• Commission a painting by Laura H Elliott from the ‘Landscape Moods Collection’

Commissions Are Always Welcomed

I am always delighted to create commissions, as I see each piece as a collaboration, which creates a personalised and truly unique final painting.

How do I place a commission order?

I am represented by a highly experienced gallery, called Degree Art, London, UK

My gallery link is below:

Their team can coordinate with you and we can begin the commission process:

Please contact Isobel Beauchamp (Director of Degree Art) on or call one of their Art Advisors on 020 8980 0395.

Tell her my name, Laura H Elliott and the artwork that inspires you. The Degree Art team can then explore ideas such as: size, any of my art you love, colour scheme of your home or project and then the commission process starts.

What can I expect?

All my artworks are available for commission with Degree Art Gallery, who represent my work as a professional artist and have extensive experience.

I have been selling my work since 2006 and every artwork is of the highest standard. I have never had a return and every artwork is painted on a high quality canvases by either Loxley or Winsor Newton.

Every artwork is hand signed with my initials LHE, as below:

Inspiration from the collection, so far:

Shown below is a slide show for inspiration from my portfolio of paintings in the ‘Landscape Moods Collection’:

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Are there different paint effects?

Yes, every painting contains a unique combination of effects, with each effect adding a dimension to the final painting. Should you like any effects, they can be added to your commission:

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Feedback From Commission:

Type: Painting Commission

Location: New York, USA

“I recently purchased a beautiful piece of art from Laura Elliott. Not only was the piece exactly what I wanted, but Laura handled the whole transaction very flawlessly. I was looking around for something colourful and luckily stumbled upon this website. I saw something I loved but when inquired about purchasing it, Laura told me it was already sold. That certainly didn’t stop the search and Laura quickly responded saying she could paint one like that if I was interested and I could even choose the colours.

The next few interactions with Laura involved choosing colours and getting a proof of the painting before I had to commit. Paying was very simple through Pay Pal and we managed to come to a financial arrangement that fitted my budget. The painting was couriered as soon as my payment had gone through and it arrived within a few days. The whole transaction was dealt with very professionally and was very simple. Laura is an enthusiastic and energetic artist who has a passion for what she does. I could feel this through the friendly and personal e-mails we exchanged while she was painting my special piece.

Thank you Laura.”

See more about my work at:

I am represented by a highly experienced gallery, called Degree Art, London, UK

My artwork gallery link is below:

To read more customer feedback:

Contacting Laura H Elliott BA (Hons)

Fill Out the Contact Form Below to Inquire About Any Of the Pieces Above:

All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip.

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• My Guide: Agate Burnishers With Metal Clay

My Guide: Agate Burnishers With Metal Clay

The one thing that I was slow to realize the benefits of Agate burnishers to finish each design and bring a mirror shine, should you wish. The pictures below shows a great starter Agate burnisher to pick:

There are all manner of carved designs you can select to get into every designs corners and spaces:


All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

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Twitter @laurahelliott


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• My Guide: My Basic Tool Kit For Metal Clay

My Guide: My Basic Tool Kit For Metal Clay

My experience in metal clay has been a fun, steep learning curve and over time I have gathered tools to help. I wrote this guide to help you learn from my experience, to share ideas and places to source products (listed at the end).

Please note: Health and Safety precautions must be taken to protect yourself and others during use and storage of any tools and clay you use or have in stock.

1) Clay:

You need to chose which metal clay you wish to focus on. I advise silver metal clay, though this is a more expensive, due to the ease of use and success rate. I advise trying:

Art Clay Silver 7g (shown below)

There are three types of metal clay products:

  • Clay: Slabs weighed in grams

  • Syringe: Clay with added water which adds a flow and you can use itto stick clay together, dot or place clay in lines or swirls

  • Paste: This is a cross between slab clay and syringe clay, which gives it the ability to build thicker layers and details

2) Basic tools to start creating designs with metal clay?

