While painting Janine Jansen, immersed in the music of Jean Sibelius, there was a moment in which the work aligned. Technique, listening, and observation converged. The distinction between musician and instrument dissolved. What remained was embodiment.

This episode reflects on mastery as a lived condition, not as rigidity, but as liberation.

Across cultures and genres, disciplined practice has always enabled artistic freedom. The deep internalisation of craft allows interpretation to move without obstruction. When technique becomes embodied, imagination is no longer anxious; it becomes precise.

The lives and practices of John Coltrane, Thelonious Monk, Nina Simone, Ella Fitzgerald, and Michael Jacksonremind us that mastery does not belong to one institution, one tradition, or one culture. Even where access was denied, discipline and imagination forged new paths.

In the studio, this same principle holds. Silence, repetition, and containment are not isolation; they are integration. The visible work rests upon long unseen immersion.

As we enter 2026, this episode invites a reorientation:
To honour skill.
To protect depth.
To stay with practice long enough for freedom to emerge.

For those wishing to strengthen their own foundation in drawing and painting, the course Mastering Light and Shadow offers a structured path into tonal depth and visual vitality, with lifetime access and personal feedback options.
https://onlineartseducation.co.uk

May this year be grounded, attentive, and generative.

• Contact me


• Substack

Created in resistance to spectacle, speed, and aesthetic flattening, this work insists on discipline, subjecthood, and the dignity of becoming. It asks the viewer not to consume, but to remain.

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• Contact Me

Rooted in four hundred years of artistic lineage, this painting grows from a way of seeing shaped by time, silence, and careful observation. Here, the aim is not likeness alone, but the interior world that precedes it, the emotion before the note, the recognition before the gesture.

I share why every composition is drawn by hand, how sketches give form to fleeting expressions, and how the music itself becomes a collaborator in the process. The episode also touches on Mastering Light & Shadow™, a course created for artists seeking to overcome flatness and reconnect with the discipline of seeing.

• Mastering Light & Shadow^TM


• YouTube


• Contact Me

The women who uphold and advance the classical craft of painting from life, artists working with discipline, sensitivity, and a profound commitment to the human presence, remain largely unacknowledged. Their omission underscores a persistent hierarchy in contemporary art discourse, one that prizes conceptual innovation while overlooking the mastery that once allowed earlier women artists to claim their place.

Here I examine this paradox and argue for a more complete history: one that embraces the full spectrum of women’s artistic practices across five centuries, including the living lineage of classical realism.

• watch also on YouTube


• Buy the book


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• Contact me

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/the-story-of-art-without-men-review-dcfhttps://karinmerx.co.uk/?p=14537Tue, 18 Nov 2025 05:44:45 GMTBrushstrokes Of BeingNo477In this episode of Brushstrokes of Being, I examine the lost ground of mastery and the spiritual essence of art. Moving beyond theory, I reveal how true art arises where craft and consciousness meet.
Through philosophy, neuroscience, and lived experience, Karin invites listeners to rediscover art as a sacred act of perception, a portal, not a product.

For artists, thinkers, and collectors seeking depth, this is a journey into the soul of creation itself.

• Watch this episode on youtube


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• Contact me

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/the-lost-ground-of-mastery-aeehttps://karinmerx.co.uk/?p=14527Tue, 04 Nov 2025 05:38:52 GMTBrushstrokes Of BeingNo926Welcome back to Brushstrokes of Being, where art meets soul and thought becomes colour. In this episode, ‘Art as Portal or Mirror’, I’m joined by Karen van Hoey Smith (mentor, art director, educator, and curator), whose journey through the art world bridges vision, compassion, and transformation.

Together, we explore the shifting tides of the contemporary art market, the deeper meanings behind creation, and the evolving role of the artist. Karen shares her experience in Hungary, where she curated a poignant exhibition for a charity supporting orphaned children; a project in which art becomes both healing and an offering.

We reflect on a timeless question: Is art truly art, or is it a portal, a token through which the viewer meets themselves? And finally, we ask: Can art ever really “speak for itself”?

You can tune in for an intimate conversation on authenticity, purpose, and the invisible threads that connect the artist, the work, and the world. The charity auction opens on November 13 at 6 PM at the Lena & Roselli Gallery (https://lenaroselligallery.com), where Art Becomes Act and Beauty Meets Meaning.

• Follow Karen https://www.instagram.com/kvhs_creative/


• https://www.linkedin.com/in/karen-van-hoey-smith-96001a26/


• Follow me https://instagram.com/karinmerxfineart


• Contact me https://karinmerx.co.uk/contact

This is not so much a book review, but a poetic and philosophical meditation on Charlie Mackesy’s The Boy, the Mole, the Fox and the Horse. Through reflections on line, silence, archetype, and compassion, I explore how Mackesy’s gentle drawings restore tenderness to modern art and remind us that vulnerability is the deepest form of courage.

Follow Charlie Mackesy here: https://www.instagram.com/charliemackesy/

Contact me at https://karinmerx.co.uk/contact

Follow me on https://instagram.com/karinmerxfineart

“Art is not what you see, but what you make others see.” – Edgar Degas

In this illuminating roundtable, host Karin Merx brings together four exceptional voices in equine art and curation:
Karen Osborn (Australia), Mirelle Vegers (The Netherlands), Tony O’Connor (Ireland), and Joyce Ter Horst, curator of Paard Verzameld Equine Art Services and the Dutch Equine Art Fair.

Together, they explore the unseen dialogue between artist and horse, where anatomy meets intuition, and observation transforms into emotion. From growing up in the forge to living among herds, these artists reveal what it truly means to paint what you feel and translate the spirit of another being onto canvas.

Joyce ter Horst offers deep insight into the art of curating, not merely “hanging paintings,” but weaving narrative, connection, and meaning. She shares the story behind the Dutch Equine Art Fair (6–9 November, Living Horse Museum, Amsterdam), a global stage where craftsmanship, emotion, and storytelling meet.

Join Karin and her guests as they reflect on artistry, empathy, and why painting horses is far more than a niche — it’s a timeless dialogue between nature, humanity, and art itself.

Watch & Subscribe: Brushstrokes of Being: https://youtube.com/@karinmerxfineart
Event: Dutch Equine Art Fair, November 6–9, Living Horse Museum, Amsterdam: https://dutchequineartfair.com
Curated by: Paard Verzameld Equine Art Services

• Joyce Ter Horst-Paard Verzameld:


• https://www.paardverzameld.com


• https://www.instagram.com/paardverzameld/


• https://www.instagram.com/dutchequineartfair_amsterdam/


• Tony O’Connor: https://whitetreestudio.ie


• https://www.instagram.com/tony_o_connor/


• Mirelle Vegers: https://mirellevegers.com


• https://www.instagram.com/mirelle_vegers/


• Karen Osborn: https://karenosbornart.com.au


• https://www.instagram.com/karen.osborn.art/


• Follow me: https://karinmerx.co.uk


• https://instagram.com/karinmerxfineart


• Contact me: https://karinmerx.co.uk/contact

As an art historian and practicing artist, this book resonated deeply with me and inspired my series The Gaze Reclaimed, which celebrates women artists who reclaimed visibility for themselves and their subjects.

Timestamps

00:00 Introduction – Changing the way we see
00:12 Why Women in the Picture struck me deeply
00:33 How representation shapes perception
00:48 The roots of The Gaze Reclaimed series
01:13 Building Brushstrokes of Being Studio
02:05 Catherine McCormack’s contribution to art history and feminist critique
03:12 The four archetypes – Venus, Mother, Maidens & Dead Damsels, and Monstrous Women
04:28 Archetypes from the Renaissance to the digital age
05:17 The illusion of liberation in contemporary culture
06:02 Rethinking Vermeer’s Girl with a Pearl Earring
07:25 The myth of perfection and the camera obscura
08:42 The female gaze and the reenactment of desire
09:33 Why McCormack’s writing matters today
10:14 “Images are never innocent” – the politics of representation
11:08 Seeing differently: art as transformation

I also share updates on Brushstrokes of Being Studio, where mini-courses on colour theory are currently available. Explore them today or join the waiting list for the full launch this November.

• https://onlineartseducation.co.uk/course/palettes-mixing-skin-colours/


• https://onlineartseducation.co.uk/course/colour-harmony-family-temperature-contrast/


• https://onlineartseducation.co.uk/course/hues-values-chroma/


• https://onlineartseducation.co.uk/course/the-colour-wheel-explained/


• https://onlineartseducation.co.uk/course/a-brief-history-of-colour-free/


• https://mailchi.mp/a5dd5098f749/waiting-list-brushstrokes-of-being-studion

In this episode of Brushstrokes of Being, I reflect on what it truly means to master an art form. Why Mastery Is the Only Path Worth Taking? As both a painter and a classically trained musician, I’ve lived the reality of endless hours in the studio or at an instrument, practice, repetition, resilience, and passion.

