Don’t Be Afraid To Use All The Colors

CHOPIN’S PIANO by Miyuki Sena

I created this piece from the doodle during COVID-19 quarantine. Did we all think we were going to die? The freeways looked like a scene out of a sci-fi movie—completely barren of any life or vehicle. Eerie and desolate. Perhaps this is the most psychotically crazy colorful cheerful and serene piece I’ve done all wrapped into one coming out of a “dark place” in myself and my surrounding.

I re-blog this one appropriately for my first opening outside of my San Pedro loft apartment gallery in a small cute boutique shop in Redondo Beach where they have an even smaller gallery in the back. Cherry Co Show aptly titled “All The Colors of INK”.

Most of my ink doodles (unintentional drawing and scribbling—is what I like to call it) remain just that. Some I’ll frame or mat but most I leave in sleeves and notebooks. I saw something in the scribble that I created leaving my ink pen down on paper while I listened to Chopin’s Piano Pieces.

Using Adobe Illustrator it was transformed into something magical and so happy. I find that even now, I look over it and into it and around it and I find new things. I forgot about the little pumpkin shape until just making “detail” screen grabs for this blog.

Ink Doodle by Miyuki Sena

This doodle was done on a piece of lined note paper I had laying around when I was listening to Chopin’s Piano pieces. I wanted to know how my brain would translate the music visually.

Vector line preview and color rendering of Chopin's Piano detail by Miyuki Sena

LEFT: Each line and shape is hand drawn. I literally paint vector. As each shape or line is created, I choose thickness of line (or none) and mix the color I want. I rarely use a digital color palette. I feel it limits me and the colors I create.

RIGHT: A detail of the rendered Adobe Illustrator. Again, color, lines, and shapes are created by me. So when someone asks: Q. Is this hand painted? A. Absolutely Q. Is this an original piece? A. Absolutely Q. Is this Fine Art? A. Again, absolutely!

First Semi-Private Show In Years

It couldn’t have come at a more inopportune time but the world doesn’t plan around your life. October 26th will be the reception to my show, INSOMNIA, along with Jaime Coffey Bateman—RED EARTH and Lynne Russo—THIS MOTHER FUCKER, at TAG Gallery in Los Angeles. While reformatting my studio/gallery/store at Crafted in San Pedro into a Paint Bar and also building out the gallery in Laguna Hills’ Open Market OC, I managed to pull together seven to ten more pieces during the wee hours of the morning—giving strength to the notion that insomnia is my friend.

I know. Insomnia can be pretty open-ended and could be considered a cop out theme name. So here’s my argument: I was worried that I might not be able to attain the same heightened imagination as when I was sleeping, on average, only thirty hours a week or less. I thought that sleeping seven-plus hours every night would make my brain mushy.

Yes. There was about six months where I was so well-rested and getting my blood sugar back to survivable that my brain and my art was like cooked Quaker Oats. Getting back into the routine of doodling every morning and letting my ink pen flow without forethought and judgement on the drawing, “it” finally started to flow. And then, all of a sudden, I had so much creativity and need to create pieces, that I became a little ADD in the painting department. This last piece is how I felt about getting my mo-jo back. Titled Continental Flight, I barely finished it in time for the show. Tired and happy… but not sleepy!

Is it Fine Art?

CREATION by Miyuki Sena

Yesterday, I worked a co-op shift at Palos Verdes Art Center group called The Artists’ Studio at the gallery. There was the usual down time but occasionally, and sometimes in droves, people will come in and look around. A gentleman came in and asked me what I do. I respond that I’m one of the artists. They look at my laptop with eyes glazed over and some nod politely, but I’m pretty sure they don’t put the two together—the art and the laptop.

This particular guy seemed to understand that I use digital medium. He asked questions about my process and I demonstrated with Adobe Photoshop and a Wacom tablet with a stylus. I began to feel like I had gotten through to one person and was feeling pretty good when he spoke, “You really can’t charge people that much because it’s not fine art. People want an original, a one-of-a-kind.”

My heart sank. I got a little angry. My pupils dilated, I swallowed, and then I proceeded on a rant that went something like this:

  1. Crappy art is crappy art, oil, acrylic, watercolor, photo, etc., and well-done art is, well, well-done. Whether a schooled painter, an elephant, blind person, paraplegic using their mouth, or a monkey applies paint onto paper, canvas, wood or whatever, art is art. Art is whatever one considers art for themselves. it’s personal in the largest sense. Therefore, one will pay what one will pay if it has value to them. It’s an artist’s task to figure out what that value is, the pulse of present-day art appreciation, and where the threshold lies. Of course, an artist can also not give a shit and produce art for art’s sake.
  2. At various times in the history of people and their art cultures thought that photography, etchings, acrylic, tempura, charcoal, ink, etc., were not considered fine art mediums. As soon as a camera was invented, artists used it to capture images and make it their art. But because it was known that with a chemical process and a negative, one could produce multiple, if not endless, numbers of prints—photography was not seen as art… not even considered art. Can we all agree, now, that photography is a respected form of fine art, hanging in galleries all over the world right alongside, oils, and bronze sculptures?
  3. Time, as in the passing of years, decades, eras, is known to be a dubious indication of value. Your great uncle’s school art project may be of great value to you, but unless his art had been revered in some great galleries, or auctioned off at Sotheby’s, it will hardly be of any value to others. A well-done, interesting, and maybe beautiful painting, taking a decade to paint by a nobody is nothing compared to Seurat’s drop cloth. Time put into creating something; time in experience; time in the care and thought of a piece of art should be weighed in to the value of that art no matter the medium. “Digital” sounds fast, convenient, and easy but it isn’t. Appreciate the education, skill, cost and the time put into learning to use this medium.

And so, we come back to the debate on whether digital art can be considered fine art. Can a piece of work printed on metal or paper, created with a digital app hand along side an oil painting? Is it fine art?

Only time will tell.