanel, Meisha Barbee, Dan Cormier, Melanie West, Julie Picarello, Cynthia Toops, Melanie Muir, Lindly Haunani….I know there are more, but those come to mind.
The techniques they use stand out…they are creative, innovative artists who do something unique. The difference between them and me is that they are artists, and I am a craftsperson. I love polymer clay, and what I can do with it, but I don’t see myself as an innovator. I envy those with their own artistic voice. I look forward to reading more responses.
I could have written Heidi’s post as it applies to me as well. I gave not really developed my own style, I am still trying to learn and explore as many other techniques as I can get my hands on.
Kathleen’s work is recognizable to me by her color combinations, the way she replicates nature for everyday artful items, and finally the professional way her work is finished, displayed and photographed.
Just checking if I can add a comment.
Yay it worked. That’s a really good question Sage – what does it mean to have an artistic voice? Perhaps it’s creating a body of work over a period of time, exloring, extending….and really perfecting that technique you’re working on. There’s probably so many of us who are little sponges and try to learn all there is to learn and so never really exploring anything to it’s fullest. Perhaps it’s finding what you truly love about this medium and taking it to the utmost – absolutely pefecting the technique and perhaps tweaking it along the way as your artistic voice changes. Just my thoughts.
I think I am post- sponge, but it’s going to take retirement for me to find my artist’s voice. I think a studio and all the time in the world would help. In the meantime, it’s nice to have your thoughtful posts, Sage, to help me focus.
Her work is fabulous. And the colors that she use are beautiful.
I have felt strangely at odds with the blogs all this week. I do not understand the preciousness about copying. When an artist exhibits or sells their work, they, by the exposure, invite others to explore their techniques. When an artist makes money through tutorials or books, surely they expect copying. Let’s not insist on reinventing the wheel! As a teacher of silk painting for many years, I recognize that everyone has a talent. I presented many, many different techniques, knowing that some students would claim one or two as their own. When this happened, they had found their voice. It is the outer expression of their inner creative soul. They recognized it, I acknowledged it. To have a recognizable voice simply depends on exploration and exposure.
Beautifully stated, Rochelle.
I must say I agree – to a certain degree. I have been an arts- and crafts teacher (mainly drawing) for many years, and copying is a part of the learning process. But it is that moment when you use the copy as inspiration you are gaining your own voice.
I’m a novice in polymer clay – started two months ago, and my voice is not fully tuned – as yet, but I’m getting there….. someday.
And I agree too, Randi. Learning involves attempts at copying, but as soon as exploration occurs, this is unique and individual inspiration. As Layl has said, when your heart sings, this is your own recognition of your voice. A recognizable voice, however, involves public exposure of your artistic endeavors to follow that song line.
I an like you Heidi, no imagination whatsoever so I rely on internet, books and tutorials but I am still enjoying myself tremendously and that’s what counts !.. maybe eventually with time..we will have a signature too.
by the way I think this is an artichoke.. am I right ???
Yep. Its an artichoke and a container!
Very good question… I think there are a lot of reasons why we recognize an artists work just by looking at it… I’ve never really thought about how before, I just look at it and say hay so and so did that, but I think that the general appearance plays a big part in it. Kathleen’s work…I think texture has a big roll in it and color but the biggest thing I just can’t figure it out… maybe it’s all of this together?
Is it a coincidence that the well known artists are easily recognized? maybe it’s because they are seen more but I don’t think that is it they all seem to have an unmistakable voice, even something new from them is instantly identified to be theirs, maybe they have tried different techniques and fond the ones that suits them best and maybe that is what we read in their work?
How did I know this piece was made by Kathleen Dustin? 1) EXCELLENCE 2) Choice of form. Kathleen favors forms that can be found in nature, whether it be flora or something as simple as a rock. 3) Medium. Had this piece been glass, my mental search would have gone elsewhere. 4) Use and gathering of multiples within the piece. 5) Subtle gradation and unexpected use of color. 6) Finishing and attention to detail. Artists have a palette of preferences. Let’s face it. There are only a handful of polymer artists capable of achieving this degree of perfection and when the palette is taken into consideration, it could only be Dustin. Heidi brought up the big question for me. Where is the line drawn between craft and art?
I think the key to finding your artistic voice is finding the techniques and subject matter that really excites you. It excites you so much you just can’t not keep doing it and getting better and better at it.