Together, we’ll explore:

• Why mastery demands discipline and patience in today’s instant-gratification culture.


• What neuroscience reveals about how art and music reshape the brain.


• Stories from my portraits of Janine Jansen and Sol Gabetta—living examples of artistic mastery.


• Insights from Iain McGilchrist’s The Matter With Things on creativity, preparation, and illumination.


• Why deliberate practice is not just about skill—it’s about building focus, resilience, and fulfilment.

I will also launch Brushstrokes of Being Studio, where artists can study colour theory, art history, and storytelling. Explore my mini-courses on colour, or join the waiting list for the full launch in November.

Waiting List email landing page
https://mailchi.mp/a5dd5098f749/waiting-list-brushstrokes-of-being-studion

Mastery may be slow, but it’s also deeply transformative, for your art, your brain, and your life.

Timestamps:

00:00 – Mastery: the slowest, hardest path worth taking
Why the path of mastery in art and music is difficult, slow, and ultimately the most rewarding journey.

00:01 – What true mastery looks like in music and art
From breath control and posture in music to light, shadow, and colour theory in painting—what daily mastery practice really involves.

00:02 – The hidden value behind classical concert tickets
A story on why concert tickets reflect years of training, resilience, and invisible hours of practice by world-class musicians.

00:05 – Why students struggle with the effort of mastery
How young artists and musicians react to the relentless practice required, and why persistence is the real test of talent.

00:12 – Neuroscience of practice and neuroplasticity
Scientific research on how deliberate practice rewires the brain, strengthens neural pathways, and improves memory, focus, and creativity.

00:20 – Stories from painting Janine Jansen & Sol Gabetta
Portraits of exceptional female musicians reveal subtlety, strength, and poetic mastery built through decades of dedication.

00:28 – Iain McGilchrist on creativity: preparation, incubation, illumination
Insights from The Matter With Things on the three stages of creativity and why true insight only arrives after hard preparation.

00:36 – The link between mastery, focus, and fulfilment
Why deep, consistent practice builds resilience, patience, and happiness in both art and life.

00:46 – Brushstrokes of Being Studio: antidote to de-skilling
How decades of de-skilling inspired me to create an art education platform rooted in skill, history, and storytelling.

00:55 – Mini-courses on colour theory and full program launch
Explore mini-courses on colour harmony, pigments, and palettes—or join the waiting list for the full launch in November.

Mentioned in this episode:

• Your Brain on Art


• This is Your Brain on Music


• The Aesthetic Brain


• The Matter With Things by Iain McGilchrist

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/why-mastery-is-the-only-path-worth-c91https://karinmerx.co.uk/?p=14491Tue, 30 Sep 2025 05:00:00 GMTBrushstrokes Of BeingNo817In this episode of Brushstrokes of Being, I sit down with Elizabeth Markevitch, who once worked in the high-end world of Impressionist and Modern masterpieces. She left the “art box” behind to democratise access to art and created IkonoTV https://ikonotv.art/, a platform treating art as medicine.

We explore:

• Why art is still “in the concert hall” while music has been democratized


• How streaming and digital tools can transform art access


• The healing impact of “slow art” films on our minds and emotions


• The parallels between AI, Napster-era music, and the future of creativity

Join us for a conversation that shifts art from luxury to life force.

Where to follow Elizabeth Markevitch:
LinkedIn: https://linkedin.com/Markevitch
Instagram: https://instagram.com/Markevitch
Medium: https://medium.com/@markevitch/
IkonoTV: https://ikonotv.art

Follow me on:
Instagram: https://instagram.com/karinmerxfineart
Facebook: https://facebook.com/karinmerx
Linkedin: http://linkedin.com/in/karin-merx-ma-8087a867
Contact me: https://karinmerx.co.uk/contact

Support Brushstorkes of Being on Patreon

The conversation weaves together childhood curiosity, music, the Old Masters, the quiet rebellion of painting, the essential role of diversity, and the distinction between discrimination and racism. At its core lies the question of why I do what I do, and who I am as a human and as an artist.

This is not an interview with answers; it is an invitation to ask questions again and again and to live as an artist.

Timestamps

00:00 – Welcome & the deeper questions behind technique

00:34 – The artist and philosopher in dialogue

01:34 – Following curiosity, music, and art against the grain

02:15 – Old Masters, story, and meaning in painting

03:19 – Resisting speed and noise: art as slow rebellion

04:47 – Unity, diversity, and transformation in practice

06:06 – Discrimination vs. racism: the deeper distinction

07:28 – Colour as story, music, and truth

09:12 – Between rebellion and love, stillness and colour

• Watch the episode on YouTube


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• Support Brushstrokes Of Being on Patreon


• Contact me

Highlights Adebanji Alade:

• Why sketching is more than drawing — it’s a way to think.


• How to treat rejection as a friend and failure as feedback.


• Adebanji’s approach to observational art, curiosity, and serendipity.


• The lifeblood of creative practice: seeing, sketching, and process.

[00:00:00] Welcome & Introduction
[00:01:05] “Observe everything, sketch everything you see” — sketching as a way of thinking
[00:05:12] Becoming “The Addictive Sketcher”
[00:08:45] Curiosity, slowing down, and seeing the world differently
[00:12:34] Failing as feedback & making friends with rejection
[00:16:50] What matters most: the process of art
[00:19:40] Advice for artists: why sketching is the lifeblood of representational art
[00:22:10] Where to find Adebanji & closing thoughts

Follow Adebanji: Instagram/TikTok/Facebook @AddictiveSketcher
Visit his website: adebanjialade.co.uk

• Listen & Watch: https://youtube.com/@karinmerxfineart


• Instagram: https://instagram.com/karinmerxfineart


• Facebook: https://www.facebook.com/KarinMerx


• Contact: https://karinmerx.co.uk/contact

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/adebanji-alade-768https://karinmerx.co.uk/?p=14473Wed, 10 Sep 2025 06:35:56 GMTBrushstrokes Of BeingNo1453Art as Medicine in the Age of Machines marks the conclusion of my series The Gaze Reclaimed. After seven episodes honouring women artists who fought to be seen, I turn to our present reality: a time where human creativity is once again at risk of erasure.

Today, billions of artworks are silently scraped into datasets without consent, feeding machines that produce hollow images. Yet art is not a product of code. Art is presence, resonance, and transformation. Science now gives us the words—neuroaesthetics—to confirm that art regulates our nervous systems, heals trauma, and strengthens our humanity.

This is not just history. It is our future. And the choice is clear: reduce art to pixels, or reclaim it as medicine for the soul.

Art Talk has evolved in Brushstrokes of Being: Art is the Cradle of Our Soul

0:00 Intro | Brushstrokes of Being
1:05 The Gaze Reclaimed – past to present
6:11 What is art, really?
9:40 Neuroaesthetics: art as medicine
13:08 Painting, Photography & AI – three different entities
17:55 Children, creativity, and the danger of neglect
22:12 Why artists matter now more than ever
32:48 Closing | Reclaiming the gaze

• Watch this episode on YouTube


• Contact me

In this episode of Art Talk: The Gaze Reclaimed Part Seven: Camille Claudel, we explore:

• Claudel’s early brilliance and her fight to study sculpture in Paris.


• Her bold collaboration and rivalry with Auguste Rodin.


• Masterpieces like The Waltz, The Mature Age, and Clotho, works that reveal intimacy, grief, and resilience.


• The injustice of her confinement and her erasure from art history.


• How her genius is finally honoured today at the Musée Camille Claudel.

To reclaim Camille Claudel is to honour all the women who reshaped art against impossible odds. Her gaze, once silenced, returns to us now, sensual, powerful, eternal.

Listen, reflect, and share this episode with someone who loves art, history, and the reclamation of forgotten voices.

• YouTube


• Spotify


• Support Art Talk on Patreon


• Contact Me

Appointed official portraitist to Marie Antoinette, Vigée-Lebrun captured not only the likeness but the humanity of her subjects. Her Self-Portrait in a Straw Hat, painted at twenty-seven, radiates joy and audacity: palette and brushes in hand, golden curls crowned with a straw hat adorned with flowers and a feather, her gaze meets ours across centuries, declaring creative freedom and personal triumph.

Exiled during the French Revolution, she travelled across Europe: London, Vienna, Italy, painting royalty, expanding her style, and leaving a legacy that empowered women artists for generations. Over six hundred works survive, and her memoirs chronicle her life, offering insight into her resilience, skill, and advocacy for women in art.

Vigée-Lebrun’s story is one of audacity, self-expression, and reclamation of the gaze; a timeless inspiration for all artists.

• Support Art Talk on Patreon


• Watch Art Talk on YouTube


• Contact me here

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/louise-elisabeth-vigee-lebrun-the-578https://karinmerx.co.uk/?p=14430Tue, 19 Aug 2025 03:00:00 GMTBrushstrokes Of BeingNo706In this episode of The Gaze Reclaimed Part 5: Berthe Morisot, we celebrate the 100th episode of Art Talk. Berthe Morisot (1841–1895) was not just a painter — she was one of the most influential female Impressionists in art history. Known as the Mother of Impressionism, she transformed the way women and modern life were depicted on canvas, bringing radical lightness, liberation, and emotion to a movement still dominated by men.

