Thank you
Here’s a really bad AI summary of the video.
SLART introduces the topic by discussing their most emotionally challenging piece of art, titled "Bloodlines," created in 2022.
"Bloodlines" was their first large-scale oil painting, measuring approximately 3 foot by 4 foot (96.52 cm by 121 cm).
The creation of "Bloodlines" occurred after SLART started dialysis following kidney failure. The reference photo was a selfie taken during their first dialysis session on the 16th of December 2021.
SLART felt significant mental blocks and fought with their mind, doubting their ability to create such a large piece.
The process of painting "Bloodlines" was a cathartic release for SLART.
Their psychologist advised SLART that painting was a good way to process and reflect on their health situation while being off work.
Due to being unwell and undergoing dialysis, SLART only had enough energy to paint for a couple of hours each day in their freezing studio in January with no heating.
SLART faced technical challenges, particularly with blending oil paints for the eyes and shadows, as they are self-taught.
SLART received mentorship from Caryn Koh, another artist in their studio, which helped them overcome technical difficulties and reinforced their belief in their abilities.
SLART views "Bloodlines" as a reminder of a new beginning in their art journey and health improvement.
SLART shifts to answering a question about what inspires them lately, mentioning drawing with their 2-year-old daughter and the unfiltered creativity of children.
SLART reflects on their aging 17-year-old dog and how his vulnerability has made them appreciate life and being present.
SLART acknowledges the importance of promotion and online presence but also the need to be present with family and not let work constantly intrude.
SLART answers a question about being present online, clarifying their efforts to connect authentically and help other artists on platforms like Substack.
SLART discusses their experiences with the toxicity of being an online artist, including negative comments on their work on Facebook and Substack, and how they try to manage their emotional reactions.
SLART reflects on the nature of negative comments, suggesting they often reflect the commenter's own feelings rather than the artist's work.
SLART answers a question about their Zen project, a global collaboration involving self-printed magazines (zines) with contributions from over 100 artists.
The Zine project has progressed to the first draft stage with around 80 pages formatted, and the next steps involve editing and printing.
SLART describes the Zine project as something that formed organically and has its own momentum.
SLART answers a lighthearted question about their favourite type of biscuit, choosing a chocolate hobnob.
SLART shares their approach to Instagram, trying to use it more for interaction and sharing other artists' work rather than just self-promotion.
SLART briefly touches on the option to block people on Substack as a way to create a peaceful online space.
SLART notes that hurt people hurt people, reinforcing the idea that negative online interactions often stem from the commenter's own issues.
SLART makes a comment about a participant in the chat having a go at someone on Substack and realising it was because they weren't feeling great.
SLART discusses the tendency for one's internal state to influence how one perceives others.
SLART provides an update on the progress of the Zen project, including the number of applicants (over 100) and the current stage of development (around 80 pages in the first formatted draft).
SLART sets a personal deadline of the next two weeks to get the Zen project ready for the next stage (editing and printing).
SLART reflects on the effortless nature of some creative projects, contrasting it with times when it is more challenging.
SLART says goodbye and concludes the session as someone else enters the meeting room.
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