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Amanda Dunbar
interview
by Douglas Eby
Acclaimed
in her teens as a prodigy, Amanda Dunbar's
paintings have been compared to Monet and Renoir. An accomplished
landscape painter, she also creates a wide range of abstract,
figurative and conceptual
art. In addition to painting, she works in stone lithography, copper
plate etching and wood
block.
She has studied at a number of schools, has a degree in Art History
(BFA with Honors and Distinction), has had multiple solo exhibitions,
and her work has been selected by a number of museums and corporations.
She is one of four 2006 inductees to the Texas Women's Hall of Fame.
Though concentrating on painting, Amanda finds that photography can be
“a great tool to help an artist compose paintings and also to help
capture fleeting images for later reference."
She
notes, "In learning to capture and
create art photographs, I learned how to think about two-dimensional
images differently. Capturing a three dimensional idea on a two
dimensional surface can be very challenging, and looking through the
lens of a camera can sometimes make that process easier by giving an
example to consider.”
She points out that a “mechanical flattening of space is always
different than actual observation and working from life. I think having
a combination of various types of reference material can be very
beneficial and stimulating to any artist.
"I do
believe that
photography, however, can be somewhat misleading in its representation
of the world around us. It cannot capture exactly what one sees or
perceives with ones own eyes.”
Amanda is a “firm believer" in the benefits of formal education: "I
have
always loved school and the discipline that goes along with it. In
regard to my study of art history, I found it a tremendous advantage to
learn about and grow from artists that came before me.
“I believe it is extremely difficult if not impossible to advance
forward until you understand the past. I believe that studying about
and from other artists has helped me become stronger and more diverse
in my own work."
She
thinks formal education is "like acquiring
tools for a toolbox. The more tools you have, the more you can create
or build. One does not necessarily have to agree with or adopt every
theory that is presented in an academic setting, but I believe it is
always beneficial to be exposed to different opinions and different
ways to work.”
In her article Creativity, The Arts, and Madness, psychologist Maureen
Neihart writes: “Since the time of the Greek philosophers, those who
wrote about the creative process emphasized that creativity involves a
regression to more primitive mental processes, that to be creative
requires a willingness to cross and re-cross the lines between rational
and irrational thought.”
Asked about whether she uses “irrational thought” or perhaps a more
“primitive” emotional state when painting, Amanda says, “To answer this
question, I will need to use quotation marks to differentiate various
words that are subjective and usually controversial in their use when
it comes to art.
“To begin, the word ‘primitive’ in the art world is a loaded word with
multiple uses and connotations. For the last few decades, artists
(particularly visual artists) have taken that ‘primitive idea’ quite
literally, and traveled to ‘more primitive’ cultures, or attempted to
‘regress’ to the mentality of a child to deepen the scope of their art
so that is was not so much of an ‘academic’ process, but rather one
‘truer’ to one’s own self.”
She notes there are “endless” examples, including Picasso, Matisse,
Kandinsky, and others, and adds, “I do believe that there is something
‘irrational’ to the creation of art. What I mean by this is that there
is something unexplainable to the scientific mind that drives an artist
to create.
“Art is not created by a formula, nor is it something that can be
completely learned. One can certainly go to school to learn how to draw
and paint, how to build bronzes or even how to talk about the work that
one creates from academic settings. But ‘real’ art is something much
deeper and personal than that.”
Amanda says she would not use the word “primitive” with regard to how
she creates: “Creating artwork is an act of blind faith - not only
faith in yourself as a person and your abilities as a craftsperson, but
also faith in the act of creating. Creating art is not for the
fainthearted. It forces the artist to confront the reality of failure
moment by moment.
“As artists, we use not only our technical abilities to execute our
work, but also all of our mental capacities, our spirituality,
and at the same time we must make that leap of faith (that we all
struggle to articulate) every time we begin our work.
"Some
would
consider this ‘irrational’. Why put yourself through all that agony for
something that may or may not ‘pay off’ at the end? In my opinion, the
answer is that it satisfies that innate and
unexplainable yet powerful drive to create.
"It is
that meditation or
connection with the ‘greatest creator’ which requires sophistication to
understand. Each dedicated artist hopes to one day hold a key to help
unlock the door to that significant creation that changes the face of
art or perhaps even allows the world a glimpse or a new perspective of
itself."
