Dear Heather,

Your work has some nice things going for it, including its historical references to Philip Guston’s late cartoon-like paintings. The imagery also calls to mind the great underground comic book artist Robert Crumb. Interestingly, when you think about Guston and Crumb, the thing they shared in common was their ability to draw. Based on what you’ve shown me, I think your work’s strongest quality is your draughtsmanship — this is what should dominate your art in order to bring it to the next level.

Right now the paintings’ surfaces feel like they’re slathered in thick gooey paint; almost overworked. With some artists, like Sean Scully, the physicality of paint becomes the subject matter. I don’t feel your art is about that. I also noticed that you utilize oil stick pigment. When you apply it by hand, directly to the canvas, there’s a connection that seems to occur between you and the object. I sense your spirit seeping into the imagery. Conversely, when you use a brush to apply paint, the marks feel somewhat detached, as if you’re emotionally distancing yourself from them.

Another thing to think about is scale. The bigger you work, the more confident the pictures appear. The larger paintings remind me of a jazz musician stretching out on a solo. When that happens, his music is able to assume its true identity. Since your paintings come across as authentic, the next step becomes allowing your personality to assert itself — which happens when you go with your strength, which is drawing.

Also, I don’t think you necessarily need the use of language. The words tend to prejudice the viewer and leave little room for their own interpretation of what the paintings might be trying to say. I prefer when you incorporate elements of collage, which speak louder than words, especially when you transfer printed images to canvas. An art critic would immediately try to link these works to Robert Rauschenberg’s early Transfer Drawings; not a bad thing, indeed.

The final issue is determining your goals as an artist. Making tough work, which isn’t decorative, is risky business. If you’re interested in primarily living off of your art, it’s a difficult way to go. Don’t count on much in the way of corporate purchases or other venues which have to play it safe. Surprisingly, most dealers tend to be risk averse, as well. Those wiling to handle edgier work are the exception — but worth seeking out. Or perhaps your goal is to teach, in which case creating gutsy art could be a plus and help you get hired at a school that considers itself progressive. The bottom line is if you’re willing to stick to your guns, make the art that you feel like you have to make, and are in it for the long run (meaning the rest of your life), then stay the course. Ultimately, your only chance of landing in the art history books is being true to yourself.

Dear Mr Polsky,

I want to thank you for your critique of my work. I found it extremely helpful and supportive.

Most artists I know could really use this experience to help them move forward in their vision. It’s hard to find someone at your level to have the time to look at artists who are not at the top.

Your valuable in site was worth the price.

Thank  You,
Heather Wilcoxon