Art Archive Featured Artist: Linda Tracey Brandon

Meet the artist from the art archive. Although she drew cartoons during her student days, Linda did not seriously engage in representational painting until around 1996 and did not look back. After nearly 20 years of hard work, Linda has become an award-winning artist and competition judge. When she's not creating pictorial, realistic artwork in her Arizona studio, Linda passes on valuable skills and knowledge to her art classes. Linda shares great advice for emerging artists and fantastic information about art competitions.

Want to see more of Linda's work? visit.

1. MOST OF YOUR WORK IS SOFT, EFFECTIVE AND OFTEN INVOLVED WITH CHILD MOTIVES. WHAT INSPIRES/INSPIRES YOUR STYLE?

I like to think metaphorically and indirectly, just as poetry is a metaphor for the larger themes of life. I'm not sure if my paintings are really narrative; I would call them metaphorical. The world is a mysterious place where everything is connected in ways that we cannot fully understand. I think this belief determines the way I paint - I'm looking for things like abstract shapes, patterns, an atmosphere of connection. The form exists in a context that may not be obvious.

2. WHAT MAKES CERTAIN FACES DRAW, WHAT ARE YOU LOOKING FOR IN A MODEL?

I love drawing people. I find everyone visually interesting for one reason or another, and once you get to know a person, they become more and more interesting.

3. IS SOMETHING UNIQUE IN YOUR STUDIO OR CREATIVE PROCESS?

I have a hyperactive Australian Shepherd Corgi rescue dog that roams my studio while I try to get work done. When I get stuck on a project, we go for walks around the neighborhood. I used to listen to ambient music or audiobooks while I was working, but now I mostly just talk to my dog ​​and try not to step on it when I step away from the easel. However, I try not to take it with me when I have a model in the studio.

4. IN ADDITION TO IMAGES, LANDSCAPE AND STILL LIFE, YOU WRITE PORTRAITS ON ORDER. IS IT DIFFICULT TO CREATE SUCH PERSONAL ART FOR A CUSTOMER? TELL US ABOUT YOUR EXPERIENCE.

I can't remember my first real commission for a portrait, but I painted and painted people for free for a long time before I started charging for commissions. I am grateful that so many people liked my work so much that they paid me to draw them. The portrait should be associated with the unique qualities of the person, in addition to being a beautiful work of art; figurative painting usually includes other, more universal or perhaps narrative qualities.

5. YOU HAVE BEEN SELECTED FOR AN IMPRESSIVE NUMBER OF JURIES AND EXHIBITIONS. HOW DO YOU PREPARE FOR THEM AND WHAT ARE YOUR ADVICES?

Winning an art competition or exhibiting at an exhibition is a way to get feedback and a way to get attention for your work in a crowded place. I think the theory is that it gives your work some value and increases your credibility in the eyes of collectors, galleries and the press. If you don't have a lot of confidence in your work and you win a competition, it will change how you feel about yourself and your work. This in itself will improve your performance. Just knowing that someone thinks you're awesome will improve your performance; I have seen it happen over and over again. The most important thing is not to get upset because of the rejection. Every artist gets rejected. What matters is persistence.

Contests are especially useful if you have work that is difficult to classify and may not be particularly commercial. However, it is not necessary to participate in art competitions. There are many artists who get noticed for a whole host of other reasons. You should never let competitions or galleries be gatekeepers that prevent your work from being seen! Once you feel like your work is the best you can do, start promoting it.

I set a budget for shows and competitions and keep a bulletin board with buttons to help me keep track of what I'm doing (in addition to using ). I like to physically move the sheets of paper, as it maintains the illusion that projects are moving in a straight line. When I'm too busy, I miss deadlines, but that's okay. When I get rejected, I just try to focus on the next one. I'm probably a bit obsessed with time and time management systems.

6. YOU WAS A MENTOR IN THE PROGRAM AND YOU ARE AN ART TEACHER. WHAT ADVICE CAN YOU DO FOR BEGINNING ARTISTS?

I would urge aspiring artists not to let their self-worth be determined by the approval of others. Finding "your voice" can take a long time. You really need to work on what you love to work on and see where it takes you. No need to address everyone and even the "important". Seek technical help (especially on how to draw well) and get ready to work on these skills for the rest of your life. It is also important to have trusted teachers or other artists who can give you valuable feedback on your work.

Want to make a career doing what you love and get more art business advice? Subscribe for free.