Berthe Morisot Biography: Early Life and Training

Born in Bourges, France, Morisot grew up in a Parisian family that encouraged her artistic ambitions — an unusual gift for a woman of her time. She trained privately, since women were barred from the prestigious École des Beaux-Arts until the 1870s. Her teachers recognised her exceptional skill, and she moved from one to the next, each advancing her mastery of traditional techniques.

In her journal, she once wrote:

“I do not think any man would ever treat a woman as his equal, and it is all I ask because I know my worth.”

Berthe Morisot in the Impressionist Circle

Morisot exhibited at the Paris Salon from 1865, moving in the same circles as Manet, Degas, Monet, and Renoir. Claude Monet famously remarked after meeting Berthe and her sister Edma, “What a shame they are not men.” It was a stark reminder of the gender barriers she faced.

Despite societal limitations — she could not roam the streets of Paris unaccompanied or linger in cafés observing life — she carved her own path. Her Berthe Morisot paintings often depict women and children in luminous gardens, interiors, and domestic spaces.

Artistic Style and Legacy

Morisot’s work dissolved the boundaries between figure and background, with loose, gestural brushwork that captured fleeting moments. Critics sometimes called her “the angel of the incomplete” for her open, fragmentary compositions — though this was not always meant as praise. Today, this quality is recognised as part of her radical approach.

Berthe Morisot Self-Portrait and Key Works

Two self-portraits from 1885 stand out.

• Self-Portrait with Her Daughter Julie feels like a drawing brought to life on canvas — light, precise, and unforced, representing both her personal and artistic values.


• Self-Portrait shows her in a traditional pose but alive with quick, confident brushstrokes, asserting herself as an equal in the male-dominated world of Impressionist painters.

Irish writer George Moore once said of her:

“Her pictures are the only pictures painted by a woman that could not be destroyed without creating a blank in the history of art.”

Berthe Morisot Art Exhibitions

Throughout her career and posthumously, Morisot’s work has been shown internationally:

• 1930: London, The Leicester Galleries


• 1936: New York, Wildenstein Galleries


• 1941: Paris, Musée de l’Orangerie


• 1947: Paris, Galerie Weil


• 2002: Lille, Palais des Beaux-Arts


• 2023: Berthe Morisot: Shaping Impressionism, Dulwich Picture Gallery, London — though notably, 13 of the 43 works displayed were by men.

Why Berthe Morisot Still Matters

Morisot’s art captures the restrictions and quiet rebellions of women’s lives in 19th-century France. She worked within imposed boundaries but turned them into spaces of innovation. Removing her from the story of Impressionism would leave a gap no other artist could fill.

• Watch on YouTube: https://youtube.com/@karinmerxfineart


• To celebrate 100 episodes, enjoy 50% off my Colour for Artists course — inspired by the techniques of women Impressionists like Morisot. Use code ArtTalk100. https://onlineartseducation.co.uk/courses


• Contact me https://karinmerx.co.uk/contact

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/part-5-berthe-morisot-563https://karinmerx.co.uk/?p=14419Tue, 12 Aug 2025 04:00:00 GMTBrushstrokes Of BeingNo737In this episode of Art Talk, part 4 of The Gaze Reclaimed, we explore the extraordinary life and legacy of Edmonia Lewis — the first African-Native American sculptor to gain international recognition in the 19th century.

Born in a fractured America, orphaned young, and wrongfully accused of poisoning classmates at Oberlin, Lewis defied every expectation. She carved her path — literally — from Boston to Rome, to London, where she passed away after being gravely ill. She was creating neoclassical sculptures that challenged the white Western gaze. Her work reclaimed space for Black and Indigenous narratives long erased from the canon.

What you’ll hear in this episode:

• How The Death of Cleopatra disrupted 19th-century audiences and redefined visual power


• Why Lewis chose to sculpt her own works by hand—defying norms and prejudice


• A deeper look at Forever Free, her emancipation-era masterpiece, and the subtle symbolism of resistance


• Reflections on the erasure of women and Black artists from art history—and why that tide is finally turning

This is not just art history—it’s cultural memory in marble.

If you’re an artist, curator, educator, or simply someone who believes in reclaiming forgotten voices, this episode is for you. 

Keep this series alive.
Support the art you love and step behind the scenes. As a Patreon member, you’ll receive each episode 48 hours early, along with an exclusive, beautifully designed companion booklet that deepens the experience through rich imagery, insight, and inspiration.

• https://patreon.com/karinsarttalk


• Contact me https://karinmerx.co.uk/contact


• Watch the podcast on https://YouTube.com/@karinmerxfineart

Born into an artistic family in 1638, Sirani took over her father’s studio by age 17, produced over 200 paintings before her death at 27, and became the first woman in history to open her studio to female students. Her bold depictions of women, such as Judith and Timoclea of Thebes, challenged the passive, decorative roles assigned to women in art and society, portraying them instead as courageous, intelligent, and morally empowered.

This episode of The Gaze Reclaimed examines how Sirani’s legacy reshaped the visual narrative of women in art—and why she deserves renewed attention today. Perfect for art historians, educators, feminists, and those curious about overlooked women in art history.

• Discover how Sirani redefined the female gaze


• Learn about her innovative use of theatrical storytelling


• Explore why her feminist vision remains urgent and inspiring

• Download the Reclaim Your Gaze guide here: https://karinmerx.co.uk/see-yourself-again/


• Watch this Episode on https://youtybe.com/@karinmerxfineart


• Contact me at https://karinmerx.co.uk/contact


• Support Art Talk on Patreon: https://patreon.com/karinsarttalk

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/elisabetta-sirani-the-forgotten-baroque-496https://karinmerx.co.uk/?p=14408Tue, 29 Jul 2025 02:00:00 GMTBrushstrokes Of BeingNo737Welcome back to Art Talk, and Part 2 of The Gaze Reclaimed. In this episode, we delve into the extraordinary life of Artemisia Gentileschi, who transformed the depiction of women in Western art.

From the Renaissance to today, visual culture has shaped—and often violated—women’s bodies. Art historian Catherine McCormack critiques this long history, revealing how so-called masterpieces often masked political power and patriarchal control behind myth and beauty.

But Artemisia changed the rules. A survivor, a painter, and a rebel, she reimagined the gaze—offering empathy, resistance, and power through brush and body.

Learn how Gentileschi reclaims biblical heroines and inserts herself as the protagonist—subverting the male gaze and reasserting the female subject.

Topics covered:

• Titian, power, and imperial desire


• Mythology as political propaganda


• Artemisia’s Susannah and the Elders & Self-Portrait as a Lute Player


• Reclaiming trauma through self-representation


• Feminism and agency in early modern art

Subscribe for weekly episodes exploring art, power, and the people who shaped visual culture on their own terms.

• Download our free guide on reclaiming the gaze in art history here


• Watch on YouTube


• Contact me

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/artemisia-gentileschi-965https://karinmerx.co.uk/?p=14400Tue, 22 Jul 2025 03:00:00 GMTBrushstrokes Of BeingNo676The Gaze Reclaimed – Part 1: Looking Inward

Episode 96 of Art Talk | New Series Premiere

Welcome to The Gaze Reclaimed, a bold new series exploring how women—past and present—are reclaiming the right to see and be seen on their own terms.

In this deeply personal opening episode, artist and cultural philosopher Artsy invites you into an intimate reflection on self-portraiture, vulnerability, and the quiet rebellion of women who dared to depict themselves throughout history. From Artemisia Gentileschi to Faith Ringgold, we begin to unearth the hidden power of the female gaze.

This isn’t just art history—it’s a movement.
A reclamation of vision. Of voice. Of self.

Download your free self-portrait guide and join the community conversations.
 New course launches in September.

Watch this episode on YouTube

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/looking-inward-089https://karinmerx.co.uk/?p=14394Wed, 16 Jul 2025 10:38:28 GMTBrushstrokes Of BeingNo547In episode 95, the last episode in the series of Why Old Masters Matter To Artists Today 3. In this episode I go in learning how to see: Style, Technique and….Secrets, with Rembrandt on my side.

• Become a member on Patreon


• Connect with Me

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/why-old-masters-matter-to-artists-6a8https://karinmerx.co.uk/?p=14358Thu, 10 Jul 2025 09:47:59 GMTBrushstrokes Of BeingNo635 Why Old Masters Matter to Artists II: Leonardo da Vinci & the Power of Observation

In Episode 94 of Art Talk, we dive deep into the timeless art of observation—through the eyes of one of history’s greatest minds: Leonardo da Vinci.

This episode explores how Da Vinci’s approach to seeing the world can radically transform your own creative process. In an age of instant gratification and visual overload, learning to slow down and truly observe is more powerful—and more necessary—than ever.

