Friday, 29 June 2012
SUMMER GREETINGS from THE STUDIO OF MARIE LAYWINE
Monday, 28 November 2011
The Mandala - exploring ones relationship with wholeness
Monday, 8 August 2011
Art Therapy - working with children.
I recently stumble upon an old interview I had given about my approach to art therapy. Having re-read it again today, I thought you may find it interesting.
What would you say is the most common reason for children to attend art therapy sessions?
Problematic areas in life, communication problems, ill defined feelings, inability to express.
Would you say that all the children who attend have similar problems like bullying or domestic problems?
As an art therapist, I don’t categorize problems, I listen to the child and work from his/her point of view. It’s been my experience that by giving the problem a definition, the creative element of finding a resolution is stumped. We all know that the environment plays an important role in positive and negative learning.
How are art activities effective in helping children overcome their problems?
The child now has an image of what he/she is feeling. A child works much better with images than words; images are an ‘a priori’ for a child, words are learned. Words have different meanings etc.
Can art therapy fix a child’s problem for good?
This is a naïve question and reflects your lack of experience in this field. Nothing is ever ‘fixed’. One set of art therapy sessions may find the resolution needed to put the feelings of an experience in proper context only to open the door to another set that needs exploration.
Is there a general length of time that children attend or does it completely vary depending on the circumstances?
Each art therapist has his/her way of working with children. I prefer to work on a set of 12 sessions followed by a review, assess the progress made, ask the child to work on the issue and plan another 12 session perhaps a month later. It’s important to recognize that a child needs a break. I prefer for the child to ask as this denotes some trust and confidence in being able to ask an adult for something desired.
What type of activities do the children carry out, and what materials/resources are used?
Again this is determined by the child’s sensibilities; i.e. if a child demonstrates strong spatial sensibilities, I would use construction. This can be ‘found objects’ that the child is attracted to, clay, glue and cardboard. I use water trays a lot as children like to play in water. In increases spontaneity.
Are there different activities for different types of problems?Again, this is a naïve question. Therapy is not something that’s done to someone, it’s a space where re-negotiation takes place. One can come away better understanding what has happened in the emotional field during an experience. The therapy space is neutral and the therapist works with what the client brings .
What is the most popular material or resource used by the children?Depends on the child. I always play it by ear. One’s child therapy involved a ball of string.
Is there a specific activity or resource that you feel has the most positive effect on the children or does it vary from each child?
I allow the child to determine this. Art therapy is not prescriptive and there is not set way to begin a session other than what the client brings to the session. It could be a delay in the traffic, anxiety caused by being late and the repercussions that may mean to my client. It’s best to keep an open mind, a true heart and being a good listener.
Are the children given freedom in the topic/area they chose to explore or do you offer suggestions?
I begin my sessions with an interview and we look at the problems the child is experiencing. I keep the list to three as this is manageable. I then ask the child which one he/she wants to work with.
Do you work with children in groups or individually?
Individually, although sometimes I bring in an ‘art club’ where we can explore group issues, group creativity and open discussions. I sometimes offer an individual session if something comes up that would be better explored privately.
Which do you think makes more progress?
Depends on the group and depends on the issues.
Are the children given activities/exercises to do at home?
My children are given one ‘job’ at a time. The most problematic is the one that needs working on. For example, a child who runs away , if the agreement is that this stops from this therapy session, then it stops! The next session we explore all the hard work he/she had to do to make this happen. I like to feel that the child feels he/she has an active part in this process.
How important is the parents input?
I like to help the child develop a healthy ego before bringing the parents in. I bring in the parents at the initial interview so that we are all informed as to what is considered ‘the problem’ by each individual member. I then recapitulate by repeating what I’ve understood. This is followed by the plans I suggest for the therapy. I work with a contract that covers all that’s been discussed, signed and every person has a copy. This contract forms part of my boundaries.
If a child isn’t good at art or doesn’t enjoy art activities will this restrict the success of the therapy?
Again a naïve question. All children are good at art and usually very expressive. The ‘school experience’ in this area is what begins to give a child doubt about his/her capabilities. This is an area where you can see the confidence in the little hands laying out the designs. It’s very beautiful and I am always grateful that a child shares this with me.
Do you show the children at a later date the work that they had done previously?
Together we make a folder/portfolio and all of the child’s work is stored in here. If we use clay, I photograph it and place the photo in the portfolio. I work with wood a lot, and the sculpture is stored until the child wants to take it home. The thing with wood is that the child is learning problems solving techniques while enjoying himself/herself. The hammering helps to get the frustration out of the way.
Why would/wouldn’t you do this?
Saturday, 23 July 2011
How to choose a painting - is there an after sales service?
In fact, several things can go wrong, often because conditions in your home are inevitably very different from those in the artist’s studio or gallery. I’ll mention a few examples:
1. The image could slip from its mount (usually only in the first three months)
2. The frame’s mitred corners can become detached. Even if it’s only slightly, this is enough to cause a distraction and take away the pleasure the painting gives you.
Again I am talking about a relatively short period of time,
You will need to ask what the after sales service is.