Simple tools are needed and these are as follows:

* Teflon Mats: A4 and smaller mats to dry designs on

* Cutters: Round, Square, Oval, Rectangle. I recently came accross a fantastic mini round set of cutters called ‘Tubey Cutters by Joy Funnel’ which I bought from Metal Clay UK (link at the end).

* Balm: A product that reduces sticking, sometimes called ‘Badger Balm’ featuring lavender or olive oil.

* Hard Clear Plastic Rollers: These rollers are best to be clear plastic, because you can easily see what you are doing through the roller.

* Rolling Slats: The original method used to control how thickly you roll the metal clay in Japan was by using playing cards. I find they are fiddly and so I invested in a set of plastic strips at different thicknesses, as shown below:

* Water Pen: This is a perfect tool to add water in a controlled manner from the water storage part, into the bristles. I also find this useful to smooth edges and to stick layers gently together.

* Carving Tools: These tools enable you to handle clay, gently stick layers and edges. I use a set which are used for wax carving, but perfect for metal clay as well.

* Tissue Blades: I use one that is inflexible and one that is bendable.

* Mist Spray: This is a small mister spray that creates a light, fine mist of tap water.

* Tupperware Containers: I use a lock tight Tupperware container once I have opened a packet of clay, in order that the clay stays at its best condition. I also add general household cling film into the container and spray a light spray mist of tap water into it before closing the lid.

* Cutting Blade: I found that a craft knife, often used for card making and Sculpey Polymer Clay is useful. This must be handled with care and following health and safety precautions


* Perforating/ Point Tool: I found a perfect tool to make holes or designs in the clay.

* Texture Sheets: There are an endless array of texture sheets made out of soft rubber or clear/ opaque plastic

3) Sanding Your Designs

To finish my designs I use 4 different types of sanding tools, taking a great deal of time to remove even the smallest flaw. The sanding tools I use are:

Sanding Paper:

Sponge Backed Sanding Sheets
Sanding Blocks:

Sanding Needles or Strips: Plastic and Metal:

4) Making Your Designs Shine:

* Polishing Wax:

This cleans and shines your work with lots of shinning.

* Agate Burnishers:

These tools use a piece of a genuine gemstone called ‘Agate’ carved in different shapes, mounted onto a wood or metal handle. These tools mean you can get a mirror shine on your work. They come in many sizes and shapes.

I have written a blog about Agate Burnishers you can read by clicking here

5) Setting Gemstones:

Gemstone Tweezers: I thought that any tweezers would be fine, but they do not grip the gemstones properly. I advise you to buy a pair, which will make your gemstones easy to handle and avoid dropping them, thus damaging them.

Bezel Settings: These are pre-made cups, which are either fired in place or soldered after firing to mount gemstones, mainly cabochon cuts.

Prong Settings: These are pre-made ‘settings’ that look like a crown of sorts, which are fired in place in order to mount gemstones, faceted gemstones. They are sunk into the clay, fired, cooled and then the gemstones are set with gemstone setting tools.

Bezel Wire: This is a thin, rectangular wire which is submerged into an extra layer of clay and then fired in place. Once this is done, you put the gemstone in place and rub or bend the wire over the edges with a metal or agate burnisher. This bezel wire can come in many designs and means you can set both cabochon and faceted gemstones.

Glue: Yes, this is a very controversial option of setting gemstones or components. It is very commonly used in major retailers and jewellery sellers, so do not discount it. It is a simple tool or method to mount your gemstones. I would suggest to use E6000 silicone glue as it is permanent, flexible and does not go brown or brittle.