She says this is true for her, too. "My spirit and soul are fulfilled
by working up
the courage to sit at the easel, meditate and paint. To many this is
‘irrational’ but I do not believe it to be primitive at all. I believe
it takes a sophisticated rather than ‘primitive’ mind to accept a
challenge of that magnitude.”
Amanda notes there are also social aspects of being talented and an
artist. “There
are always going to be people that feel another person’s success and/or
talent somehow lessens their own validity or ability. It can cause
insecurities in others.”
She thinks the biggest challenges she has faced from having such
success at a young age have been “due to people, most frequently
adults, who have various insecurities within themselves or had ulterior
financial motives where I was concerned.
"Thankfully,
I have more good
to report in this area than bad. I have always had many friends, but it
has always saddened me that there are inevitably going to be people
that choose to have disdain for young success and go out of their way
to make life more difficult or attempt to profit from it.”
She admits to having endured some of this, and adds, “Artists are
inherently sensitive and emotional creatures. This is compounded when
that artist is in childhood or adolescence. The very characteristics
that are needed to create art can make hurtful issues even more
difficult to deal with in children.
“When I was younger, some unfair and difficult issues affected me
deeply as a person and as an artist. I have been fortunate though, to
have a solid and loving support system. I expect these types of
circumstances will surface periodically throughout my career. I am much
better prepared to handle them now.”
Amanda finds as she matures, she is becoming “more and more grateful"
for her earlier difficulties and challenges. "They give me a clear
vision
and foundation to stand on in regard to who I am as a person and who I
am as an artist. I know where I firmly stand in regard to running an
ethical business, where I stand in regard to social conscience and how
I wish to live my life.
“I am grateful to have learned early that one always has a choice as to
how to respond to negatives. In other words, ‘I choose my battles.’ My
experiences have given me considerable strength and taught me how to
surround myself with the people and creative energy that matters most
and enables positive growth in us all.
"The
rest, I discard as it bores
me and takes up valuable time that I don’t choose to spend focused on
such things.
“This is the most valuable life lesson I have learned and one that some
people will never learn. Artists must develop a thick skin and acquire
resolve to successfully remain working artists throughout their
lifetime. I was just younger than most and had to develop my thick skin
a little faster and earlier than most.”
She finds it is sometimes hard to maintain a routine for creating:
“There are always things that take my focus to the exclusion of
everything else. I have a bit of a tendency to have a ‘one track mind.’
I also travel frequently which can upset my routine. I do, however,
entertain a little ‘ritual’ before I begin to paint. I make myself a
cup of tea or coffee, change into my paint clothes, and turn on either
some music or an audio book.
“I then attempt to tune out the outside world for a while. I am most in
tune with my art in late evening working well into the night. I am less
distracted and feel more peaceful at that time of day.”
She adds that when feeling happy and spiritually connected, her art
“takes care of itself. A special mentor of mine gave me a copy of The
Four Agreements by Don Miguel Ruiz. I try very hard to live by these
agreements. They work! I am also inspired when I read about other
artists.”
She feels it is important to to respect the dignity, spirituality and
humanity of both subjects and viewers of her work. “I do it with human
dignity in mind. I intuitively create images that do not demean women
as is common place in art. I do not break up or exploit their bodies. I
apply the same respect to men, children and other living creatures.
"I
do not use religion or political views as controversial points in my
pieces either. I do not feel the need to create bizarre or edgy
conceptual shock art. I am quite capable of doing so but feel it is
perhaps a bit over glorified, overdone, and for me personally,
redundant.
“I am driven to explore subject matter that I find much more universal,
meaningful and interesting. This may stir some critics to call my
work ‘commercial.’ I am rebelling in my own way by challenging those
ideals and asking the question, ‘When did beautifully conceived and
executed art become any less legitimate?’ I believe that art is
communication. Many people are drawn to the work that I do and I
therefore have the luxury of not compromising my artistic aesthetic to
suit the viewer.”
Amanda thinks painting allows a “sensual catharsis” and may sometimes
express ideas or feelings in a more powerful way than talking, writing
or other forms of communication.
“But it also means that I lose myself in the process of creating art,”
she explains, “and that is what really helps me work through my
emotions. Creating art helps me to relieve tension and anxiety by
bringing feelings, good or bad to the front of my mind where I can work
them out. I find more peace through the process of creating than I do
in the finished image or painting.”
With the help and support of her family, Amanda opened Galerie Papillon
in Dallas, Texas. “I wanted to open my own gallery to showcase my work
in exactly the way I wanted and I also loved the idea of exhibiting the
work of other artists that I enjoy and respect. The gallery has
affected me as an artist by forcing me to be a lot more efficient with
my time and to hone business skills in order to run the gallery
properly.
