Muddy Letters

Purple Coneflower, miniature

“I think all great innovations are built on rejections.” Louis-Ferdinand Celine, (from The Painter’s Keys)

 

All artists face rejection at sometime or other. It is inevitable. For many artists, myself included, our art can feel somewhat like our child. Art comes from the depths of our souls, our hearts. A piece of who we are is in each artwork. To put it out there for others to enjoy is what we create for. Each time we do, we face the possibility that others will not respond with the same love and acceptance that we feel for our art. It is a hazard of the job.

 

Every artist is admonished to “not take it personally.” Hearing that statement over and over does not make it so. But each rejection can become a learning experience. The majority of rejections are likely due to the simple fact that a particular artist’s work does not fit with the vision of the venue. On other occasions, the rejecter may feel it necessary to explain the rejection in terms the artist may find hurtful or discouraging. Other rejections can be deliberately demeaning. Unfortunately, it happens. And sometimes a rejecter attempts to provide constructive criticism. Daniel Grant writing for The Huffington Post states, “Part of the job of being an artist is determining which one applies, and there is not a Website as yet to help with that.”

 

Grant’s words can be taken to heart, as I recently found. While applying to a number of juried venue’s this summer, I encountered some success but not without the inevitable rejections, as well. Most rejections were of the variety, “We have XY applications for only X number of places, …” followed by some explanation. But one such rejection was of the hurtful type. The rejection included the scoring by each of the 5 jurors with comments. Four of the five scored me as a one (the worst) while the fifth scored me as a five (the best). What could be made of that?? Was the fifth one a genius or an idiot? Were the four a mean little clique or a group of learned critics? And no one was in the middle. There were no scores of three.

 

The first reaction was hurt. The four had been explicit in their criticisms. The second reaction was puzzlement. Why was number five an outlier? And why no middle ground? Either the art was terrible or great, not mediocre. That was the first glimmer of hope. No one scored mediocre! After running through all the emotions, a sober look back at each comment produced the final enlightenment. I could remain hurt or look for what was constructive in each comment. What did number five like and what did each of the four dislike. Surprisingly, I found some truth to work on.

 

Rejection has been written on over and over, sometimes helpfully and sometimes not. Some artists just want to stay stuck and grumble, others want to take positive action. Taking positive action requires Courage. For some encouraging ideas, Artpromotivate offers, “How Can Artists Deal With Rejection When Promoting Art?” On her website, Maria Brophy offers additional encouragement in an article titled, “The Illusion of Rejection and How to Deal with it.”

 

Artists can take positive action to overcome rejection or they can treat rejection as an illusion. Either way is better than wallowing in the rejection mud, unless you are a mudwrestler. In that case…nevermind, wallow all you want. For the rest it is worth remembering that Van Gogh only sold one painting in his lifetime and we all know what his paintings are going for now. Not that we are all budding Van Goghs, but you never know! Someone out there reading his/her latest rejection letter may be sitting in the studio staring at a multi-million dollar masterpiece that is awaiting discovery. No rejection letter is so muddy that a little soap and water can’t do the trick. Time to wash the mud off and move on.

24 thoughts on “Muddy Letters

  1. Wonderful post. I’m glad for your return! Art comes with a lifetime learning path and occasionally are some bumps on that path which needs to be taken care of and after as you said” time to wash the mud off and move on” I’m glad you just did that, we missed your beautiful art!

  2. Mary Gwyn, my long-lost friend … The problem for artists and writers alike (yesyes, I know you know about the link !) is that ANYONE judging our output must necessarily do so totally subjectively. And how in the name of all the gods can you get on top of that ?
    You can match every criterion stated; you can end up with something that gives every appearance of being PRECISELY what was asked for … but you can’t do a bloody thing about any judge’s personal opinion.
    I have spoken.
    [grin]

  3. For me, a large part of this work’s sensuality is being able to see the weave of the canvas bleeding through from the background… it had greater depth to the work’s sensual beauty… Bravo!

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