Current Events

Flow in flow out-like breathing,
inspire, breath in with an intention,
let it float
letting go of the thought
sense and observe the response that arises, without edit
expire, letting the creativity flow out.

This is the way in which I create my paintings.

When I want to make a new painting I search myself for the emotion lurking around,
which has most likely been incubating, looking forward to expressing itself.
Having processed many thoughts which have synthesized into an emotion, a feeling,
I start to look thru my files for images that could embody that feeling and download it
 in preparation for the painting process.

I choose the medium I will work in and the format, but not the colors.
I have some sense of the space it will occupy on my surface and with each layer I let the colors come as they will. Each time I ask and paint with the first color that comes into my mind. I loosely indicate with water edges parts of the form and start by pouring the paint, letting it spread and roll, carefully guiding while allowing the inevitable spontaneity of the liquid. The result is much more interesting and full of life than any image I could have meticulously designed.

I refer to this as creativity, as it begins with an invitation to create, not a pre-conceived idea, which allows original thought to flow thru. As it comes in I follow it, curious as to where it is leading me and my paint. I respond and play with it by using my experience of the materials and tools in hand.

This process of intention and allowing the natural mind to respond is useful in everyday life as well. I was first introduced to this method in a psychometry workshop in which we were paired with someone we didn't know and was handed a personal object of theirs with the direction to say the first thought that came to mind without edit. I was taken by surprise when I was able to recount the partner's life in minute detail with one hundred percent accuracy. I found this intriguing and useful. One can start to apply this to all areas of life and find that the natural mind is far wiser, and more accurate than our intellect. With practice and non-resistance it starts to become a usual means of perception.

We are part of consciousness fields that are vibrating within ourselves, nature and all of creation. We respond to this vibration using our human senses, manifesting and creating our own lives each day.
The more I live in this process the more alive I feel.

For myself, it is an ongoing evolution to approach my art and my life in this manner.

Kohlene Hendrickson - copyright 2009

There are a number of ways of achieving international exposure and recognition, but the avenue I would like to talk about is via international art fairs.

I read the FASO newsletters on a regular basis and have not heard mention of this topic. I am an American living in Europe which most likely has its  differences in art marketing, but I have found that the majority of galleries charge a good amount of money for artists to expose their works, often taking a minimum of 30% commission on top of the gallery fees, invitations and possibly the expenses of the art opening. Of course there are still the select galleries that really work for their artists, passionate about art and take the risk to promote artists that they believe in. I am lucking to be working with a wonderful gallery in conjunction with my other adventures.

Art fairs can cost a pretty penny, but in the current economic climate when I choose to put money out of pocket I am focusing on gambling my bucks on a larger venue of exposure.

I would like to recount a few of my own experiences to illustrate why I think this a good option for marketing and what to take into consideration when choosing art fairs. My first art fair was not my best choice as it was the first time that it was organized by this particular group. The promotion of the event was not well enough publicized, their criteria for admitting artists too low, and the general feeling was that the organizers had their overhead covered but the professional standard of artists was not to the level that I would like to be associated with.  The "pro" of it was that as my work stood out, I sold.

My second adventure was as a spectator of an art fair. This time I cruised around and found my self in a playful conversation with an artist and his agent in what I found to be the most impressive stand in the show. I revealed that I was also an artist and the agent invited me to submit my work to him. He is now my agent! He is based in Paris and is in development with exhibition projects spanning Paris, Germany, New York, Shanghai, Hungary, etc...as an artist signed with his agency I am included in these projects and in his current publication of a book of selected European artists.

Prior to these adventures I had been told by art dealers in the south of France that they go to these expos-especially Paris to scout new artists. I found this to be true as when I participated in a fair in Paris I was later contacted by an artist association and gallery from the Cote d'Azur which had seen my work there.

In the largest and most prestigious fairs such as Art Basel and some of the Biennales an artist must be represented by art dealers. However, there is a trend of more and more fairs being organized in which artists may represent themselves. This is allowing more opportunity for artists to broaden their market possibilities with the thousands of visitors that will see their work while passing thru these shows. It is always a crap shoot and in general I never really expect to sell work, but the networking possibilities between artists, dealers, journalists and prospective clients can be very rich if you are willing to put your energy forth and talk to people.

I have been invited several times to fairs in Italy and will go one day...but I will thoroughly investigate the costs and possibilities to advance my career.


My advice is to research the track record of the art fairs, weigh the expenses out of pocket including shipping artwork, customs and/or your expenses to be on the spot, speak with artists that have previously shown in the fairs and if possible attend the fairs you are considering as a spectator before investing yourself.

It has been my experience as well as the word of artists that I have chatted with that it is notable to have on your biography that you have shown internationally, and better yet if you have won recognition in these shows. Not all shows are equal and savvy dealers know this, but it shows that you have expanded beyond your local horizons and you will naturally expand from the experience yourself.

I am still on the trail and enjoying the travel. I would love to hear other artists' experiences and recommendations of fairs that are worth considering!

Kohlene Hendrickson
www.kohlene.com
Copyright january 2010

A collective exhibition of ten female artists chosen by commissioner of the event, artist agent Pierre Eugene of Art+plus europe.
The exhibition is held at the Centre Cultural Christiane Peugot.
JUNE 3-13, 2010

GREAT NEWS!
You may now order prints of my work online

prints on paper or canvas, or greeting cards via

http://fineartamerica.com/shop/kohlene-hendrickson.html

I am currently uploading works available, if you are interested in an artwork not listed, contact me and I will upload it!