6) Other Tools For You To Consider In The Future:

Rotary Tools: This tool can range in price from £20 GBP to £200 GBP+. I have found that there is the best/ most expensive in the market by a branded company called ‘Dremel’; however, my years of experience has taught me that even a cheap rotary tool can last and work perfectly well. Mine has, so test the tool by buying a cheap version you can afford is best to test how a rotary tool can help your work. A rotary tool can:

  • Polish
  • Shine
  • Grind
  • Drill
  • Cut

7) Other Types of Metal Clay to Consider:

  • Silver: 925, 950 and 999
  • Copper
  • Bronze: Classic, White and Sunny
  • Goldie Bronze: This powder comes in a huge array of colours, which is hydrated with water to make clay just like the ready hydrated types, such as brands like ‘Art Clay’

Product Sources:

  • Metal Clay UK: They sell a starter kit and many other products along with amazing Customer service

  • Cookson Gold:

  • Metal Clays 4 You:

All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

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• My Guide: Saving Your Paint Brushes

My Guide: Saving Your Paint Brushes ~ Acrylic Paint

I know our brushes will not last forever, but they are our tools of the trade and they last longer when cared for correctly. I have learned the hard way and now have 20+ year old brushes I use today, as I changed the way I handled, cleaned and stored them. I think, the better you care of them, the more money you save as brushes are expensive investments.


Here is the way I clean and care for my brushes:

  1. Leave used brushes in water to make cleaning acrylic paint easier.
  2. Wash each brush separately as holding all your brushes in one hand means they damage each other.
  3. When you wash each brush, run the cold water over the bristles and use your fingers to separate the brush fibers to rinse the paint out until the water runs clear.
  4. While rinsing the brushes use a moisturizing or brush cleaning soap by stroking them across the soap. Hold the bristles and gently move the handle to create suds to create a foam. Doing this, will gently push the soap up into ferrule, deep in the bristles, to clean away any paint that is there.
  5. Rinse the bristles thoroughly.
  6. When the brushes are still wet, gently use your fingers to put the bristles into their original shape. If they are flat edged then pinch the flat edges between your fingers to re-create the chiselled edge.
  7. There are two ways to dry brushes : standing them handle down in a brush ‘rack’ or lying them flat on top of kitchen roll or a towel.
  8. Once completely dry storing the brushes in plastic brush tubes protects them from any damage or being transported.


My Natural Bristle Brushes After Deep Cleaning

My Natural Bristle Brushes After Deep Cleaning – Although they are not new looking they are 80% clean as they are old and used every time I paint.

Goats paintbrush re-shaped after cleaning

Laura H Elliott BA (Hons) Art

Paintbrush re-shaped after cleaning

My essential brush

Paintbrush re-shaped after cleaning

My top tips on caring for your brushes:

  1. The key to cleaning your brushes is not to use warm or hot water. The heat hardens the paint and makes the task more difficult.
  2. Don’t leave your brushes so that the paint drys as it makes cleaning harder and it is best to only have the water covering the bristles.
  3. I find if the brush handles are in the water the wood, handles absorb the water and this starts to crack and peel or crack the varnish which then breaks off.
  4. Some alcohol based brush cleaners dry the bristles as well as cleaning them. They can be useful for dried on paints but use them with care.
  5. Don’t rub brushes on or at the bottom of your jar or water palette as this will damage the brush. See below:

wp-1465323270587.jpg6) Blot them with kitchen roll or a towel.

7) Dry your brushes naturally in the air. Heating them on something like a radiator is not good as the bristles and the varnish on the handles can get brittle.

8) If there is paint stuck in the bristles, use a very fine tooth comb/brush, as shown below

Steel Comb For Combing Out Dry Paint

9) If there is dried on paint, there is many products on the market you can try.

What brush cleaners do you use?

I mainly use the ‘Colourful Arts Brush Cleaner and Preserver’ brush cleaner which does not dry the brushes out and is not abrasive. Shown below:

Brush Cleaner

The brush cleaner I use for stubborn paint, which I feel is a efficient cleaner with a slightly mild exfoliation type of product called ‘The Masters Brush Cleaner and Preserver’. I feel it is okay to use, but my brushes are getting dry. I will keep this to combat dry paint on brushes due to its abrasive qualities, but I need something that cleans and moisturises, a bit like a facial cleanser.

