Blog


Welcome to my blog! I originally started this blog to write about the launching of my non-profit project "Moni's Kids", which entails painting  portraits of children in need and using the proceeds to aid these kids. As time went by, it has also become a great way for me to share more about myself, my inspirations, creative process and techniques. I share with you my journey to become a full time artist, the joys and struggles that ensue. I welcome comments and questions and invite you to sign up to receive regular updates on the orange button on the left column. Thank you for visiting! 

 

Share

 

Follow me on Pinterest: Daggi Wallace Studio

 

Tearing Down Walls

25 years ago today I got a call from my mother in the middle of the night. Through tears she kept repeating the words “The wall is falling! The wall is falling”. It took my sleepy brain a minute to realize that those were tears of joy not because of the impending disaster of a house collapse but that history was being made. And I had missed it by 3 days! I had just returned from a three week vacation there and if I had had even an inkling to what was about to happen, I would have stayed so I could have danced on top of that wall, too, that ugly grey concrete thing that was a constant in my early life. I knew it would fall eventually  but did not expect it to happen in my life time. Now it’s been 25 years already, only three more years until it will be gone as long as it was up. The fact that the wall “only” stood for 28 years quite surprised me during my last visit this past September. Of course, I had known this, but now that I have lived a few more decades 28 years doesn’t seem very long. But since it was built a year before I was born, we lived close to it in the Southern part of Berlin and it didn’t come down until after I moved to the U.S. it  was there throughout out my life.

 

After it fell it took me many more years to get used to it being gone. My family saw the reunification processes on a daily basis but it was strange for me during my visits to be able to just keep riding our bikes passed the old guard towers into the woods and fields for example. This was a spot where my best friend and I had our first experiment with pot, flipping off the East German guards watching the deviant West German youth through their binoculars from the towers in the “death strip”, the piece of land on their side of the wall marked by attack dog runs, barbed wire, alarms and other “defenses” (our dignity was further compromised when we promptly got so nauseous we threw up in the grass much to the delight of the guards). When my brother moved to Potsdam (the former East’s housing was much cheaper compared to the steep rent hikes in the West after reunification) I still would get nervous driving to his house, the old feelings of crossing into communist territory creeping up the back of my neck. It felt strange that the Berlin my young daughters were now experiencing was already so different. It was hard to explain the concept to them, what it was like to have a wall down the middle of a city, what it felt like, what it meant. Not living there full time and only coming for sporadic visits which were often fraught with family drama, hospitals and funerals, I only seldom ventured into the newly re-joined parts of East Berlin that quickly became a decades long construction zone.

Three years ago I ran the Berlin Marathon with Rich, my very first marathon. The 26.2 mile route took us through many parts of East Berlin that were unfamiliar to me before it wound through my old turf of Zehlendorf in the south, the Ku-Damm (once the heart of Berlin and a regular hangout) and finishing by running THROUGH the Brandenburg Gate into the Tiergarten (from the East to the West). Growing up looking over the wall at the gate which was located on the East side I was now running through it holding hands with Rich while my friends and family cheered! To say this was an emotional moment for me is an understatement!

That visit coupled with my recent one this year was a turning point for me and my relationship to my hometown. For years after I moved away I was homesick while at the same time loving living in America. At the same time at the end of each visit I was so ready to return to my “real” life in the U.S. Other immigrants understand this dichotomy well, feeling torn between two homes, two completely different lives. There is much more to say on that subject but that is for another time.

 

The overwhelming sentiment that came up for me during my last visit was how different a city Berlin is now compared to the one in which I grew up. It’s exciting and unsettling at the same time. If you grew up in Boston, for example, and now go back decades later, you’ll notice changes, of course. But it’s basically the same old streets, same landmarks and buildings for the most part. However to me, MY Berlin was joined at the spine by a whole other city. A city (East Berlin) that did not conjure up good emotions growing up, that always looked grim and grey, as if someone had turned off the lights, depressing and intimidating. I had never  known Berlin as an undivided city as the older generation had, only knew and loved it as half of its old self. Joining the two cities together is like finding a long lost sibling after decades apart and shaping a new family, creating new common experiences when your individual ones were so very different (a subject also familiar to me). There are ups and downs, emotions are strong but it’s exhilarating and offers so much potential.

