Then there were 12...

When I get to this stage in the process of a new project, where there is a grouping of paintings, this is when I begin to settle into it. Prior to this I tend to judge my idea and my work quite harshly...something I wish that wouldn't happen, but after the first time I got past that feeling, I have come to recognize it as a part of the process so I try not to give it too much weight. So far there has only been one project that I gave up after a month but it was also one that I hadn't been really connected to from the beginning. It was an idea that someone else had suggested and so now I have learned to give myself several months to percolate an idea which means that not all the projects have a January to December working time. The 'Nasty Women' project of 100 portraits in 100 days took place from March to May and 'Wunderland' consisted of 30 portraits in 30 days during the month of June. I do prefer painting 52 portraits in 52 weeks from January to December, though 'The Grandmothers' ended up being 60 in that period of time. I definitely like definitive timelines and a year-long project works well for me as it gives me time in the months leading up to it to plan and prepare (I usually begin in late summer, early autumn) and accountability in the weekly creation and sharing of it. Because of mentoring and university courses, this year's 'Woman's Work' projecgt didn't begin until March and, because I am still requesting collaborators, I'm uncertain as to the final number of portraits I will create, though I have decided to finalize the project at the end of December. I find that, though I tend to prefer more rigid structure, this year I have decided to be more fluid about this particular project. Also, as I will be taking more university classes next year and plan to travel a bit, I may give myself a year (or 1/2 a year) off before embarking on another project for awhile. We'll see how that goes. :)