Brush Cleaner

The following Winsor Newton Brush Cleaner works well for me. It removes the hard, stuck on paint from one of my most used brushes which is a 3 inch hog hair brush. It isn’t expensive, but creates the effect I want when I paint and I have been unable to find a replacement. The following Winsor Newton Brush Cleaner works well for me:

Laura H Elliott BA (Hons) Art

This is the Winsor & Newton Paint Brush Restorer Official Product Information:

“For dried acrylic, oil, and alkyd colour, this is a non-toxic, biodegradable, non-flammable, non-abrasive, low vapor product that safely and easily cleans both natural and synthetic brushes without damage to the brush head. It is not recommended for use on painted or varnished surfaces; contact with brush handles should be avoided. Not for use with polycarbonate or other plastic surfaces.”

All artworks & designs displayed are © Copyright by artist Laura H Elliott BA (Hons), Dip.

View my professional gallery of works at:

Quick Link:


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• My Guide: Kiln Gloves = Safety First!!

My Guide: Kiln Gloves = Safety First!!

I always say safety first!! When you use any kiln or to handle hot mediums, such as fired metal clay or glass, make sure you have a really high quality pair of gloves and eye wear.

Please note: I am not a safety advisor, just someone who is giving you some of my experiences with the kiln gloves I have used.

Always seek professional advice and speak to the manufacturer of any products you buy to check for suitability.

A useful and informative health and safety PDF article is at the link below:

I purchased my first kiln and a pair of kiln gloves (at the same time) from a supplier of ‘generic’ or unbranded products, but foolishly didn’t check if they where suitable for the temperature the kiln reached.

My top tips are:

  1. Check the gloves are 100% heat proof to the temperatures you will be handling:

My first pair of gloves became burnt on the surface and the heat traveled through and burnt my hands. The gloves are shown below with areas of the gloves are grey and other areas are blue. I found that the best sections that are heatproof, where the blue areas. The pictures show how my gloves accidentally touched a kiln shelf and how this high temperature burnt my gloves and, ultimately, my hands underneath!! Ouch!!

Very dangerous!!

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2. Check they are the right fit!

The other thing to seriously consider is the size of your hands. Buying the correctly sized gloves means you will be able to handle the kiln fired pieces safely.

A good fit is a safe pair of gloves!!

The 2nd pair I bought are far safer:

  • They fit my small hands
  • The heatproof blue material covers 100% of the gloves surface
  • They cover my wrists and part of my forearm

These gloves are from a company called Raynor, as shown below:

3. My last tips are a list of great products you can purchase to protect you:

Kiln Spatula

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Safety Goggles

All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip.

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• Abstract Expressionism: A Movement in Modern Art

Abstract Expressionism: A Movement In Art

During the 1950’s a group of artists emerged that combined Expressionism and Abstraction into a new method or movement in art. This was known as Abstract Expressionism or the New York School. The key artists who where grouped into this movement are: 

  • Franz Kline, 
  • Jackson Pollock, 
  • Helen Frankenthaler, 
  • Clyfford Still, 
  • Mark Rothko
  • Robert Motherwell, 
  • Lee Krasner, 
  • Willem de Kooning
  • Ad Reinhardt, 
  • Barnett Newman, 
  • Arshile Gorky,
  • Elaine de Kooning

Abstract expressionism drew inspiration from their energetic art featuring emotional content, spontaneous gestures, and often painting on a monumental size.

Artist Focus: Jackson Pollock, Willem de Kooning and Mark Rothko

I aim to highlight their individual, yet overall, style and method of painting using their personal history and influences in life to understand how their art developed.

All these artists were linked by their methods, creating a common way to produce what was then viewed as groundbreaking art. Within this essay I will focus on three artists:

Above: A photograph of the members of the movement Including: Pollock, Krasner, Rothko and de Kooning

Around the time the movement Abstract Expressionism developed, huge social changes were felt and reflected in the art world, often having a direct impact on their work. The largest impact on the persona of the practicing artists during the 1950’s was the Second World War. Many of who had fled Europe for safety in America, others had heard stories of the suffering of the people of Europe and felt the direct impact due to bombings within their country. Unlike the First World War, advances in technology meant thousands of the world population were affected and experienced shortages of food and supplies. 