We’ll unpack how Leonardo’s method of deep observation shaped his art, and how modern artists can apply these same principles to create more intentional, meaningful work. This conversation invites you to ask better questions, see beyond the surface, and move past merely copying what’s in front of you.

• Notebooks Leonardo Da Vinci


• Watch on YouTube


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If you as artist are struggling with colour, I have a great colour course available at https://onlineartseducation.co.uk/course/colour-for-artists/

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/why-old-masters-matter-to-artists-05dhttps://sya.rqu.mybluehost.me/website_3014a0b6/?p=14307Thu, 03 Apr 2025 08:00:00 GMTBrushstrokes Of BeingNo505In Episode 92 of Art Talk, I have a conversation with Elizabeth Amisu about the Art of World Building. Elizabeth is the author of the Sacerdos Series, books that inhibit the worlds she created, with characters who have special gifts.

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/the-art-of-world-building-951https://sya.rqu.mybluehost.me/website_3014a0b6/?p=14294Tue, 04 Mar 2025 08:00:00 GMTBrushstrokes Of BeingNo1002In Episode 91 of Art Talk, I discuss wat art evokes in our brain. Based on Neurological research in the Mauritshuis in the Netherlands, art electrifies the Brain. This of course is goed news for artists who paint.

Looking at real art stimulates the brain on multiple levels. It sparks excitement, ignites the imagination, and compels deep thought. The emotional response to authentic paintings was ten times stronger than to their reproductions. Let that sink in. What art evokes in our brains is ten times stronger.

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/what-art-evokes-in-our-brain-683https://sya.rqu.mybluehost.me/website_3014a0b6/?p=14290Tue, 25 Feb 2025 08:00:00 GMTBrushstrokes Of BeingNo1939Episode 90 is the last of this year 2024 and I have a conversation with Agnes Gomori about art and spirituality and how we as artists adapt that in our art as well as experience it to create specific art. For each of us it works differently but we both know that everything is energy and that, when we visited Tate Modern together in June, both tired, our energy uplifted us, giving energy. 

This will, however, be slightly different than usual, we truly have a conversation about what spirituality means to us and how it plays into our lives and art. Meaning, I am not asking Agnes specific questions alone, she also asks me, which is a fun experiment.

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/a-conversation-with-aniko-boda-404https://sya.rqu.mybluehost.me/website_3014a0b6/?p=14215Wed, 09 Oct 2024 16:00:00 GMTBrushstrokes Of BeingNo2039In episode 87 of Art Talk, I had the pleasure of having a conversation with Shirley-Ann O’Neil, director of the VAA (Visual Artists Association)
After their book Good Art Doesn’t Sell Itself (which I highly recommend), they have now written a book about Securing Representation: Galleries, Agents & Artists. The book is divided in sections with very valuable information from industry experts, the do’s and don’ts tips and summaries. It is a true guide for the professional artist.

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Following the podcast/interview, Jessica mentioned that if anyone is experiencing symptoms that are having a negative impact on their physical and emotional health, to seek professional help or talk to someone they trust.

Some helpful tips:
-physical activity and movement
-connecting with nature or noticing things around you
-Mindfulness practice, breathing techniques or meditation
-Sleep and a balanced diet
-connecting with others through conversations/talking and/or activities/hobbies

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Follow Laura Cumming on Twitter/X @lauraCummingArt

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Helga is Siberian-born, living in the UK, London. For a long time, she lived seeing the world in black and white trying to be perfect. This was inspired by a poem by Vladimir Mayakovsky What is Good, What is Bad. Helga definitely found her way in this world by actively listening and actively looking around without judgements or expectations. Her world is colourful and filled with humour and beauty. If you feel watched whilst entering her website, you are right, go look for yourself.

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• International Exhibitions:
  Korea in March,
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  Brooklin, USA.

We talk about visual art in painting and drawing, not the other arts like being a film director because there are a lot of apples and pears comparisons out there.

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Joyce is the owner of Paard Verzameld: Equine Art Services. Joyce is the founder of Paard Verzameld. She has a lifelong passion for horses. Her academic and professional experience enabled her to make this platform with the many services she offers for artists, collectors and horse lovers.

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Please consider supporting Art Talk on Patreon and please do visit the websites of:

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James started in 2015 with his powerful and emotional studies of homeless people, victims of war and religious martyrs. This work took him to another level in the art world as he was nominated by The BP award, The Royal Institute of Oil Painters and The Royal Institute Of Portrait Painters culminating in his work being displayed at the iconic and famous Mall Gallery in the heart of London. James was selected in 2019 to show his work at the prestigious London Biennale.
James has been described by the German Kunst Heute publication as well as The International Contemporary Art Curators as one of the most significant artists in the world today. He says that he makes the invisible visible, I would say he paints the invisible visible.

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Where to buy this book?
Alice Proctor, The Whole Story: The Colonial Story Of The Art In Our Museums and We Need to Talk About It.
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Not talking about the presence of black people in paintings is a story that needs to be amended. That is telling the story of art through a lens that has ruled for a way to long time. Yes, art history was written mostly by men, men were artists, women were not allowed and we still see how those stories fill the brains of people. I believe we have to return to the sources and start rewriting a lot of art history to get the right view, and inclusiveness it needs. And for artists who paint portraits, Let’s paint the true stories because when you ignore the colour of someone’s skin it is turning a blind eye. It is time to amend art history.

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The Dangerous Philosophies of Michael Jackson is the first academic book that covers Michael Jackson’s art through his life from various perspectives. The book gives a portrait of the multifaceted artist Michael Jackson. Divided into three parts: ‘Art as Life’, ‘Life as Art’, and ‘Art beyond Life’, it covers Michael Jackson’s entire career. If anything, this book shows that Michael Jackson was an artist and entertainer and his work needs to be researched. In The Dangerous Philosophies, you will find connections to a wide variety of subjects and the author not only invites you to continue research with a specific subject but also gives lots of points and angles to start your own research.

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A few months ago, I was kind of attacked by an Instagram follower because I expressed my thoughts about a certain artwork that I did not find as compelling or ’good’ as everyone else was singing their glory over. I had my reasons.

It occurred to me that the person had very little knowledge about art or its history and just blurted something out that she had heard. ‘Learn a bit about German Expressionism deary’ was her reply. I explained to her what it meant but it was to deaf ears. Apparently, I wasn’t allowed to express what my thoughts were, I had to blindly follow the majority who were clearly brainwashed by everyone saying it was refreshing, brilliant and extremely well done.

I decided to dedicate an episode of Art Talk to the isms because that is what the discussion was about and started with. As an art historian, I had to dive into the isms or the classification system that puts art into a confined area to make it easier for art historians to write about the arts. Artists were always leading, and the labels they got were not positive to begin with. In short, the labels, later isms had a very negative connotation to start with. My question was why would artists label themselves to start with?

I decided to dedicate an episode of Art Talk to the ism’s, because that is what the discussion was about and started with. As art historian, I had to dive into the ism’s or the classification system that puts art into a confined area to make it easier for art historians to write about the arts. Artists were always leading, and the labels they got were not positive to begin with. In short, the labels, later ism’s had a very negative connotation to start with.

She has a history, to date, of more than 300 exhibitions, 35 of them solo, twenty + garnering awards. In the coming two years, Susan has solo and 2-person and group exhibitions scheduled in Ellicot, MD; Bloomington, MN; Hopkins, MN; Duluth, MN and the Garrett Museum of Art, Garrett, Indiana. In recent years Hensel has been awarded multiple grants and residencies through the Jerome Foundation, Minnesota State Arts Board, Art to Change the World and Ragdale Foundation.

Apart from her own studio she also has a gallery.
The focus of the Susan Hensel Gallery is on compelling objects, meaningful use of materials, and engaging sculpture. It is a gallery where experimental ideas and works of the hand join to create unique sensory experiences. Susan Hensel Gallery is a gallery/ workspace that presents 5-6 shows per year in an intimate space. The gallery is represented on Artsy.net.

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In this episode, I want to discuss the documentary I have watched: Close To Vermeer and propose a way we might look at Vermeer’s art. With all the tech available, how deep should we go and demystify the mystic? In other words, if an old ‘master’ is declared a ‘genius’ when demystifying his methods, should it still give him that label of genius?

Then I will also discuss the discrepancy between his early works and later work that made him famous and the attribution of a painting; still up for discussion? These are discussions that art historians like, obviously, but often end in an endless yes, because, no because, or the expert, the expert decides it is not real or is real. Obviously, artists in that time and even before that were not even remotely thinking about something as copyright. Masters frequently used work from their fellow artists if someone commissioned them and pointed to a painting they liked and wanted themselves placed into it. Copyright is a very modern invention, rightfully so, btw. It has also to do with the values added to an artist and a work and that is what for many it is all about. The discussion is interesting for art historians, but not necessary if we do what I will discuss later.