 

Something inexplicably is pulling me back towards the city now and I’m not sure why that is. Old age? Shedding of baggage? Breaking through my own walls? Whatever it may be I have learned to listen to my inner voice and therefore plan on spending a lot more time in Berlin on a regular basis again. As it is, I am currently working on a new  very personal project, a series of paintings centering around the theme of walls. I hope to reveal it some time next year. I’m discovering Berlin anew for myself, not as a rebellious teenager itching to fly away to the wide open spaces and relatively uncomplicated psyche of America, but as a mature woman grateful for the blessings and lessons of having been born a  Berliner and an opportunity to see what the city might hold for me now. As a grown-up, as an artist.

Read Full Post


Working with an art coach

Recently, I started working with an art coach again. A few years ago I had enlisted the services of Renee Phillips,  the "Artrepreneur Coach" and founder of Manhattan Arts International as well as regular contributor to Professional Artist Magazine. She helped me focus and clarify my goals, gave advice about  my artist statement and website, made introductions and generally helped me step it up a notch. We are still in touch and I look forward to reading her columns, newsletters and online posts.

This time I wanted to work with someone familiar with the LA art market. Several of my studio mates have been working with Yoram Gil and highly recommended him. Yoram has been an artist, framer, gallery owner (in Beverly Hills, no less) and now a private art dealer with an international artist roster.

Art coaching services are not cheap but I consider them an investment in myself and making my work a priority. One of my goals is to find a market and exhibition venues for my non-commissioned work as I create series of paintings that are very personal  and meaningful to me. I wanted an honest un-biased opinion and Yoram does not hold back! He affirmed my assessment of what constitutes good work among my pieces and what needs to be put aside:) His personal studio visits also include advice on my display area, framing and hanging.

AND it includes homework! I had to pick several not-so-great paintings that I was ready to let go off...meaning that I was ready to destroy! Not an easy task but actually quite liberating as I have been wanting to clear out "old stuff" (which should always be referred to as “earlier work”) anyway. My assignment was to tear up a painting and collage it over another one in order to create a new piece. You can read more about this scary yet freeing exercise and see the result here.

I just had my second session with him and to say I'm excited about the future is an understatement. While he liked the abstract piece created from the exercise he LOVED my new series exploring the theme of walls (those imposed upon us by others and those we erect ourselves). As a native Berliner, this theme has always been running through my life but is also a universal one to which most people can relate. Going forward this is what I will be spending my time on in between paid commissions.

When I told him what my goal was for the series he said it was not large enough! I won’t go into details here yet , but I thought it was quite a lofty goal already!  He said I should aim much higher and he’ll help me do just that. I can’t tell you how wonderful it felt to have someone with his expertise tell me I was selling myself short! He has some amazing ideas and I will follow his advice even when it scares the hell out of me, because his vision is ultimately where I wanted to go all along but thought I was not yet ready. 

Part of his advice includes not showing any pieces of the new body of work until the whole series is ready to be unveiled in an exhibition and certainly not have any up for sale! So….I have taken the Berlin Wall paintings off my website for now and won’t be posting any new ones online anywhere until at least late next year. This made me want to hyperventilate! In part because I just entered them into a show (but have not heard yet if they’ll be accepted) but also because I worked so hard to create a presence on social media regularly posting new work. My postings will be restricted to portrait commissions and work not intended for the series and it will be very hard to keep the others a secret! I won’t even show them during Open Studios!  But I’m excited beyond words about the goals Yoram has for me and will trust his guidance. If all goes as planned 2015 could be a most terrific year!

So, are you thinking about hiring an art coach to propel you forward? Here are some things to consider.

 

Tips for working with an art coach:

  • Do your research! There are a lot of people out there trying to make a buck off artists, knowing how desperate we are trying to make a living at what we love.
  • Get references
  • Google the coach (type in the name + feedback or +reviews)
  • Interview him/her to be sure it's a good fit
  • Know beforehand exactly what all of the fees are and what you will get for your money (is coaching done over the phone or in person? One on one or in groups? Does it include help with writing an artist statement or bio? Will he recommend suitable galleries? Does she have connections to gallerists, art consultants, designers and is willing to introduce you?)
  • Once you have the right person, be sure to trust their guidance and follow their advice. You can always change course again later if you don't think it's right for you, but remember that you hired this coach for a reason. It reminds me of the definition of insanity: Doing the same thing over and over expecting different results. If what you have done up to this point has not brought you the desired results , then try to let go of the reins for a while and let someone else show you another way.
  • Do whatever homework, tasks or exercises the coach prescribes even if it is far removed from your usual work. Read about my homework of tearing up one painting and washing off another here.
  • Have a list of questions and topics you want to address ready before each  meeting so you can use your time wisely.
  • Make lots of notes during your sessions! Often we think we will no problem remembering something, but believe me you’ll be surprised how much you forgot when you re-read your notes later. I keep a separate sketchbook just for the coaching and my personal art goals and ideas. I browse through it regularly to keep me on track or make changes.
  • Have thick skin! Artists have to be able to handle rejection and harsh criticism. DON’T take it personally, LEARN from it! This does not mean  their word is the final one, but a chance to consider what they’re saying.

