Get In The Bowl

Artists enjoying community in the bowl, but are also self sufficient. Oaxaca, Mexico

As the world turns, and my art business continues to evolve along with my art practice, I’ve taken some time to define more precisely the intention of my workshops and who they are for. Initially I was motivated by the Urban Sketchers model, but over time that has proved to be the least satisfying model. I now think of the travel experiences I offer as a “bowl” I create and offer to artists. I put the pieces in place and invite a small group of artists to step inside and enjoy things for a while.

I've become much clearer about what belongs in that bowl. I like small groups because we can maneuver. We can get into the center of town and stand in a parade. We can get a special table at a restaurant without looking like the Gringo Express just unloaded out front. We can sit inconspicuously in a plaza, change direction when necessary, and actually get to know each other. Ten people moving through a city is very different from thirty people following someone holding a flag.

I allow for breathing room and permission to fall out if that’s what someone needs. The bowl is for people who can enjoy the experience, but are self-sufficient enough to jump in and out and enjoy the periphery.

Oaxaca Cathedral, by Meagan

In the early days, I allowed people to come on my trips knowing that sketching was not a priority. I knew a sketch-based agenda might create some frustration. And boy, did it! I learned quickly that the bowl works best when everyone has come for essentially the same reason: to experience a place through drawing.

With a gaggle of self-sufficient, curious and respectful artists, I like to base my small groups in the center of town.

Give me a reasonably priced hotel where we can walk out the door and immediately find coffee, food, people, architecture and something worth drawing. I take a pass on a beautiful villa, castle or resort on the outskirts because the property isn't what we came to draw. We’re here for real life.

Sketching Notre Dame, Paris

When I put together an experience in Mexico City, Oaxaca, Paris, San Francisco or Ireland, I’ve spent months thinking about how we're going to experience the place. Where will we draw? How will we get there? Where can we eat? Easy access to bathrooms? Is there enough breathing room for all?

Go with the flow! I used to cram my agendas with activities, but I learned early on that too much was not an ideal plan. It created frustration. Ease up, Meag, and allow your fellow artists to enjoy the ambiance.

Things organically “click” when the bowl is filled with the right people. Everyone brings their own energy, curiosity, experience and sense of humor. People start looking out for each other without becoming responsible for each other. They share tools and techniques. They split a meal. They wander off and come back laughing. We sit quietly beside each other and draw.

The bowl needs to be strong enough to hold the experience together and open enough to let people move around inside and out. I apply my woo-woo practices here because it’s all about creating harmonious energy, and that takes a bit of backend hocus pocus. This is suuuuper important for the experiences I create.

But the top stays open, the bowl is strong and supportive.

I create the bowl, invite a handful of artists into it, and then we experience the world as a very cool group of artists recording a moment in time in our own unique way.

Priceless.

In the Bowl with Meagan Burns #peace