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Laura O’Hare is responsible for leading the artistic and business development at VAA. She has been working in the Fine Arts sector since 2012 and is a founder of the Visual Artists Association. Presently, she is a Director of the Visual Art Open Awards and Chester Arts Fair, she has a wealth of experience in managing relationships with artists and understanding their needs. She also has an extensive network including arts organisations, galleries, publishers and commercial partners. She has helped hundreds of artists figure out how to thrive at all stages of their fine art careers. Prior to working in the arts industry, she was a solicitor specialising in Employment Law for over 15 years.

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She has substantial experience working within the museum, culture and arts industry. Knowledge areas include inclusive exhibition development and delivery, fine art Curation, collections development, and museum and curatorial career coaching.

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“It is a form of self-deception, or perhaps merely a convenient excuse, to say that the materials of the old masters were better than those of today, and that the splendid preservation of many of their pictures is to be attributed to this factor. But most of all must their success be attributed to the building up of their pictures in accordance with the laws of the materials.” Quote from an old book by Max Doerner.

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She has held internships and contract positions at the Rijksmuseum in Amsterdam, the J. Paul Getty Museum, the National Gallery of Art in Washington, and the Smithsonian American Art Museum.

She has maintained a private practice since 2008 and continues to be involved with teaching art conservation and technical art history at the graduate/undergraduate level. Kristin has also been involved in a number of web-based initiatives including the Kress Technical Art History Website and MITRA (the Materials Information and Technical Resources for Artists). https://www.artcons.udel.edu/mitra/resources

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That said, self-taught is a trap you do not want to fall into. Why? Simply because you can not know what you do not know, and I would add to that, you can not see what you have not learned to see.

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Karen Van Hoey Smith is an art director, mentor and educator. I had the privilege to meet her at a networking event in London, The Other Art Fair and attended one of her strategy sessions with the VAA (The Visual Artists Association) where she is THE mentor. She loves art, and can live on it she said, she is passionate about antiques, antiquities, history, and the psychology of collecting and everything that makes other people passionate.

If you have questions or ideas about topics you want me to discuss, please write to me at karin@karinmerx.co.uk

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In this episode, we talk about her studies in France, her beautiful art that made me stop at her booth at The Other Art Fair and how important it is for artists to get out there and find their place.

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Ramona is an artist who I met in 2020 when we both were in an art marketing course. Soon Ramona left and took off on her own to conquer the world with her Urban Queen series. She has a very interesting background as a fashion designer, and interior designer and is now well known as an artist who empowers women with her paintings. She has been featured in multiple media and her art is in collections all over the world.

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• Wear Your Crown Article where you can read who participated.

The brilliance of this book is that it is set up in 3 parts, or rather steps and has in total 75 short guides with actions you can take. Not every step is necessary for every artist. Step one is Mindset & Habits, and step two is Getting Your Artwork Ready. That is a serious thing. It shows others who could be potential buyers how seriously you take your work. Step 3 is about Opportunities and Implementations. This book is a must-have for artists around the world. Go Grab your copy of Good Art Doesn’t Sell Itself.

I would highly recommend becoming a member. It is the only affordable association for visual artists, set up by people who worked decades in the art world and know all the ins and outs. These people can truly help us get where we want to be. 

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Joan Marie’s intense dedication to art began in 1969 after being deeply inspired by Michelangelo’s Sistine Chapel. Since then her artistic influence reached the lives of millions of people around the world with national and international representation in art licensing and a twenty-eight-year career teaching. You may have seen Joan Marie’s art in print form on collector plates, stationery, puzzles, book or magazine covers and more, as her art has sold on millions of products around the globe and been collected in hundreds of private collections.

Galleries in Miami, Chicago, Denver, and St. Louis have enthusiastically displayed the radiant colours and explosive energy of Joan Marie’s original paintings. She has poured, tipped and thrown paint to transform the energy of her favourite songs into wild mystical
abstractions. These explorations combined with romantic realism created a magical mix of techniques seen in recent works. Fueled by ecstatic energy, she embeds positive subliminal messages into the intricate details of her work.

Dedicated to her own spiritual path, Joan Marie has focused on developing a mindset of infinite possibilities and allowing the divine to flow through her. 
She received a BFA in painting and drawing from Washington University in St. Louis in 1973 and went on to obtain an MFA between the University of South Florida in Tampa in 1984 and Lindenwood University in St. Louis, MO, in 2009, where she focused on classical drawing skills.
Joan Marie shares in her work what she knows to be magical in life. We have the opportunity to choose what we create, whether choosing a piece of art or our lives.
Join the mystical and magical world of believing in the joys of life with Joan Marie!

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Shirley-Ann O’Neill is the director and co-founder of the Visual Art Open. This is an international art prize for emerging artists. She is also the director and co-founder of the (VAA) Visual Artists Association. With over 20 years of experience, she brings a lot of knowledge to artists around the world.

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/interview-with-shirley-ann-oneill-407https://sya.rqu.mybluehost.me/website_3014a0b6/?p=13423Tue, 28 Feb 2023 10:00:00 GMTBrushstrokes Of BeingNo947This episode of Art Talk is a more philosophical and slightly provocative reading of the gaze of a 17th-century girl. The Rijks Museum Amsterdam has the most extensive retrospective of Vermeer in history. Johannes Vermeer was born in 1632 and passed in 1675. He lived in Delft his whole life. He presumably received lessons from Carel Fabritius (1622-1654) or Leonaert Bramer (1596-1674).

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Telling stories is what captivates audiences. People love stories, and it may not sound like it, but everyone has a story to tell, multiple stories even. The world is built on stories.

Switching my music practice to the painting practice I found the same. Once a storyteller, always a storyteller, hence why I paint portraits as a story. In my work, you find vibrant colours. These colours resonate with music, the palette I used whilst playing the flute is now the palette I use for my art.

Recently I read a brilliant book by Lisa Bloom: The Story Telling Advantage. Highly recommended btw. This book showed me that stories rule, that telling stories in your art marketing is what people like, what draws people to you. If the stories are true to you, they express your voice and not someone else’s.

I always say and write Your Story Matters. It does, people love to hear, read or see your story. The impact of an impacting story is what brought me to currently painting the portrait of Frida Kahlo. Her story is one of unfathomable pain, but also of endurance and an incredible zest for life.

The power of telling stories with art

Let us talk about failure. Let’s be honest. Not every painting is right immediately, and sometimes you have to set it aside for a while to see what is off. In the written story too, my friend told me she throws chapters away and starts all over again. It is a process and telling people about that and how you deal with that is important.

Perfectionism doesn’t exist, and many can relate. It is so easy to see the finished painting, hear the finished composition or read the finished book. In that journey of the artist are many moments she feels she either failed or can’t see or read it, simply because they were too close for it for such a long time.

I think many can relate to these things, nevertheless, awareness is important to understand the power of telling your story or stories, the daily mundane ones too, not the big life-shifting ones only. Telling stories is very rewarding for you as well as your audience.

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A story about what you do can be equally compelling for people. As visual artists you can also show this, the time laps, the work in progress and close-up shots are what people like. Also what you do and with what kind of materials, how do you describe it and how does it relate to your values. All these can attract the people who relate with what you do.

‘The most important thing an artist needs to know is how to see. Da Vinci. Da Vinci’s style combined accurate observation and sensitive imagination.’

My day was over, and I sat with my last tea before bed, reading about Camille Claudel.

“A photograph dating from 1899 shows Camille Claudel, then aged 45, in her studio, wrapped in a long dark coat, standing opposite Perseus and the Gorgon she had sculpted that year. The work reveals Claudel’s sources and influences – Donatello, Cellini, Greco-Roman mythology – and the passion she was driven by: the Gorgon’s severed head is a self-portrait. This photo is very different from the clichéd images usually associated with Camille Claudel’s work and life, marked by her tumultuous affair with Rodin and her gradual descent into madness. It shows not only a sculptress capable of planning and producing a work of ambitious size, but also a woman scarred by the hardships she has suffered. It was no easy task for a woman to become an artist in the mid-19th century; she had to cope with moral prejudice, gender-related restrictions in her artistic training and the prevailing male dominance in the Ministry of Fine Arts and the Salon juries.” -Musee Rodin

This short piece inspired me to talk about how craftsmanship is seen in great art.

Many people have the need to express themselves, and rightfully so. There is a difference between the artists who learned the craft, which is not really taught anymore and those who chose to start at the end, which has become more rule than the exception.

In the time of Claudel, it was tough to follow that passion because, in that predominantly male world, it was not done. I wondered to what extent she mentally was not well. Who decided that and labelled her? Obviously, men did. However, that is not my focus for today.

My focus is craftsmanship, and Claudel did everything possible to gain the knowledge she needed to create her very sensitive sculptures. Her work is what Da Vinci was known for, accurate observation and sensitive imagination. She received her rightful recognition after she passed, in the 70ties of the 20th century when feminism was on the rise.