“I have had the opportunity to learn a lot about the business of art,
which is something that most artists miss out on due to fear of the
word ‘business.’ Knowing more about my field has only enhanced my
desire to be a part of it, and to leave my mark on it.”
A strong concern for social issues affects not only what she paints,
but also what Amanda does with some of the proceeds from the sales of
her artwork.
“I have been exceptionally fortunate in my life, and I feel that part
of the reward of my success is the opportunity to help with so many
important causes. I was raised with the philosophy that if you have a
gift, you have the responsibility to do something positive with it.
“This is something I have tried to be true to throughout my art career.
I began painting as a child and it was natural for me to want to help
other children. Several of my painting images stem directly from my
belief that innocence and life’s small miracles and joys should be
celebrated.
“I love to take ‘ordinary’ subject matter and present it in a way that
causes the viewer to pause – whether that is to reflect on one’s own
memories, or to consider the joy of one’s own children or grandchildren
etc. Either way, the viewer takes a few moments to remember what makes
life beautiful and worth living. In my opinion, that is one of the
greatest achievements an artist can attain.”
Amanda says she advises young artists to seek out schools, mentors, and
tutors: “Absolutely! It is always beneficial to view things from
different perspectives and feedback, whether you agree with it or not,
is fabulous because it forces you to look at your work much more
objectively. It is fascinating when someone discovers something in your
work that you never realized was there, or can perhaps see through a
nagging technical problem.
“Good mentors and teachers are the best coaches to help maximize your
potential. Schools allow you access to people and facilities that
ordinarily would not be available - things like printing presses and
kilns. Schools also give you the opportunity to exchange ideas with
other student or faculty artists of varying skill levels and
backgrounds.
“I found working at school and conversations about art with peers
greatly stimulating. I plan to be a student for the rest of my life and
hope that I will never stop learning and growing.”
Commenting about making her first paintings. Amanda recalls being “lost
in the process. I was just having fun and I didn’t know if it was any
good. One of the best parts about being an artist is that so much of
the process can be energetic and playful.
"I get
so much joy from
working at my art and painting that I am never worried about losing a
sense of play in my work. Playfulness is what keeps an artist motivated
to keep working, even though it is sometimes a grueling process. I
think it is incredibly important for people to truly enjoy what they
do. It is the key to success.”
But, she adds, “What a lot of people do not realize is that a
professional artist does not wait ‘to be inspired’ to work. Work begets
work, and even the most mundane tasks in the studio can spark an idea.
I’m not sure there is a ‘right’ emotion. The process of painting is
meditative to me. That part of my brain that seems to be constantly
whirling in circles over other aspects of my life, gently becomes quiet
through the process.
“It takes concentration and focus to create my best work. When the mind
is focused on trying to work out my next brushstroke, there isn’t any
room for worries and somehow they get worked out. This process is also
aided by my work space.
“My studio is my sanctuary and people are rarely allowed to enter it
while I work, or even when I am away from it. It is an intensely
private, personal and sacred place for me. Somehow, my mind and body
recognize when I am in my space, and that it is time to create art. The
rest of my life just has to wait.”
Being successful has enabled Amanda to do what she loves to do for a
living. “It has allowed me freedom from worry about having another
means to support myself. I am grateful every day for this and
will remain so for the rest of my life. Being successful also means
that most of my time is spent either in the studio, or working with
some other aspect of my business.
“Because I devote so much time to the studio, I cannot help but think
that this time has made me a better artist. At the very least, it has
helped me to achieve my artistic goals much faster. There have been
times that the studio came before anything else, and I have been called
a workaholic on more than one occasion in my life.
“I prefer to call it discipline but appreciate that I can become quite
focused. Sometimes I just can’t relax and focus on other things if I
have a particular project that I am excited to finish."
She
believes that
over the past few years she has achieved a "healthy balance between my
work, business and other aspects of my life. Family and cherished
friends will always come first, followed by art then business.”
"I adore my life. I am
extremely blessed.”
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Amanda Dunbar was born in 1982, in Thunder Bay, Ontario, Canada, and
became a naturalized US Citizen in 2002. Her travels and art studies
include USA,
Canada, Mexico, England, France, Italy, Fiji, Brazil.
See a
gallery of her work on her site amandadunbar.com
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