These direct links to Europe meant many of the key artists within this movement where heavily influenced by European artists, such as Picasso and Dali. Other movements such as Surrealism and Cubism directly influenced many of the Abstract Expressionist artists, allowing them to draw methods into their own original artwork.

An event which linked many of the famous Abstract Expressionists together was a large project, called ‘The Federal Arts Project’ (FAP). The US Government paid artists a low weekly income to produce murals and paintings. This allowed artists with no income to focus on their art. This project, despite its restrictions on the style and subject matter of the pieces commissioned, gave them credibility and status. Once established the artists on the project could then break away and begin to create unique work.

Two styles of painting were developed during this movement, the first popularly known as ‘Action Painting’ and the second was termed ‘Colour Field Painting’. A way to define each method would be to use examples of two artists, Jackson Pollock and Mark Rothko.

It could be argued that Jackson Pollock was the key figure in developing ‘Action Painting’, a technique which involved dropping or splashing paint onto the canvas, often turning the canvas, allowing the artists to work from all angles of the piece. Using a meat baster, piece of wood or trowel, the paint would be splashed onto the canvas, allowing gravity to influence the place the paint fell. This gave the artists a great deal of freedom and spontaneity in their art. The contrast is the method of ‘Colour Field’ painting. 

This style is opposite to ‘Action Painting’, allowing the artists to place colour and shapes in a calculated manner, controlling the position and mixing of the paint. An excellent description of this method is that it is a “softer calmer technique.” The images above allow you to really see the differences contained within the same movement. Another artist within this group is Willem de Kooning, an artist who almost stands apart yet linking Rothko and Pollock together with his style of painting.

Willem de Kooning: ‘Asheville’ (1948)

Mark Rothko:

Mark Rothko, originally named Marcus Rothowitz, was born in 1903, into a Jewish family in the Lithuanian town of Dvinsk. Rothko was brought up in an extremely strict and traditional environment. He grew up during the Jewish persecution and attacks in Russia, and this fear stayed with him for the rest of his life. After moving to America, Rothko was involved with the Federal Arts Project, where he met a number of his peers. He described himself as a self-taught artist despite the fact he was trained at The Arts Students League in New York for two years. In 1938, he became a citizen of the United States, changing his name to a more “American sounding” Mark Rothko. His techniques of colour fields are the main characterisation of his work utilising colours to convey subject matter and mood in his work.

This piece could be divided up into areas, due to his use of colour dividing it into sections. His work allows your own interpretation to be used in understanding the paintings. Rothko’s work has often been criticised in the past for “apparent blankness” which is “supposed to show contemporary art’s emptiness.” Such criticism, I feel reduces Rothko’s work to an empty shell, almost taking away the meaning of his work and aims. Suffering many years of depression, he often felt very sensitive to how others viewed his work and the journey it took them. He articulately illustrated this by saying: 

“If a viewer was sensitive and took time to look at the painting properly then it would ‘live’. If a viewer was unsympathetic or not sensitive then the painting would just appear to be meaningless and ‘dead’.”

 Jackson Pollock:

The second painter within the movement is the contrasting Jackson Pollock who was born in 1912, in Wyoming, United States. Aged 14, he began his life long battle with alcohol. Pollock trained at a Manual Arts High School in Los Angeles for a number of years. Later he also worked on the Federal Arts Project, but his mood swings, alcoholism and perfectionism led to an emotional breakdown and many years of artistic blocks. Picasso, Native American and Mexican artists heavily influenced his work, developing new styles throughout his career. Pollock became famously known, and frequently criticised, for his ‘Action Painting’ technique and became known as ‘Jack the Dripper’ in The Times.