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One of the first biographers of Leonardo Da Vinci wrote: “in learning and in the rudiments of letters he would have made great proficiency, if he had not been so variable and unstable, for he set himself to learn many things, and then, after having begun them, abandoned them.”
-(Vasari, 1996).

The problem addressed is one many of us probably can relate to. Others are able to focus on only one thing, master that, and stick to that for the rest of their lives. Last year I did a test with my mentor Dr Libby Kemkaran. She is a neuro and pique performance coach. From her, I learned that I have a so-called cheetah brain. That means that my neurology is that of a creator innovator. I have multiple ideas coming in, and I also do not finish all projects I start. Often I leave the ideas which stream into my mind -especially when I shower – for what they are.

My main struggle is the focus, which is in regard to my neurology, is not that strange. A classically trained musician, an MA Art historian, a classically trained portrait painter and someone open to learning everything that interests her. Hence why I’m quickly distracted and can be easily bored. I often receive the moniker renaissance woman. Sounds nice but is it? For Da Vinci, it apparently wasn’t. He died lamenting “that he had offended God and mankind in not having worked at his art as he should have done” (Vasari, 1996; Nicholl, 2004; Vecce, 2006).

I definitely do not feel like that when I am ready to breathe out my last breath. However, because of the knowledge I now have about my neurology, I know how to handle it. It is my intention to work with it and not against it.

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Recently, I received a book recommendation and as an avid reader, I immediately downloaded it to my kindle. The Story Of Art Without Men. Wow, as a portrait artist with the mission to empower women, and as an art historian, I was definitely interested. Just the introduction was an eye-opener.

A study in 2019 showed that in US Museums 87% of the artworks were by men, predominantly (85%) white men. Only 1% of the collection of the National Gallery in London is by women. Research the author did in 2022 asking people how many female artists they knew, most came to a maximum of three and youngsters 18-24 none because it wasn’t taught in schools.

This alone made my jaw drop, and then think about black female artists, how about them? Hence why I found out that most women in general do not like to see themselves on the wall and how women are defined by the male gaze. Simultaneously female artists were shoved under the carpet because men only referred to and still refer to themselves. I wondered how allowing, the word I want to discuss, falls into this topic.

That women allowed themselves to be artists is clear. To me, a profound example is Edmonia Lewis, who was of African-native-American descent. Bullied severely and accused falsely (racism) she stepped up for herself. She noticed a statue and said that she could do that too. She went to Rome, received lessons and became well known. Yet, art history never talks about her.

Camille Claudel, sculptor, protégé and mistress of Rodin, worked on many of his sculptures. When he dumped her she went on, totally and full of passion. Yet, her passion was seen as a mental disorder, women didn’t sculpt and she ended up in an asylum. The biopic made of this shows a Camille who behaves madly to emphasise this as she wasn’t well and put rightfully into that asylum. I bet there are way more of these stories in the history of art.

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• The Story Of Art Without Men by Kathy Hessel

Happy New Year to all my listeners. Let’s make 2023 a real creative year where we learn and grow and make more real art. If anything is needed in the world right now, it is painted, sculptured or drawn art and music played on real instruments by real musicians. In short ‘The real deal’. I have mentioned this before, art made by humans has huge energy, hence why people flock to the museum to look at paintings and sculptures and drawings and still go to concerts.

With the way the world is changing, art is even more important. But let’s not go there, today I want to talk about the lessons learned from last year and how to move forward.

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Art Matters, an important awareness to discuss in Episode 41 of Art Talk.

“The noblest pleasure is the joy of understanding.” – Leonardo da Vinci

And so it is. End of this episode? No, not really. This quote is important to me because we seem to understand better through art. The expression of art, the true skill of the art, gives understanding. That understanding starts with the painter or the artists, and that is conveyed through the art to the people enjoying it.

Art Matters, and it has been since the existence of humankind. Art is the outcome of focus, and skilled training to depict the message the painter receives and sees. Yes, sees, art is not thinking but seeing. That said it also takes part in the left side of the brain to make certain decisions, but the actual act is seeing. Hence why often people say: “Hey, you see more than I see.”

Art Matters, because art heals on many different levels. For instance, Ancient civilisations understood the power of colours to heal, art heals when you create it or when you simply express yourself just for you. Art raises the vibration and with that, the person looking at your art feels that it ripples out.

Art Matters, because it brings joy and happiness. It also brings awareness to situations that are horrific, like the situation in Iran. Art matters here on a considerable level. Artists devote work to standing with the women in Iran, or collaborating, as I did with the poet Anneka Chambers. The message of art is immediately understood, and in this case, brought many artists together.

Art Matters and enhances the function of our brains, it is the most underappreciated skill, taken away from schools because it was declared useless. But art matters, it shows why so many teenagers are depressed, they are not allowed to express themselves, nor are their brains trained to be used as a whole. I won’t discuss AI because that makes things even worse. The act of creating is inherently connected to the well-being of people.

Many thanks to my guests for being with me this first season of Art Talk.

• Elizabeth Amisu – Author


• Kelli Folsom – Oil Painter and Teacher/Mentor


• Sheryl Benjy – Body Paint Artist


• Joan Marie – Drawing Artist


• Brooke Harker – Mixed Media Painter


• Samantha Kaplan – Oil Painter and coach


• Anneka chambers – poet


• Libby Kemkaran – Neurocoach


• Lori L Turner – Creative and Social Media Manager

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“Creativity is intelligence having fun!”
Albert Einstein –

Leonardo da Vinci filled his studio with elements that would arouse his five senses: he wore velvet clothes to stimulate touch, changed the flowers of his studio every day to exalt his sense of smell, worked with music to awaken his hearing etc.

Why do I start with a scientist? Because Einstein actually used his imagination and his ability to see, or visualise. He then transferred that to his logical brain to work out his scientific ideas. Hence why science still not fully understands his work. Because whether we like it or not, Einstein’s ability to use his imagination, gave him far more insights than scientists today can see, or even feel by sheer thinking and analysing only.

Leonardo Da Vinci understood the same but used a different way to get into that flow state of mind, we so well know as artists. He used the 5 senses: seeing, feeling, smelling, hearing, and tasting. The 6th sense is what he used when in flow, it is that imagination that goes even further than just coming up with an idea. It was Leonardo who stared into the river, watching the water flow to come to the full understanding of oneness.

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“Everything comes from everything, and everything is made from everything, and everything can be turned into everything else; because that which exists in the elements is composed of those elements.” -A quote by Da Vinci of Plato to capture the oneness or unity of all things

As artists, we can have those moments when we feel stuck, that showing up in the studio is daunting. It can feel as if you completely lost your voice. In this episode, I discuss some reasons as well as give tips on how to deal with feeling stuck.

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This book consists of 10 portraits painted by karin and 10 poems especially made for these portraits. This book is for education to teach children, teenagers and young adults about LGBTQi+ and specifically black role models in that community.

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Buy Black Queer Role Models: Painting For Unity here.

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Find the portraits in the gallery

Lori is a social media manager who had clients like Lisa Nichols (that’s how we met) and John Assaraf. With Lori at the social media wheel, they experienced triple and quadruple-digit organic growth on their social media platforms. They could relax knowing their social media presence matched their voice and their brand was protected while growing without sacrificing quality. Their followers were acknowledged and nurtured while using cutting-edge marketing tools and techniques implemented to their best advantage.

As a result of working with Lori, social media newbies (women 50+) lost their fear and gained confidence while acquiring new skills and growing their online presence.
She says: ‘You have the wisdom, I’ll teach you the technology.’

Where to find Lori?

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‘Life Begins At The End Of Your Comfort Zone” – Neale Donald Walsch

Get out of your comfort zone. What does that mean for an artist? Looking around, you see many ways of expression. Figurative art, still life, landscape, portraits, and also abstract.
Honestly, I avoid two things. The first is abstract painting -it doesn’t tell me anything. I know artists deliberately chose abstraction from the beginning because they find figurative art too complex. For me, it’s the other way around. I chose figurative art. The second is acrylics. I painted a few portraits with it, and it just doesn’t fit. I did not know how quick I had to return to my oils.

Herein hides a danger, the danger of being too comfortable. I constantly challenge myself, for sure. Learn from the greatest, like I do and recently started with a good portrait artist. But as artists, we need to go a bit further sometimes. Not only honing our skills and finding challenges within brush strokes or light etc. I mean getting out of your comfort zones.

Why would I say that? Because we all sometimes get into a phase where we are stuck, where we are not happy with what we do. When we are bored out of our skulls. Doing the same over and over gets…..boring. Our growth as artists needs to do something we normally do not do. Whatever that is is always up to you. Maybe you want to put your hands into a lump of clay or take a subject you never even dared to tackle. Or how about using another painting medium or getting into coding to create generative art? I did that once. It does not work. Not my way of creating. Nevertheless, I felt invigorated by stepping out of my comfort zone.

