Storytelling at Work
November 06, 2022
Evelyne Pouget's Next Series of San Miguel Mosaic Workshops

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Greetings. My name is Evelyne Pouget, San Miguel artist offering a series of mosaic workshops in November and December. We will meet at my outdoor studio and garden in Colonia Lindavista -- a 10-minute taxi ride from Centro. The #4 bus stops on my block.

You will learn simple techniques to make creative objects of art (i.e. mirrors, frames, small paintings, boxes etc.) out of glass mosaics. No previous experience is necessary.

I will provide all of the multi-color glass tiles, mirrors, frames, grout, and other tools and materials necessary to create a mosaic you will cherish forever. If you have a small object you want to cover with mosaic, let's talk about it prior to the workshop.

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If you have flat ornaments (i.e. old earrings, beads, two-dimensional objects) that you want to include in your artwork, please bring them with you. If you want to wear thin gloves and goggles to protect your hands and eyes from glass shards, please bring them. I will provide plastic gloves.

I will also provide various patterns and designs in case you want some inspiration.

MOSAICS CREATED BY PREVIOUS WORKSHOP GRADUATES

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FEE: US $250 (or 5,000 pesos) -- 10.5 hours total. Includes $40 for materials.

HOW TO REGISTER: Space is limited. To reserve your seat, email me at least three days prior to the workshop.

CLASS SIZE: 3 - 8.(NOTE: Workshop will be postponed if there are not enough students).

DISCOUNTS AVAILABLE:
Register two friends and come for half price.

SCHEDULE OF UPCOMING WORKSHOPS:

Mondays, Wednesdays, and Fridays: 10:00 am -- 1:30 pm

-- November 14, 16, 18
-- November 21, 23, 25
-- November 28, 30, December 2
-- December 5, 7, 9
-- December 12, 14, 16

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EMAIL: evelynepouget2@gmail.com
CELL: +52 415 167 0110

"I am my own muse, I am the subject I know best -- the subject I want to know better." -- Frida Kahlo

Posted by Mitch Ditkoff at 03:24 PM | Comments (0)

May 13, 2022
The Art and Soul of Scott Cronin

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CELL 1, 48x48, Sold

Scott Cronin began creating art at the age of 50. Self-taught and joyfully obsessed with communicating the intricate beauty of life that exists far beyond words, his work is mind-boggling, soulful, and deeply insightful -- almost as if he was looking through an electron microscope into another world. Scott doesn't only walk to the beat of a different drummer, the music that moves him seems to originate from another world -- one he is intimately familiar with and committed to decoding for the rest of us.

The 14 pieces featured below are just a small sampling of the 186 pieces Scott has created in the past 18 years. All of them are for sale, ranging in prices from $650 to $6,500. If you want to learn more about Scott's approach to art and how to buy his work, simply scroll to the bottom of this post for his responses to some of the questions he is most frequently asked.

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MILES AHEAD, 19x24, $650 print, $2,500 original

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LOOKING CLOSER, 19x24, $650 print, $2,500 original

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FACING THE MUSIC, 36x16, $2,400

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TRANSPECIFIC SUNSET, 28x22, $2,200

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CHORDATA, Sold

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TOPSY TURVY, 19x24, $650 print, $2,500 original

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TITIVATION, 20x20, Sold

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TANGLED UP IN BLUE, 18x26, $950

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SUN PIERCER, 19x24, $650 print, $2,500 original

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SOBRIETY, 19x24, $650 print, $2,500 original

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FOCAL POINT, 36x36, $6,500

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HIPPOCRENE, 30x24, $2,800

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AZTEC COMES TO LIGHT, 23x23, $2,200


AN INTERVIEW WITH SCOTT CRONIN

When did you begin to paint? And why?

Shortly after I turned 50, I decided to explore a creative outlet that was new to me. Visual art seemed like a good choice. Previously, I had the limiting assumption that because I was not good at figurative drawing that I was not an artist. I knew, in my gut, that I had something to say in terms of imagery, but I didn't know what exactly. So, I went to my local art supply store, bought a large sketch pad, some ink pens, pastel pencils and a variety of drafting templates and began creating what turned out to look like art.

What do you like about the process of painting?

I enjoy the feeling of experimentation and the random precision that unfolds. I tend to move quickly and make color and design decisions without much thought. As I create art, I experience a wonderful collaboration between my right brain and left brain that is both instinctive and deliberate. Sometimes it works and sometimes it doesn't. "Mistakes", to me, are a doorway to new directions and outcomes that have very little to do with my initial intent -- even when my intent wasn't obvious at the outset.