Jackson Pollock: ‘Ocean Greyness’ (1953)

The key feature of the two artists highlighted thus far is their method of incorporating their inner emotions into abstract forms, thus creating such highly charged pieces. The Pollock piece above is a visual representation of his swirling and ever changing mood. With the use of a piece of wood or meat baster he would throw or drop paint from above, creating a sense of movement expressing the way the piece had been created. Such movement is the key feature I have found when viewing a Pollock piece. The movement that was also shown in Rothko’s piece previously, could almost represent the feedback loop of negative emotions that seem to have haunted Pollock.

Willem de Kooning:

The final artist I will discuss is Willem de Kooning. Born 1904 in Rotterdam, Netherlands, his parents were divorced and he lived with his mother who it is suspected abused him mentally and physically. Kooning was known in his younger days as “the handsome Dutch-man,” an interesting description when we see that many of his paintings included the female form possibly reflecting his exploration of his own sexuality. Kooning himself was quoted as thinking “…the idea of a palette rather silly” which illustrates his method of painting, mixing on the actual canvas.

The quote below epitomises his work:

“I’m not interested in ‘abstracting’ or taking things out or reducing painting to design, form, line, and colour. I paint this way because I can keep putting more things in it – drama, anger, pain, love, a figure, a horse, and my ideas about space. Through your eyes, it again becomes an emotion or idea.” – Willem de Kooning​

Willem de Kooning: ‘Evacuation’ (1950)

He uses angular lines to direct your eye; portraying the feeling of struggle, movement and human form. Interesting use of light and dark paint allows the feeling of depth to be implied, enabling us to see individual figures yet still permitting them to subtly blend into each other. This is an interesting piece that shows de Kooning’s individual style, yet it still illustrates his links to other artists. A linking influence on the work of de Kooning and Pollock is Picasso, who was still practising at this time, and other Cubist artists; both demonstrating throughout their artwork their exploration of Cubist mythology and abstract images.

So far the individual styles have been discussed in the context of history and paintings, but not the movement as a whole. Abstract Expressionism allows us to see how such a movement can develop into a monumentally important period in art history, in essence developing into a canon of art. The opinion on who led the movement or was the key figure is still being formed to this day, with Jackson Pollock arguably in the lead having recently been highlighted in the film ‘Pollock’ (2000). An interesting opinion is that the artists “...exploit the deeper levels of our psychology and social experiences…” which suggests that such art is in fact successful only as most of us can relate to the emotions conveyed in the art. This argument is developed further, by contradicting the theory or ideas of the Abstract Expressionist artists, by saying that:

“All the models are inclined to mistake actual themes- dynamism, chaos, space, traces of human presence- for somehow involuntary or detrimental eruptions.” (From Tom Wolfe’s 1975 satire ‘The Painted Word’.)

Really this suggests that in fact the artists didn’t work directly from the image within their mind, implying that their art was more calculated that what they claimed it to be, even planned. The strong link that was claimed to Surrealism and Freud within Abstract Expressionism could be disputed as they were working from their conscious mind, not from their sub-conscious mind. The idea was similar but not the same. After researching I also found that in fact Jackson Pollock’s vast therapeutic and supporting sketches gave him the scope to plan his work. After my own exploration of such a method of paintings, I find that their art gave them certain freedom due to the energetic method of applying paint and other medium and abstract shapes. These are illustrated in examples of other artists within the movement.

The overall opinion I have formed is like the two sides of a coin. Firstly, I feel that you cannot simply discount their abilities as I did when I first viewed Rothko’s work. The fact will always remain that this group of artists channeled their inner feelings into their art, to which I feel is the essence of why I paint. Allowing myself to travel on a journey when creating any piece of art certainly allows me to develop and create high quality work. The second side to this movement is its theory of random or spontaneous creation. Every artist forms an image in his or her minds eye, taking paintings away from the sub-conscious and drawing on the conscious area of their mind. If we look at where art traveled after this, we can name an artist such as Frank Stella, who was part of Minimalism, influenced by his peers but at the same time rebelling against the ebb and flow of the Abstract Expressionist movement. So I can ask, is this a movement in art? The answer is certainly an emphatic yes. The question of the impact of the Abstract Expressionist art certainly has been outlined. I feel that such art should never be discounted too quickly as it certainly was a move towards abstraction and contemporary art, as we know it.

