Perhaps one of the biggest challenges that an artist goes through is overcoming a creative block. I myself have experienced countless writer’s blocks that have hindered me from writing the visions and ideas I had in my head, where sometimes, the only way out is by leaving the story behind until I’m ready to write it again.
But learning about how Valerie Chua overcomes her creative blocks opened my mind to the idea that I could probably do the same with my work, and that I should maybe try it sometime.
While our first cover story talks about how she started as an artist, and our second cover story shows a more feminine side of our November #CalyxtaGirl, it was fascinating to learn more about her struggles as an artist, and how she deals with difficult clients and criticism in this week’s cover story.
What’s the biggest struggle you’ve ever faced as an artist?
I think that time when I transitioned from watercolor to oil. My mentor would tell me that my watercolor style could easily be done by other artists. At first, I tried to transition my watercolor work into the oil painting work. I had to think of something that was different—something that no one else does. Which is the reason why I didn’t carry over my style for watercolor painting to oil painting.
Can you share with us the difference between watercolor and oil painting?
Watercolor is very transparent. Usually, you can’t control the paint. So when you do your strokes, it spreads out. Oil, on the other hand, is very controlling; very viscous. You can modify it. It takes a long while to dry. Watercolor, after a few minutes, it dries up. So if you make a mistake, it’s harder to fix it. For me, that was the hardest hurdle. Because if it’s commissioned work, it’s very short-term. It’s a short-term hurdle—you just have to deliver the work and it’s done. But you also have to think about the future. You have to think about the long-term– how it would all look like in the long run. Things like that. I have to think on a grander scale. That time I was asked by Graphica Manila to give a talk, I had a hard time because I was talking about illustration but at the back of my mind, I knew I’d have to leave my illustration works in the next months. I had that conflict.
Do you ever experience creative block and if so, how do you overcome it?
I think I do experience it sometimes. I overcome it by doing something simple. Normally, creative block happens if you’re trying to do something ambitious, but the vision just won’t come out. So, what I do is I try to prime it. I try to do something simple. Since it’s simple, it’s easier to finish. So, you feel happier about yourself because you finished something. That’s my solution for creative blocks.
What was the worst creative block you’ve ever experienced so far and what
did you do? Or have you had any moments that you just felt stuck?
I can’t think of a specific instance. What I do is I keep working and working. Non-stop, until it comes out. So pretend, I’m working on a concept but it’s really not coming out the way I want it to. I try to do something not exactly the concept; maybe something similar to it, and then sometimes, I just keep working until I hit a nail. It’s like that.
Have you ever had bad experiences with clients?
I had a bad experience with a client recently. The job never pushed through, but I got annoyed because one of the employees, the one who contacted me, resigned and I didn’t know—then I was just passed around to different people. There was never a proper turnover. I don’t like it when clients aren’t straightforward. Like, sometimes, I guess because they’re afraid to hurt your feelings, they don’t say anything.
So it’s better for them to be straight to the point, right?
Yeah. Sometimes, it’s me who becomes straightforward with them. Like—okay, here’s my contract and here are the rates, and I just send it. I think it’s because if you’re younger, you have a tendency to be more afraid. But I guess, the more you get clients, the more you get used to the rhythm of how it works.
Have you ever dealt with a client that didn’t like your artwork? How did you deal with it?
I had a client—she hired me to do a portrait of her. She liked my style and she told me to draw her in my style. So, I did. And then when it came out, there were so many adjustments. Like, “Can you make my nose smaller?” and “Can you make my eyebrows like this?” And in the end, she just wanted a realistic portrait.
How do you deal with criticism when it comes to your work?
I don’t listen to it. Because I feel that the only criticisms that matters are from people who actually care about your work. If it’s a critique that’s not from my mentor or not from my friends who actually care about my work and who I brainstorm ideas with, I don’t really listen to them. Because sometimes, these people don’t actually care about your work. They just want to say something.
What’s the biggest challenge of being a Filipino artist?
I guess the idea of (and I don’t know if I’m going to get flacked for this), but the idea of—how society wants you to be starving. That if you’re a Filipino artist, they have this notion that you’re not well-off, so they want to help you more. Because I was talking to some of my friends from the US, and for them, when they present themselves, they present themselves well; very professional. If they have luxuries, it’s fine. People will still buy their work. But here, I’m not so sure. I guess it’s also changing slowly. But sometimes, people here are more inclined to thinking, “Oh, that artist came from a poor family. He used to just sell this or that.” And it seems like people like that sort of drama. They want a sub-story. And they kind of like to help you more if you’re like that. But I think now, it’s gradually evolving. Especially with the Internet. People will like your work according to as they see it.
As a Creative Writing graduate and coming from a perspective where female writers, in general, tend to be looked down on—does this also apply to female artists?
I think for us females, we really have to work harder. Yeah. Sometimes, I feel like my work is becoming a little more masculine now is because when people look at the work, they get impressed. They don’t know that I’m the one who made it. So sometimes, when they find out, they’re like, “Oh, it was a girl who made that. I thought a guy did.” So they kind of see men as more superior.
What’s your dream for our local community of artists?
I’m not so sure yet because I’m just starting out, and I don’t really know much about how the whole fine art world works. But with illustration, I wish that the pricing gets elevated when clients hire illustrators. Because a lot of illustrators, they always price so low. Like they don’t know their worth. And agencies tend to treat illustrators like wholesale—like whoever bids with the lowest price for the most number of works. If you compare the price range in the US versus the price range here, it’s so far. And I just wish that illustrators can respect themselves enough to price higher works and then, also companies respect creatives enough to pay them well.
What do you think is the future of Philippine Art and what else do we need to do to bring it on a level higher than its current state? I think that in itself, Philippine Art, is really good already and I think a lot of artists here, their level is very global. And they can compete! There are a lot of collectors all over the world—like if you go all over Southeast Asia, there are so many collectors like in Malaysia or in Indonesia, they collect Filipino Art. And a lot of people don’t know that. I guess as a community, I noticed in other countries, or in other Asian countries, or even in the US, artists there have a tighter community, while here it’s very clique-ish. That’s what I noticed. In other countries, everyone’s a friend of everyone, and when they say hi to each other, they’re very warm. But here, if you’re a group of artists, you keep to yourselves, and if there’s another group of artists, they keep to themselves. It’s rare that you cross over to other groups, and I think I want to see more of that. To have a bigger community spirit where everyone can just cross over and party at everyone’s houses!
Watch Valerie create a masterpiece using only makeup products below! Don’t forget to follow us on Facebook, Twitter, Instagram, and YouTube to get the latest scoop on all things beauty.
Text by: GRETCHEN GATAN
Videographer: MAC BANGUNAN OF ARTISANO STUDIO
Photographer: KOJI ARBOLEDA
Makeup: SYDNEY HELMSLEY