In my studio when a patron buys a painting I offer the following:
1. Full documentation: a photo or slide of the painting for my patron’s record and insurance purposes; a short biography; the receipt giving the full price paid for the painting, and the exhibiting history of the painting (if there is one)
2. My patron has the opportunity to exchange work that he/she has bought in the past for new or larger works. The exchange is done on the original price of the purchased painting
3. My paintings are framed to conservation level, the level used by museums
My last post on How to choose a painting will review the information that’s been covered. In the meantime, leave me your questions and anything you think I should add onto this e-course.
Until then, warm regards,
Marie
Friday, 15 July 2011
How to choose a painting - financing
What now? Don’t give up! There are several ways around this problem:
1. Speak with the gallery owner
2. Express your interest
3. Tell them what your budget is
4. Express your desire to own this piece of work. It sometimes helps the gallery owner if you say what attracts you
The gallery owner may introduce you to the ‘OWN ART SCHEME’, which is supported by the Arts Council. This is a scheme whereby you agree on monthly interest-free payments and have up to 12 months to pay for your chosen piece of work, usually by direct debit. The artist is paid immediately.
In my studio, when such a situation comes up I suggest paying with a series of post-dated cheques that works with your budget. This facility is interest free and, depending on the cost of the painting, you have up to 18 months to complete your payments.
Alternatively a potential patron and I will look at the budget they have available, negotiate on the price and meet each other half way. This is a very popular method because it brings the cost of the painting closer to my patron’s budget.
I am happy when one of my paintings goes to a good home with a happy patron, when both of us have reached our objective: the patron is able to buy the painting and I (as both artist and gallery owner) provide my painting with a good home.
I also offer another option: a patron who has bought several of my paintings can exchange them for either a larger or more up-to-date painting, making up any difference in price.
I am willing to investigate all possibilities to make the painting available. It pleases me a great deal to have a patron walk out of my studio with their choice of painting. I was given this opportunity when I started my own collection and feel it honours the gallery owner who allowed me to buy works I could previously have only dreamed of owning. I pass his generosity on to you.
One last word of advice: ASK! The reply might surprise you.
Warm regards,
Marie
Saturday, 9 July 2011
How to choose a painting - what is meant by preferred medium?
Today, I’d like to talk about what an artist means when they speak of a ‘preferred medium’. This usually refers to what an artist is working with to create their paintings. It’s also another word for ‘paint’.
A painting is a layered structure (canvas, paper, board); the surface’s preparation (‘ground’, in art jargon); and its layers of colour. Applying layers of colour means using a ‘medium’ – better known as paint.
The three most frequently used paints are oils, watercolour, and acrylics. I’ll stick to these three for the time being. All of them begin with the basic ingredient: dry pigment, the ingredient that provides colour.
Oil paint is oil-based, can be purchased in tubes and is ‘thinned’ with oil-based ingredients followed by spreading with a brush or palette knife on a prepared surface of canvas or board. A glossy finish distinguishes a painting in oil.
Watercolour is water-based, can be purchased in tubes and pans, is ‘thinned’ with water and applied with a brush to paper made flat and smooth by ‘stretching’.
A painting in watercolour is distinguished by its light, gentle and transparent colours,
Acrylic paint is usually referred to as ‘plastic paint’, can be purchased in tubes or jars and is ‘thinned’ with an acrylic medium or water. Its colours are distinguished by their brightness and opaqueness.
If you can’t recognize the medium, it’s a good idea to ask what it is.
My preferred medium is acrylics, although I’ve also worked extensively with oils, watercolour and gouache. I also make my own paint: if you’re interested, email me and I will send you my recipe.
This is a vast and interesting field and I’ve barely touched the surface!
Until next session, warm regards,
Marie
Sunday, 3 July 2011
How to choose a painting - what questions do I ask?
There are two settings where you’ll be able to meet the artist face to face: at an exhibition of the artist’s work when they are present; and in their studio. Whatever the setting, the key questions will be the same and will be about the work or about personal details. Approach the artist using the painting you selected and like (using the eight questions to help you identify this) and begin your meaningful dialogue to get more information about it from the person who created it.
Here are some key questions to help you to do this:
1. This painting evokes (name the feeling) in me. Is this the feeling you had in mind when you painted it?
2. Is there a story behind this painting?
3. Where did the idea for this painting come from?
4. How did you choose the colours for this painting?
5. How long did the painting take?
Keep in mind that each question will open an opportunity to ask more questions, and the reply may well warrant a different question. You may have better questions and you may want to pass them on to me.
You may also want personal details, such as:
1. When did you graduate from art school?
2. How long have you been painting?
3. Has your painting style changed over the years?
4. What is your preferred medium?
Try to follow the ‘thread’ between questions and answers. You have a distinctive advantage; any artist loves the opportunity to talk about their work. The important thing, from your point of view, is that you’re gathering information and I’m hoping you’re enjoying the process along the way.
Next time I will talk about what is meant by a ‘preferred medium’ used in painting.
PS: When you have met an artist in this way, please let me know which questions you felt were most helpful in engaging them in dialogue.