With each of us, it’s not that we want to be an artist, it’s that we need to be an artist. Putting it this way, we don’t want to breathe—we need to breathe. In the same way, “hope” is not a strategy, “getting into a studio and making art happen” is a strategy.

I look back and know it wasn’t that I made the “right” choice; it was the only choice. I’ve been very much me, Harley Brown, all my life. At first, I was somewhat insecure because I was entering a very complex world. But with the help of wonderful family and friends, mentors and a number of fortunate happenings, I got what my heart and soul were after. Even near broke, I was giddy with joy that each and every day, I was an artist. That’s what life is about.

Whose Opinion Matters?
How is it possible that many people allow tastemakers to tell them what is worthy and what is not? This has gone on for eons in different forms. I remember when I was a lad, how the critics had a way of convincing me. Sometimes stern, they would also laugh with derision: “Really?! You like that tawdry tripe?” The pundits would often have a ready sneer as a warning for those having the gall to contradict and say they “don’t get it.” After years of experiencing ego art debates, they’re way in my past. Most importantly, we think for ourselves.

A DAY IN THE LIFE: Visual gifts are handed to artists throughout the day. A woman’s face, to me, is the ultimate visual. This lady with her headscarf has given me spirited moments. Her eyes, mysteriously hidden in shadow but very expressive. Is she curious about something over to the side? And with those folding shapes surrounding her head, there’s an overall combination of realism and abstraction. A portrayal is not just a face but also the drama that accompanies it.

 

Thank You
We don’t look for a style or approach in our art. It really comes naturally as we build our skills and confidence. Much like our personalities. I was insecure in my very early days and tried to be like others who were more popular. That sure didn’t work out. But it wasn’t long before my confidence in my art and myself took a strong and personal turn. Thank you art world!

Who Knows What’s “Perfect” in Art?
A drawing or painting will never be perfect at the end. That’s because, in art, unlike mathematics, there is no real “perfect.” Well, I’ve never met a perfect person. With that in mind, let your experience, inner passion and skills decide when a piece of artwork has come to a conclusion, and then sign it.

The Fuss Factor
In my later years, I’ve felt that too much fussing with a piece of art is like erasing myself, fuss by fuss. It would be like considering and reconsidering every word spoken.

In art, “overcooking” takes character away from the entrée. Too much tooling with a pencil or brush can take the spirit away from a piece. Where I’ve worked a whole area to death, I will erase or wipe out that area and redo. Fresh and filled with me knowing where I went wrong and where I need to take it. 

A. The angled shapes within the headdress with that one fold swooping up towards the top right—a feeling of movement.

B. The bold dark vertical of the braid holds a stability in contrast with the angles.

C. The large open area next to the busy headdress and facial features.

D. The braid here is a reflection to the sweeping fold above in the headdress.

E. The right side of this pastel is darkest. In this finished piece, this is an overall warm artwork with a complimentary blue in the upper right with cool touches in the left headdress folds.

 

Over and Over
There’s that strange definition of insanity: doing the same thing over and over and expecting different results. Well, I’ve done the same things over and over again with my art and I got “better results.” So call me insane. I can mention a good number of people in the arts, sports, etc. who would amicably make that same call. Remember one thing, “human same” is quite different from “mechanical same.”

And Thus We Live On
Art means so much to me—helps keep me alive. I’m connected with the world and not isolated. You and I create all day with our art, and also with things we observe as potential subjects, our visual imaginations constantly working. 

An “extra” is that our art will be around so much longer than ourselves, even if packed away in storage. And when it is discovered in that store room a hundred years from now, just imagine, part of our minds will be fully observed by future humans.

In the arts, artists are quite eternal. We can look and imagine those actual strokes while Monet is laying them on. We feel the words Ernest Hemingway labored over until they were just right. We will always be able to appreciate the famous first four notes Beethoven brilliantly “laid out” in his Symphony No. 5. We see Paul Newman in a scene that was worked on several times. He made it fresh as if he was living it. A Broadway dance ensemble. Aboriginal carvings. What is created will in some way remain and be appreciated well into the future. Remember, we in the arts live on. Monet, you and me.