What have you learned about yourself via the process of painting?

Among many things, I have learned that I do, in fact, have a talent for combining color, tone and rhythm in a visually compelling way. Music is a near constant when I am at work on a piece. My choice of the music is sometimes consciously done as a way establish the "metronome" for the pace at which I move and the angles, orbitals and shapes that I choose. I have learned that my selective OCD is a gift -- that my need for detail and precision in some areas of my life results in the creation of imagery that is pleasing to other people -- a phenomenon that is very rewarding and delightful to me. I have also learned when and how to "break the mold" whenever I begin to repeat myself. It is at that time that I shift to a different style or approach. Additionally, I have learned how to superimpose an image on a canvas with my mind and brain. This innate skill of mine has become apparent to me, insofar as I have never sketched out an idea or design prior to beginning a new piece. And even if I did, I would likely erase it or ignore it.

What is your experience of the process of painting? What are you feeling and focusing on when you work?

It feels like a private affair, an intimate dinner for two where curiosity, focus, comfort and time are all in the right order. When I am excited or even stuck, I get intrigued by where the slipstream of the muse will take me. Sometimes, I will back myself into a creative cul-de-sac and paint myself into a corner in a way that contradicts the balance and theme present in another part of the canvas, at which point I either attempt to integrate one pattern into another or just hit "delete" and paint over what I have created up to that moment. I have been tempted, with a few of my pieces, to strip away layers to reveal what lies beneath. In some cases, I discover as many as five different abandoned ideas.

What materials do you work with?

Mostly acrylic paint as a base and oil paint pens.

What are some non-artistic influences in your work?

Music. Always music, primarily instrumental pieces. The music is very specific. I have built a playlist geared toward art creation: Philip Glass' compositions have a wonderful effect on the movement of the designs and patterns that emerge. The repetition and tonal qualities of his music are exquisite. Also, certain film scores and ambient music provides a sound canvas that I like to walk on. I am influenced by shapes in just about everything I do -- patterns in the sky, on wood floors, plaster on walls and ceilings. If I can see it, I can detect a design that can be re-worked or re-imagined. Since childhood I have been drawn to the microscopic world. My favorite toy was a very large magnifying glass used in my family's mortuary. My grandfather was a mortician and he used that tool a lot. As I child, I would wander, for hours, gazing at an unknown world that was absolutely enthralling to me.

Are you completely self-taught?

The short answer is "Yes". I have never taken an art class or worked with a teacher in the formal sense, though I have had mentors and muses over the years. Isaac Abrams, an early big brother figure to me, is an extraordinary artist and, to many, the "father of the psychedelic art movement." I have been motivated, supported and prompted by some significant muses in my time as well, though the proverbial "muse" can be quite demanding, so I make a conscious choice to ignore her when the voice gets too commanding.

How are you able to maintain the concentration you need to do such detailed work?

That has rarely been a problem, since I have always had the "on the spectrum" (before the term existed) tendency to get hyper-focused on whatever task I was engaged in, i.e. cleaning the house, cutting the grass, or cooking a meal. My task-focused approach tends toward high efficiency and fast-pace which, at times, can result in accidents, mistakes and occasional injuries. It also results in people getting out of the way and leaving me to do it things in isolation, which I mostly prefer. In that zone of concentration I lose track of time... or time loses track of me. It is a stupendous place to be.

What do you think people respond to in your art?

With a recognition of whimsy, rhythmic awareness and intrigue. Fortunately they, for the most part, recognize a native-like originality. It is extremely gratifying when people have a somewhat giddy reaction to my work. It is that reaction that motivates me to see what a broader audience will think, feel and react to. I am frequently asked "are you high when you paint?" The answer is "No" -- but I am definitely influenced by the experiences I have had of the "altered state".

How has your work changed over time?

On a core level I don't know if it has. Although I have ventured into a few different styles, the way I approach a blank canvas or paper has a familiar look to me. Whether it is pointillism, geometric, native-primitive or graphic design that harks from another era of jazz album covers, much of the finished product is a "deliberate accident."

What inspires you to create your art?

Curiosity, boredom, a want for a place to focus on that I enjoy, a desire to have alone time and an excitement that is singular in its charge, like going to visit an old friend that never disappoints.

Who are your influences?

I didn't have any when I began, but soon discovered (and was told that) I certainly must be into Kandinsky and Klee and the Bauhaus crowd. When I went to an exhibition of Kandinsky, I felt like I was in the company of a presence where mutual understanding of a very specific language was lucid and fluid.