• Does an artist have to keep on creating the same ‘style’ or ‘type of work’?

Does an artist have to keep on creating the same ‘style’ or ‘type of work’?

“I think this is a very personal aspect with each artist, that varies from person to person. I am a person who loves to explore all mediums, to give them a try. I always say to try a medium and if you don’t like it, don’t continue working with it. During my Art and Design Diploma I created work in metal, including welding, but I found it stressful and didn’t continue creating work in metal. I currently create art in the two mediums I adore, which are: mixed media painting and metal clay.

Looking furthur into this question you can turn to look at past examples of master artists and who did stay in one style and who didnt. The example I always think of is Pablo Picasso, with his many phases and shifts between 2D and 3D art. The change between dimensions is coupled with a use of different mediums throughout these changes. Two examples of his 2D paintings are shown below:

Above: ‘Girl with a Mandolin’ by Pablo Picasso (1910)

I also feel that I personally hit a line where I wanted to change and knew where to go. In this circumstance it is a greatidea. There is no rule to say you have to stay creating the new ideas. Often the new helps refresh you older work and push it forward. I truely feel that you go by your heart and follow it. Try it, try your new idea and see what you feel. 

You really are only as limited as the barriers you put up. Plus, as they say…. do what *you* want!!

What do you think? Here are a few more thoughts below…”

Other peoples thoughts are:

  • “Our answer to that is absolutely no!”
  • “God I hope not or else I am doing it wrong. Learn from your last piece, experiment, explore and create – have fun”
  • “None of my paintings looks alike…. I find my joy in reinventing myself every time I do a work of art. I know its not the conventional way to do art, but I do it  this way because it gives me the opportunity to explore my creative side and it gives me the motivation I need to do more arts. Although, I’ve decided just recently that I was going to challenge myself to do a series of painting of the same style, just to follow the rules of the establishment of arts . This way I will be able, (hopefully…) to exhibit my work… I find these rules ridiculous… I find it only narrows down the creative mind, the freedom to explore and come out with new ideas…  Challenging myself to confine to the rules will, I feel, in a way be a humbling experience… I decided I was going to bend a little and see where it is going to take me…”
  • “A real artist Never does the same thing, only moves from one idea to another which may have been inspired by a previous idea but in a differing form.”
  • “There are no rules in art.”
  • “There’s a huge amount of repetition: art sits on a craft. The repetition isn’t sameness, it’s renewal.”
  • “Not necessary… art is display of the stream of consciousness.”
  • “None of my paintings looks alike…. I find my joy in reinventing myself every time I do a work of art. I know its not the conventional way to do art, but I do it  this way because it gives me the opportunity to explore my creative side and it gives me the motivation I need to do more arts. Although, I’ve decided just recently that I was going to challenge myself to do a series of painting of the same style, just to follow the rules of the establishment of arts . This way I will be able, (hopefully…) to exhibit my work… I find these rules ridiculous… I find it only narrows down the creative mind, the freedom to explore and come out with new ideas…  Challenging myself to confine to the rules will, I feel, in a way be a humbling experience… I decided I was going to bend a little and see where it is going to take me…”
  • “If one is remote from one’s audience or buyers then churning out the same thing, the same art object, maybe a commercial necessity, as you become commoditised and your pieces represent you. I find, that, as I’m engaged with my audience, then I have greater latitude to sell whatever I produce – they buy me and I take risks (essential!). Quality is the key, that and not giving a damn – it’s a heady mix. I’d never trust a gallery or have need to – the wallet is the world, not a few white walls controlled by a commission thieving toad with moral halitosis.”
  • “Hahaha how boring to just paint one thing on repeat …..yawn……. do anything and everything you feel like, bunny love.”
  • “It’s a struggle to evolve,change,move forward , create.”

All artworks & designs displayed are © Copyright by artist Laura H Elliott BA (Hons), Dip.

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