Real vs Memory
Relying on memory when drawing can be a false guide. I often ask students to draw a tree from imagination, then go out and draw a tree from life. The difference is motivating. Memory of objects relies on formula, with the result being forced and lifeless. Would it be easier to paint a rock from memory? Time wasted. Go to an actual rock. It’s waiting to show the difference between fuzzy memory and natural outpouring of reality.

Real Plus Reference
In my early years, when I started drawing and painting portraits, they were all done from life. I did them in saloons, restaurants, fairgrounds, door to door sales and major commissions. This continued for years. Eventually I started to work both from life and photographs, called “reference material.”

I would not be able to do the portraits of today, using photos, without many years working from life. Those years gave me a true understanding of what and who I was uniquely interpreting. Still lifes, humans and animals—mixing reality with reference material. (Remember one of my edicts: do at least a half hour of life drawing each day.)

QUEEN VICTORIA: This is a charcoal sketch I did some years ago. It’s of a remarkable statue of Queen Victoria, which is in front of Buckingham Palace in London, England. (She became Queen in 1837.) I stood there literally overwhelmed and cheered for this statue of her. The sketching did take some time, as I especially wanted it to be unmistakably Victoria. Incidentally, I’ve celebrated her birthday every year since my childhood.

 

The Editing
Many things are edited: editing a grand epic adventure film into two hours of screen time. Editing novels, poetry, songs and grand dinners. I edit my art to have just what is important to me within those borders.

Dear Mona
If I’m allowed into Heaven, I’m going to ask if it’s possible that Mona Lisa herself pose for me. No pressure, and perhaps within the first century I’m there. Oh, what a glorious experience. I wouldn’t mind if Leonardo were to sit in the studio with me; perhaps throw a few thoughts and suggestions my way. Somehow, I’ll let you know.

Inspiring Us Artists
I remember when I was young, hearing Brahms’ Lullaby. Brahms’ name came with that short piece of music, and I thought that was all he composed. A few years later, I happened to hear his Symphony No 1., and I was literally stunned with its powerful magnificence. I remembered his “lullaby” and couldn’t believe he also composed this extremely complex, wondrous symphony. 

That symphony took Brahms nearly 20 years to write. This is understood when one listens to the individuality and passion laid into it. Many at the time said it had some of Beethoven’s influence, but I recognized it as pure Brahms. And certainly quite a departure from his “lullaby.” I mention Brahms here for us artists to give him a listen. Our five senses feed our souls. Spend some time with his symphonies and his piano concertos. His works are deeply inspiring. Something powerful will happen within you. This I promise. My forever praise and gratitude to the great composers. All so close to me since childhood.

WALKING BUFFALO: This is a portrait of Chief Walking Buffalo. He was of the Stoney-Nakoda Nation. I met him many times and did his portrait about 20 times, starting when I lived in Calgary, Alberta, and just out of art college. He was an absolutely great individual. Inspiringly memorable. 

 

It All Counts
In art, when you get even the slightest bit of good instruction, advice, a few written words, a helpful critique or a quick observation, then that short bit of time was well worth it. I have a past full of such profoundly memorable moments: a particular page in a book, hearing a few sentences from a brilliant artist, walking by a masterpiece in a museum. They all remain within me.  —

BALINOFSKI

THE PASSAGEWAY

The Passageway

This drawing is very personal, every stroke guided by my subconscious mind. If it wanted me to take a sharp pencil turn in an area, I immediately responded. Every bit of it is from deep within, with moments that both amaze me and cause total wonderment. As if I’m looking at a “hidden me.”

And that’s how I wanted it; the faces and features happening intuitively. I do have my inner mind help me through artistic moments, but here, the whole work is entirely subliminal. The subconscious is purely delivered onto paper.

I realize each of you will have different, very interesting responses. Some will analyze it and others will pass it by. Incidentally, that enigmatic profile in the lower right dazed me and has stayed in my mind…alive.

Now, back to my subconscious and conscious.