How do you respond to criticism ?

[Gus]

Just wondering - I respond to criticism badly - mainly because I make artwork to amuse myself - if others liek it great if not well.... its a bit like making a cup of tea - I like it a certain way - someone else might criticise how I make the tea but then if I changed it to fit their taste I would no longer enjoy it . I also feel the artwork makes itself - I sometimes feel I am not in control of it so for another human to try and influence its course seems like a form of sacriledge . I do notliek the idea of being a puppet to the outside world whether it be praise or criticism . Some people would say this is solopsistic however I still wish to act as a conduit to communicate something with the outside world. However ti seems to me communication in the art world is hard if people are trying to change the message . However some people find criticism useful - I would like to hear your opinions on how you respond to criticism - especially those people who are auto disdactic or feel its not really them making the artwork or that it is sort of automatic.

[happy-gnome]

I think it is always worth listening to criticism.

Unfortunately, a lot of criticism is unhelpful or poorly considered, and often the person offering the critique is poorly educated in the fine arts. Having said that, until I've heard what a person has to say and then had time to consider it properly, I can't say for sure whether it was useful or not.

I always try to listen to critique. If I find what they have to say is unhelpful, it is little skin off my back, and I feel I have done the right thing by myself and the person discussing the work. Also, if the person simply doesn't understand why I am doing what I am doing, it is an excellent opportunity to discuss it with them. Then, hopefully, they leave with a better understanding of surrealism in general, and my work in particular.

In rare instances, conversations turn out to be revelatory. Those are the greatest, and are rare gems. I occasionally find I have them with a master printer, John Loane, who irregularly works at Megalo print studio with me. Because he has had such a long career working with artists, visiting galleries ,discussing, creating, reading about and deeply considering art, his opinion is generally insightful. He directs me to artists I was unaware of, or work I'd not seen. Sometimes we discuss writing we've both read or that I've not heard of.

In his case I work with him, so I know I value his opinion, but I'm sure you can see my point. There are others like him floating around (few, it must be admitted), and it seems more productive to be ready to listen to them if they turn up.