November 19th of 1999, I gave 2 weeks notice, resigning from a good-paying software job because I hated going to work each day. My wife would sometimes ask me when I got home from work 'Well, did you quit today?'. On November 19th, I stood there in front of my wife expecting the usual question and finally said 'Aren't you going to ask me?'. 'Ask you what' she said. 'Aren't you going to ask me if I quit my job today?' I said. She asked, I answered 'Yes'. Two weeks and I would be free.
I told my parents that I quit my job and was going to be an artist. 'Who's going to pay you?' my father asked, as if I was going to work for some company that hired artists. My wife was happy for me, but I knew I was going to be on my own through this change of career.
I found out about a Denver law firm that was looking for art to borrow to decorate the halls and offices and called to set up an appointment. The day they told me to come just happened to be my last scheduled day of work, and I could go to the law firm after I went in briefly to work and say a couple of goodbyes. The law firm agreed to borrow several acrylic paintings and call me if there was interest by potential buyers. I told the woman at the law firm I dealt with that I had quit my job and had no idea what the new millennium held in store for me, but I was excited. I was now officially in the art business.
I needed a plan if I were to have any success at pulling this off. Having stopped making art so many times over the years, I knew commitment was key, so I told myself that I would do art of some form every day starting January 1, 2000 for the entire year, as long as the menacing Y2K predictions didn't get in my way.
I took a 24" x 48" canvas and using a pencil and strait edge, created a grid of 366 sections, of which, using acrylic paints I would mask off and paint one 4 inch by 2 millimeter section every day. Also, I took a 30 page bound book watercolor paper and would create a dozen or so sections using a freehand design on each page as needed and paint one section every day. On the rare days when I would be out of town, I would paint ahead, or get caught up when getting home. I also bought 12 18" x 24" canvases, of which I would start an acrylic painting on the last day of the month and finish it the next day, the first day of the month. On December 31, 1999, I started my efforts and commitment. Prior to washing my acrylic brushes in the wash basin in our laundry room, I would wipe the excess paint on the cinder block wall behind wash basin, and as a bonus, created a year-long mural. I also signed up for a monotype class at Art Students League of Denver, little did I know that I had found a calling.
The first night of the monotype class, I expected answers to pressing questions I had about how to print the art I sometimes struggled with while painting. What came from the instructor were suggestions. I was blown away at the instant art we made that evening using plexiglass, oil-based etching inks, etching paper and an etching press. I was hooked, from the first night. I continued making monotypes, and got into zinc plate etching, Solarplate etching, screen printing, linoleum block printing as well as lithography. I even substitute taught a Solarplate class one evening.
Six years later, I had spent countless hours in the Art Students League of Denver's printmaking studio, not only buying studio time and taking every available class, but becoming the studio manager. Myself and another dedicated student approached the director and a person with money to donate with a studio improvement proposal. The proposal was accepted. Soon, we had new tables, lockers a permanent paper-soaking sink and many small but nice improvements. I worked for free and donated money for improvements as well. But what I gave most to the studio was love.
I realized that I had a dream. The dream of having my own printmaking studio.
In 2006, I was able to buy my own press (which I named Zeke), find a studio space (which I named The Atomic Malt Shop) and make my dream come true. I soon found that I missed a few of the people I worked in the studio with, but could print any time, any day for as long as I wanted. I am blessed to still have my studio and have never taken it for granted.
While I maintain a non-art job (to keep the bills paid), the commitment and effort of January 2000 paid off big time.
My approach for 2010 is not structured like I approached 2000. But, I have made a commitment to getting better at drawing, opening myself to being more involved in marketing my art, and to continue to get better at what I love. The next ten years are going to be amazing.
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