My new challenge is, you guessed already, acrylic and abstract. Whoops, I need to try it. So, why is it important to step out of your comfort zone again? To grow! To grow on a different level, to not fall asleep and be bored by yourself, but keep yourself sharp and crisp. Because artists have a purpose in this world, it’s also to get out of your head. Get unstuck to get excited again about our favourite topic.

Art is energy, and energy can’t be made undone but transformed. We transform our subject into high-vibrating art to keep the vibration high. It is perfect to step out of what you know and do what you don’t know. Fun fact, I recently painted a portrait of a kitten. I never painted animals. But oh my, this made me so incredibly happy. This gave me high energy and high vibrations. It did something else too. As an animal lover, I found something I want to add to my skills. How could I forget that I can paint these beautiful loving creatures?

That is another aspect of getting out of your comfort zone. Finding a new topic or way you want to create that makes you vibrate high. If we do not try, we stay still. If we stay still, it’s like a puddle that starts to stink. Energy needs to move, also for us as artists. So, get out of your comfort zone:-)

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You wake up, pick up your phone and start scrolling. Sounds familiar? For me, that has been a reality for a while. But what can happen to us as artists with so many people showing their creations online? It is called comparasonitis, a negative way to downgrade yourself and your art.
I think this is something that happens with a lot of artists. I admit that I also fell into the trap. It paralysed me in progress. Social media is flooded with people who show their work. Some are professionally trained artists. Many are hobbyists, and often you see those who shout out loud that they sold many artworks or have commission after commission.

How You Might Feel

You might feel why that artist has those commissions or is selling so much, and you are not. Or you might even feel: how is that possible because my work is way better? Or, why am I not accepted for the exhibition? It is a feeling you do not want to have because it paralyses. You will have difficulty continuing with your work or copying other artists, wishfully thinking: it will be successful.

I never did that and never will. However, it happened with the artists Rothko, De Kooning, and Modigliani. They were copied. Forgers started copying work or painting the topics like the much-wanted artist because their art did not sell. Do not do that, don’t go there. Be your own artist with your own work.

Tell a secret

Because let me tell you a little secret here, the life shown on social media is not real life. You don’t know how successful people are, you have no clue how much money they asked for the work, and you do not know if that is consistent or just a one-off. And then, does it matter? No, it does not. I will give you 5 tips on how to overcome comparisonitis.

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Ever tried, Ever Failed, No Matter, Try Again, Fail Again, Fail Better
-Samuel Beckett

This is only part of the quote, and yes, Samuel Beckett was a master in what he called failing. As artists, we all have these moments when things do not come out as we wish, as we feel stuck or have done something to our art that feels failed. What does fail even mean?

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“Can you finish your sentence, please? You always stop mid-sentence”, she said. Honestly, I was not aware that I do not end my sentences. Recently I discovered that it has to do with being on the right side of my brain, and talking is not really a thing there. It was obvious that I easily transfer to that part which obviously has to do with me being an artist.

Art & The Brain

Your right brain part is all about imagination. It will never give you an answer. However, it will show you solutions you will never find on the other side. Left is the nagging one, the verbal half that dominates you all the time. And don’t think it doesn’t pull its tricks with me; it certainly does.

Yesterday in my studio, I had it again. I showed something and whilst I talked with someone I started painting. Right away, my conversation ended. Call it Flow, yes, definitely. However, it is more than that. It is so important for me as an artist because I can let my imagination flow. Of course, you need to have the skill first, and sometimes you know what you do and often don’t, but you do it. That is energy that comes straight on the canvas. Hence the energetic vibration of a painted painting is so high that it often brings people to tears. It is why there are still queues in front of the museum. A great book about vibration is Power versus Force. Using Force is definitely not being in Flow; using Power, you are.

How to get from that left brain functioning to the other side when I do art? Most of the time I am just there. Sometimes, depending on what I did before the painting, it takes a bit of time, and I either use music or just prep my palette. Going back is a different ballgame. That is one of the reasons I joined Flow, to learn to bridge that gap. But what does it mean when I am there whilst painting? Often I finish a portrait and wake up from that state to look back and think: “ wow, who painted that?” That may sound weird, but it happens all the time. It is one of the reasons I can fall in love again and again with every portrait I have painted.

Someone asked if I am thinking whilst I am painting. The answer is short, no, I don’t. I am focused on seeing. I look at shapes and lines and spaces, and I feel. I hear the story the person told me, and things start to happen. Is this every single time? No, I have my moments, and then I know I need to go for a walk because it is always moving that brings me back.
Art is feeling. I can only say that you have to love your job, and I certainly do.

There is more to art than many have acknowledged. Art is good for your health. And the act of doing brings you to that right brain state where the summering left part has to stop. It is important in schools and it helps with the whole brain functioning instead of only the left analytical side. The Arts are not useless, they are of great importance for the development of the brain, people and the development of personalities. It releases stress, and depression and gives the opportunity to solve problems creatively. If there is anything the world needs right now, it is precisely that.

If you have any questions or suggestions, please let me know.

Next week will be about failure and what it actually means.

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Let me introduce Dr Libby. She loves dogs and cats and recognised her clients on the faces of the dogs she treated. That immediately explains that she originally trained as a veterinarian surgeon at Cambridge University. After a car accident, she could no longer work as a vet and had to reinvent herself. She studied behavioural neuroscience and is a behavioural psychologist. Apart from a degree in behaviour, she is qualified as a Flow Coach and a peak Performance specialist. She knows how to calm your nervous system, and rewire your behaviours.

Where to find Dr Libby Kemkaran

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In 1969, Joan Marie entered the Sistine Chapel to be so inspired by Michelangelo that was the moment she knew she would dedicate her life to art. After a teaching career of 28 years, she began her journey based on her own spiritual path with power portraits.

Joan received a BFA in painting and drawing from Washington University in 1973, a MFA from the University of South Florida in 1984 and Lindenwood University in St. Louis in 2009 where she focussed on classical drawing skills.

Joan Maries work shares the mystical and magical in life through her art.

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“Details make perfection, and perfection is not a detail.” -Leonardo Da Vinci

Leonardo, however, was not a perfectionist in that sense. His inability to finish artwork or other projects was not about being a perfectionist. For many artists and aspiring artists, the word perfectionism is about avoiding because they think, yes think, they can’t do it, to begin with, and certainly not up to their standards. Btw, first, you have to create the standards.

Art Talk Perfectionism and how it ruins your flow is one of the biggest problems artists face.

If you have any questions, please let me know in the comments. Want to know more about my pilot course self-portraits, please join us at https://sya.rqu.mybluehost.me/website_3014a0b6.

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A wise mentor told me that 80% of success is showing up. What does that mean? That’s my talk of today and I also will give you something that can help you surpass that voice in your head.

If you want to grow skills, learn a new skill or get confident with drawing and painting a self-portrait, then please, go to https://sya.rqu.mybluehost.me/website_3014a0b6, scroll a bit down and join us to get notified as one of the first.

If you have any questions, do not hesitate to place them in the comments or mail me. I will answer them in the next podcast episode.

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Let me ask you. Do you want to grow or do you want to keep moaning about that stupid art school that sucked all creativity out of you? I know you can learn it, I know you can grow your skills. I am dead sure about that!

Are you interested? Hit the contact button, and I will reach out to you.

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As artists, whether in visual arts, music, writers or any form of art, we were often not really supported by our parents simply because they were also taught that art is not something you can make a living from. I battled that for years, I make a living from my art, however, it is not the easiest path I chose. I know I am not the only artist and I know many can only be full-time because they have a spouse that earns the income, or they work part-time or even full-time.

The question is why would some go wild and others keep struggling or it is not easy to get to that place they want to be? It’s simple but not easy, it’s called our blueprint that was instilled in many from a young age. Even if you go, you do the work, you kind of succeed, that blueprint runs in the background and will always keep you from being that successful art entrepreneur you want to be. Today 3 points that you can use to start to change. Blueprint, mindset, inner work.

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“One can have no smaller or greater mastery than mastery of oneself.” -Leonardo Da Vinci

follow me and shoot me a dm if you participate.

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Kelli Folsom is an American artist and she is wildly known for her still life paintings. She won multiple awards, of which one was in 2017, Best Still Life, Women Artists of the West, McBride Gallery. She teaches online and has a cohort of raving fans follow her and learn from her. Her art is vibrant in colour and dynamic through the brush strokes. The first time I saw her art on Instagram I was absolutely taken aback by how she can suggest that illusion of realness in the painting as if the flowers or pots she paints are literally in your room. As she says herself ‘resulting in a painting that looks like a painting and not a photograph’ and I absolutely agree with that.

“The painter who draws merely by practise and by eye, without any reason, is like a mirror which copies every thing placed in front of it without being conscious of their existence.” -Leonardo Da Vinci

You can the art of Kelli and her art school:

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Beauty is subjective to a certain point. If pushed upon us long enough we start to believe that something is excellent or brilliant and innovative. I will give you some examples from my study and research as an art historian and how I learned how the strings are pulled.