Benefits of working with an art coach:

  • A good art coach will help you define your goals and aspirations and the steps to achieve them.
  • Honest feedback and constructive criticism. If your coach thinks you are reaching too high at your current ability level he will tell you and help you define more achievable intermediate goals  in the process of making progress towards your ultimate dreams.
  • They don’t have to personally like the art you create! While it’s helpful if they are enthusiastic about your work they really just have to see the potential in it to realize your dreams.
  • He will help you see yourself in a new light! We know what our family, friends  and clients think of our work, and we may even have artist peers who have given us critiques and pats on the back but the chance to have an outsider with extensive knowledge of the art business take a look with fresh eyes is invaluable. They may see something in you or your art that you never thought of.
  • Feedback on your website, portfolio, marketing material, business cards, artists statement, etc.
  • Branding. Since an art coach should be an outsider (not a friend of yours!) who is new to your art they will be able to give you their first impression of you and your work. Are you projecting the image you want? Does your art relay the intended message? Who is your target audience and are you reaching them?

If you have any personal experiences you’d like to share with us, please leave a comment below.

 

Read Full Post


An exercise in letting go

Working with a new art coach has been an amazing experience that is helping me to see myself and my work in a new light. You can read my tips about hiring an art coach and how it might benefit your art career in another blog post, but today I'd like to share with you one of the homework assignments from my coach:

I had to pick several not-so-great paintings that I was ready to let go off..meaning that I was ready to destroy! Not an easy task but actually quite liberating as I have been wanting to clear out "old stuff" (ahem..."early work") anyway. My assignment was to tear up a painting and collage it over another one in order to create a new one out of two old ones. BUT...the new one had to essentially have the same message or theme as the old one, except it had to be in a completely abstract style since my regular work is very representational.

Well, if you work in pastel you know what a mess this would create! I took the first painting, called Out of the Blue, outside and washed it off with a garden hose. Since it was painted on Wallis paper this was not a problem. The second painting New Mexico Fire was torn into shreds (yep, it got QUITE dusty!) and collaged on top of the first painting after that had dried.

   

The original Out of the Blue painting was hosed off

 

New Mexico Fire was torn to shreds

 

I actually quite liked this already but as I tried to add pastel on top of it the white edges of the torn paper did not accept any pastel, so I decided to cover the whole thing in acrylic ground for pastels:

 

I used a foam brush in a criss cross pattern to add the ground but I wish I had sprayed some fixative first in order to try to keep the colors from being diluted and blended so much. O, well, this was a chance to just play and experiment and I was having a blast not worrying about the outcome! I also at this point had to stretch the paper onto a board because it had buckled quite a bit. I wet the back of it after the front had dried and stapled it to a board, then let it dry completely which smoothed it out just fine.

Next step was adding new strokes of pastel. I let my intuition guide me, but knew that I wanted bright colors and a high "horizon" coming out of the dark blue mass toward the bottom:

Time to start adding some of those oranges and reds:

Further developing the painting:

I found myself a little stuck about how to proceed so I turned the piece sideways to check the composition, since a good composition has to work from all directions.

This is the finished piece. I wasn't quite sure if it was done but everybody who saw it (including my coach) said it was and in the end I agreed. I was worried that there was too much bright color and wanted to add some greys but I think the dark blue also dials it down a notch.

Out of the Blue II, 16x14" pastel collage

 

While this was a lot of fun to do with very little pressure (after all, what could I possibly mess up? The paintings were torn up already!) and I might do some more in the future, for now it's time to focus on the new body of work I'm creating and portrait commissions for the holidays. After the initial shock of destroying two paintings wore off it was a blast to just play and let go of the old! And to let go of any expectations of what would result:)

I'd love to hear if you've ever destroyed old paintings to make room for new ones!

 

 

 

 

Read Full Post