How do you know when it's complete? Is it ever really complete?

I have gotten better over the years at making this determination, though I still have the habit of filling up more space than serves the overall impact of the image. Leaving empty space as is, is sometimes determined as an after-thought and I will return to a canvas and re-create it by painting empty space back into it. I still find myself looking at a "finished" painting and, in some cases, returning to it to add, subtract or augment color or design to bring it into its fresh and present state.

How can I buy one of your pieces?

1. Drop me an email (scottcronin85@gmail.com) and let me know which of the above pieces you want to buy.

2. Most of the pieces I post on Facebook are also for sale. You can always message me or email me.

3. I sell giclees (prints) of my work, as well as the originals.

NOTE: I am the process of putting the finishing touches on my website. If you would like me to send you the link when it's ready, let me know.

Posted by Mitch Ditkoff at 10:53 PM | Comments (0)

January 08, 2020
An Intriguing Invitation for Pet Store Owners Everywhere

Greetings! Mitch Ditkoff here, Rep/Agent for pet portrait artist, Evelyne Pouget. If you have customers who might be interested in commissioning Evelyne's services, you will likely find our new Finder's Fee offer worth considering. It costs you absolutely nothing and opens the door for you earning a 10% fee on all clients you send Evelyne's way.

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Bottom line, as Evelyne's Agent/Rep, I am looking for simple ways to promote her work to the general public. And, since you, as a pet store owner, interact daily with the demographic most interested in her services, you are the ideal person for me to reach out to.

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A SAMPLING OF TESTIMONIALS FROM EVELYNE'S CLIENTS

"I LOVE the painting! It is so life-like and I truly feel Sparky's presence in the house. It's truly remarkable. I'm so very grateful to Evelyne for creating such a timeless treasure. The painting will be displayed prominently in my living room for all to see. He's watching over me still. So much gratitude to you!" - Suzanne Leon

"The oil pastel work Evelyne created of my dog, Kaya, is one of my most prized possessions! Evelyne truly captured Kaya's essence -- her sweetness, bright spirit, and loving nature. This beautiful piece is something I will always cherish." - Sarah Jacob

"Evelyne nailed the tender, sweet nature in Bonnie's eyes precisely, and brought Bonnie's spirit to life! Seeing the completed oil pastel painting for the first time brought Janey to tears. Bonnie's painting will be a daily inspiration for Janey." - Colin Pence

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HOW OUR FINDER'S FEE PROCESS WORKS:

1. At your request, I email you a PDF of Evelyne's Pet Portrait poster (showing samples of her work and describing her services).

2. You print out the poster and post it in your store.

3. Interested customers of yours email me and ask for more info. I respond via email or a phone call -- whatever they prefer.

4. If any of your customers decide to engage Evelyne's services, I email them (and you) a Letter of Agreement, noting fees.

5. Within 48 hours of receiving final payment from the customer you referred, I pay your 10% commission (via PayPal or snail mail.)

All of the above is designed to be super-simple, stress-free, and win/win/win. Your customers get an awesome portrait of their beloved poochie or kitty. You receive a 10% finder's fee. And Evelyne gets to do the work she loves to do.

Evelyne works in two mediums: oil pastel and oil painting. Her fees range from $500 - $2,000, depending on the medium, size, and complexity of the painting. Your finder's fee will, therefore, range between $75 - $250. The only effort required, on your end, is to post Evelyne's promo poster in your store. There is nothing else to do.

NOTE: As a matter of protocol, I always ask prospective clients where they learned of Evelyne's pet portrait services. So... I will always know if YOU were the referring source.

My day job is President of Idea Champions, a consulting and training company, based in Woodstock NY. Here is my bio. And here are my clients.

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Questions? mitch@ideachampions.com

EvelynePouget.com

Posted by Mitch Ditkoff at 04:13 PM | Comments (0)

January 02, 2020
EYE THOU: Seeing Scott Cronin

Here is a sampling of the extraordinary work of Scott Cronin. I will be posting more here in the weeks to come, along with Scott's fascinating story -- a compelling example of true "outsider art."

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Posted by Mitch Ditkoff at 01:16 PM | Comments (2)

January 01, 2020
Two By Emilia Ditkoff

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Posted by Mitch Ditkoff at 09:17 AM | Comments (0)

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Storytelling at Work is a blog about the power of personal storytelling – why it matters and what you can do to more effectively communicate your stories – on or off the job. Inspired by the book of the same name, the blog features "moment of truth" stories by the author, Mitch Ditkoff, plus inspired rants, quotes, and guest submissions by readers.

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