In this episode, I also talk about the necessity to train with a teacher, because the self-taught myth will get you stuck one way or the other. You can’t study all by yourself.

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Find Zita Schlegel via Google to visit her at her home and studio in Germany.

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Sheryl Benjy is an abstract impressionistic painter, body painter, creative coach & creative educator dedicated to bringing inspiration.
Painting brings her peace and allows her to go deep into a meditative awake state, it gives her life balance and beauty.

“The longer you look at an object, the more abstract it becomes, and, ironically, the more real (Lucian Freud).”

Find Sheryl Benjy’s Art at:

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• And her podcast The Creative Spirits on Apple and Spotify

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Values and identity, why are they important for us as artists?

Leonardo Da Vinci had the values: of creativity, curiosity, talent and knowing how to see.

Da Vinci’s values reflect his art and the inventions he created. Leonardo Da Vinci had a Universal view. He was very aware of the laws of nature and its values, creating after the universal laws of nature. The question is what he stood for as an artist, inventor and even scientist. He did not really have a former education but he is now certainly seen as a genius. This is because he followed his natural path, that of the creator. His creativity was undoubtedly one of his most vital points, as we can still admire his works. But he was curious about how things worked and why. He studied the human body to learn how to see. His notebooks are full of entries that speak about how to paint a figure, position how to see nature and capture it. How to learn to look through as opposed to only looking at the service. His values created his identity.

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Please let me know what topics you would like to discuss.

In relation to this episode, I can reveal that I am about to start a pilot course on how to approach painting a portrait, and I would love to talk with people about what it is what they want or need. It is only a 20-minute zoom call and you would absolutely help me. In return, I will give you a free art coaching session of 20 minutes that can be about portraits you paint, colour mixing or another topic about you creating art or wanting to create art. Great when you are stuck. Btw, if you know someone who would be interested, then please refer them to karinmerx.co.uk/contact/
You can also contact me by putting a comment under this show and I will get in touch to make an appointment with you.

Please also leave a comment to let me know what topic you would like me to discuss.

Next week’s episode will be about the audience. Audience? Yes, audience or Your audience;-)

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/making-the-invisible-visible-c63https://sya.rqu.mybluehost.me/website_3014a0b6/?p=11864Tue, 03 May 2022 10:00:00 GMTBrushstrokes Of BeingNo609In Episode 7 of Art Talk, I have a conversation with Susie Nathanson

“That figure is most admirable which by its actions best expresses the passion that animates it”
-Leonardo Da Vinci

Susannah Nathanson is a London-based artist. She is a painting storyteller with her portraits of people, animals and toys. Her beautiful work reflects that passion and it’s her passion that animates the figures she paints.

You can find Susie and her work on:

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/a-conversation-with-susie-nathanson-15ehttps://sya.rqu.mybluehost.me/website_3014a0b6/?p=11854Tue, 26 Apr 2022 09:55:00 GMTBrushstrokes Of BeingNoIn episode 6 of Art Talk, I give you 3 tips and discuss what art marketing really means.

“MAR-KET-ING = an accelerated version of the experiences that led you to believe in your offer”

From as early as the late 14th century, there is evidence of a free market operating: paintings were offered for sale on the Rialto Bridge, and there were sales fairs during the feasts of the Ascension and San Rocco. Auctions also occurred, not only in Venice but in Florence as well.
The members of the Medici family were the most famous 15th-century art patrons and collectors in Florence.

For a very long time, the word marketing made my skin scroll. I made my art, and if you wanted it, you could buy it. I know I am not the only one who feels this way. It always gave me the feeling that I had to sell, and it felt very pushy. But is that really marketing? Is that what is required to sell your paintings or your books? 

Marketing is required, it certainly does, and this particular quote I got from Danny Iny from Mirasee made all those feelings go up in dust. It has nothing to do with pushing someone into buying what you have to offer. So in this episode, I will give you three tips that will help you start with marketing or at least feel better about it.

Link to episode 5, Interview with writer Elizabeth Amisu

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Reinvent yourself

“Be prepared to reinvent yourself. Be prepared to go out on a limb occasionally, and be prepared to do the things that you feel strongly about.”
-Hillman Curtis

Remembering Hillman Curtis

Yesterday on April 12, it has been 10 years since David Hillman Curtis passed. He was the father of Flash and made scalable Flash movies for the Internet that were not able to download heavy files or stream videos. He was a master at that. Hillman went from Flash to Film. He bought a camera and started shooting the people who came to his studio. From there, he went on with artists’ portraits that can still be seen on the net. Hillman evolved in making a documentary and working on the Happy film of Stephan Sagmeister. He, unfortunately, passed before the film was finished.

The quote “Be prepared to reinvent yourself” really struck home when I read it. At the time, I was stuck in a vacuum, not knowing which side to go to. I wanted to paint and step away from the digital design world. It became boring. I love film and stepped into that and made some documentaries. Got back into music and started recording a huge volume of solo works by Charles Koechlin till tinnitus struck.

At that point, I truly had to rethink my creative life and re-invent myself. I tried generative art with Joshua Davies, but I am not a programmer. It was fun dabbling around and just starting by changing little bits of his code to see what happened. Even when I could watch the little changes in the animations for hours and time and time again change something by simply asking the question, what if… I did not feel satisfied, it just did not click.

At that point, I got that one sentence: “You need to be prepared to reinvent yourself”, and so I did. I finally took up my great love for portraits and painting again and never looked back. Hillman showed it throughout his design career. Now, if you think that this happens only once in your life as an artist, forget it.

What does reinventing mean?

So what does reinventing really mean? Is it doing something completely different, like stopping with art and starting something else? You can if you feel the need, but I talk about reinventing as an artist. It can mean you change a particular size to something bigger or smaller. It can be a change of colour palette if you have worked for a long time with the same. I know that we can have times that fit a specific colour palette. It can be that you go from realistic to non-realistic, or abstract. Or From landscape to still life or from painting physically to painting digitally. It means you have to be open to possibilities and always have the willingness to expand.

Reinventing yourself sounds very drastic, and it can be but doesn’t need to be. Expanding your skills is good, expanding your horizon is a necessity. Always growing your skills. Julia Cameron told the story of the elephant. A blind person touched it and thought it only had a short tail. Another one felt the belly and someone else the trunk. But it still was one elephant, and so are true artists. Their creativity knows no boundaries, they set their boundaries, but we are so much more.

Why is reinventing Important?

That is why re-inventing yourself is important. The artist Guston went from abstract art to, for his fans, realistic art. They could not understand, but he needed to. The change even ruined their friendship with his best friend Morton Feldman, who was inspired by his work. The change was something he could not understand. Michael Jackson probably re-invented himself and his art more than any other artist. And oh, how many problems did people, including fans, have to accept and follow the changes he underwent, and not only his face but everything he created. It is still a cause of ‘invented’ stories or gossip.

Reinventing yourself as an artist is so important because we are the ones who create a world that wasn’t there before. Most people don’t like change, at first. They need time to adjust and then will follow along. But it never starts that way, and that is because many artists reinvent themselves without shouting to the world ‘I am now reinventing myself just so you know. No, it doesn’t work that way. Picasso changed his style so quickly that art historians who are very bound by labels, had difficulties putting him in a label box. Let me now tell you a secret. I am currently re-inventing myself as an artist. My work will change, but my WHY stays what it is.

Re-inventing yourself as an artist is, in my opinion, one of the most important things to be open to. Doing things you really feel you need to do, you are not only the tail of the elephant, nor the belly or the trunk; you are the whole elephant. It keeps you awake, sharp and most importantly, creative.

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To support Art Talk, receive early access and more in-depth features, go to Patreon

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/painting-portraits-as-a-story-fe9https://sya.rqu.mybluehost.me/website_3014a0b6/?p=11793Wed, 30 Mar 2022 15:00:00 GMTBrushstrokes Of BeingNoEpisode 2 discusses the magic of colour and its importance of it for artists. The knowledge to expand and the intuition to use our knowledge. I also mention the new Pilot Course, available for only 10 people. You can sign up for this when interested.

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This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brushstrokesofbeing.substack.com]]>https://brushstrokesofbeing.substack.com/p/art-talk-the-magic-of-colour-ecdhttps://sya.rqu.mybluehost.me/website_3014a0b6/?p=11774Wed, 23 Mar 2022 15:03:00 GMTBrushstrokes Of BeingNoIn this first episode, I discuss why artists need a why and Why and What (not the HOW) is important for the client. I also tell you how to find your ‘Why’.

Download the PDF Guide that helps you find your WHY: https://sya.rqu.mybluehost.me/website_3014a0b6/download-the-free-guide/

You can follow me on Instagram: https://instagram.com/karinmerx or like my Facebook Page: https://facebook.com/karinmerxfineart, or support the podcast on Patreon: https://patreon.com/karinsarttalk