This morning I woke up with rejection on my mind. As an artist and writer this is one of the
most difficult things to deal with yet it is inevitable. Why is it inevitable? Well, if you are putting yourself out there,
to multiple markets, groups, curators, publishers, whatever, you are bound to
bump up with those who do not “get” your work.
For short periods of time, sometimes admittedly longer, I find rejection
debilitating. This happens when I lose
objectivity. This morning, for some
reason or another, rejections I have encountered over the last couple of weeks
ballooned in my mind and made me feel empty and hopeless. Then as I was driving
to get gas I started to deconstruct those negative feelings. Being rejected is not a reflection on a
person it is a reflection of various people.
The thoughts of others about your creativity, is only that, thoughts and
thoughts are not facts. I ran into that
particular quote for the first time on Twitter and it really resonates,
especially on a day that began gray like today.
At first a rejection letter can feel like a cold slap in the face but it
can also be provocative. Rejections can
be flipped away from you and your creativity and can be a statement by the
person or people who have not accepted your work. You can begin to wonder…what is their taste,
their stance, their take, their need or motivation? You can reflect back on the
work you selected for a particular outlet or group. Did it really fit? Was it the best choice for
that particular venue? Was it your best effort?
If you know you did your best and feel confident in your statement there
is only one thing to do—more work.
Either work on submitting to more places or go back to the drawing board
and strengthen your statement. My book, “A
Healing Grove” was rejected several times before it became a published
book. It continued to transform, grow
and develop through its critiques and eventually it found a home with the right
publisher, and it was a big step for me to go with another publisher. My book, “Sticks, Stones, Roots and Bones,”
also originally had a different title and direction. The older rendition was also rejected by
several publishers of varying sizes. I
never lost faith in that book and eventually it found the right home. I refused to give up because I had a strong
vision. As I work to re-launch my art
career, I am again encountering rejections of various types. Rather than letting it get me down, I am
going to my artistic inspirations and back to the studio, even though the studio
is in a state of renovation. I am going to start drafting and compiling
ideas that expand on those that have been rejected. I believe strongly in my
vision and also in the idea, if at first you don’t succeed… I will keep trying
and trying and trying until I met my goals and my work is situated how and
where I want it to be.
Gran Bwa is a lwa that helps you connect to ancestral roots or the spiritual home of Vodou. A friend of mine, who is an expert on Haitian Vodou, who has spent a lot of time in Haiti with the artists there, told me I had painted Gran Bwa when I made this spontaneous work out of walnut ink and sumi-ink on handmade paper. I had considered this painting a self-portrait. She now holds this piece in her private collection: Quite a few people are afraid of Vodou but it is an awe-inspiring tradition of bringing together plant energy with divinity, spiritual and personal energy. My friend who is very involved with Vodou, especially the art that surrounds it, is from European ancestry. She is light in spirit and bubbly, with a close relationship to nature and her garden. Vodou affirms the relationships between cycles of life, trees of knowledge and spirit. The Vodou vision of lwa , understands them as the intelligence of energy present in humans, nature and thoughts. ...
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