For some people the thing about polymer clay that really excites them is the endless techniques and possibilities. They just love to keep trying new things. This may keep them from finding a style that is just them but there is nothing wrong with that.
If your desire is to have a strong signature style then my recommendation is to search for what really makes your heart sing. And look outside of just polymer clay art- inspire yourself with exposure to ancient art, or nature or graffiti art… or whatever it is that gets you going so much you just can’t stop!
I recently realised that I am busy learning/planning to learn new techniqes and am ignoring that I found my voice a number of years ago when I designed websites for MS, 12 step programs and even as a greating card. I discovered that I am able to draw when I took classes in digital design. I don’t like to draw and paint. My motther paints and my sister is a digital artist. I am able to find artwork and use it appropriately in my creation. For instance, I used photo of a friend’s sculpture as an icon to to go to other pages of the site for a group that both of us are members. And he knew it. I am going to learn to make canes so I can honestly say I can. However, I will primarily purchse canes to be used as a part of items I create. I do have to watch that I do not get bogged down learning new things so I don’t lose site of the things I really do enjoy making.
Great timing, I have a sculptural piece that I can not get out of my head (it’s been there for a while – think in years)I’ve been using a process book lately to realize it before actually creating it.
It’s interesting that you would post this topic, since I’ve been thinking about artistic style or voice for a while myself. As has been mentioned in some of the previous comments, polymer presents almost innumerable techniques. When an individual takes those techniques and makes it “their own,” then style and voice are born. For example, Donna Kato and Kathleen Dustin both use translucents, yet their styles are quite diverse.
I also find, personally, there are times when I “have” to do something. I wake up with ideas that seem to need to be explored. Currently, circles are fascinating me, and I’ve been creating pieces that are unlike my “usual” pieces which tend to be more floral in focus. I am unsure at this point where my foray into circles will lead. Perhaps it will blend with other interests and create something even more different. For me, this is another avenue for exploring and refining my style or voice.
Artistic voice seems to be a combination of a perfection of a style that can translate into almost any form. An artist in my guild, Cat
Szetu (thatBluCat), has a voice that I usually instantly recognize when I see a piece of hers. While I can’t easily identify why, I think it’s combinations of her choice of color combinations, her textures, her style (often sensually curved organic), and her shapes. Yet even when she does a piece that is very geometric, so it lacks the soft
organics I know her for, while I might not be able to pick it immediately out of a line up, I would see touches of her in the piece,
and not be surprised if I was told it was hers.
As for copying, almost all artists start by learning techniques and styles from previous masters. There are a few disreputable that learn to copy the masters so well that they become able to forge copies and sell their forgeries as originals of the artist. Unfortunately, this has been going on as long as art has been produced. And just as
unfortunately, unless you have the finances to dig these people out and prosecute them, you just have to accept it. Although, in this
digital age, people trying to sell something that too closely mimics the true artist, SOMEONE will alert the original artist, call out the mimic, and often have the ability to contact the business that is dealing with the mimic and alert them to the issue. Some of the mimics just need to be educated, and they will voluntarily stop, some are simply out to make a fast buck, even if it’s on someone else’s talent (voice). The most distressing part of that is that the original artist
is trying to financially survive, and be known for a quality of a body of work, and fraudsters are cutting into that.
Make sure you sign your work!
I love Kathleen’s work! 🙂 She has definitely achieved a strong voice in the polymer clay & art world. I believe we all have our own unique voice, but for that voice to come out “polished” you have to become a seasoned artist. It’s a combination of talent, creativity, expertise and experience, along with well deserved exposure & fame, that finally makes your “voice” known all over the world.
For me, it has been a long playful journey (I have been playing with my clay paintings for over 18 years) I was very concerned with finding my “voice” or style when I decided to quit my job as a graphic designer to become a full time artist, I think knowing too much about “corporate image” and “branding” played against me for a while… and even though to this day I find myself between worlds (GD & PC) I no longer seek to define my style, I have been following my heart in each one of my creations and I feel I am happier than ever doing that. To my surprise a year or so ago I have had people come to me and say that they love my style and recognize my work. 🙂
For me copying, is plain wrong. When we create art, we share part of our soul through our “voice”,so to have someone come and copy our work, feels like a thief steals part of ourselves…