The Warrior Artist

In this episode of the Warrior Artist Podcast, host Éadaoin Glynn shares her recent experiences and lessons learned from preparing for two solo exhibitions. Éadaoin discusses the process of creating a new body of work, from initial opportunity to final execution, highlighting challenges such as finding inspiration, embracing experimentation, and the importance of documentation and promotion. She offers advice on trusting the creative process, seeking feedback, and lessons learnt on documenting and curating exhibitions. Éadaoin also shares tips for artists on how to maximise opportunities. Follow Éadaoin on Instagram @eadaoin_glynn and on her website www.eadaoinglynn.com References / Names mentioned: Maurice Quillinan Limerick Museum Art NetDlr Walter's, Dun Laoghaire Pauline B Flynn Diane Magee Nuala Clarke Lizzie Kinsella Artform Salvatore of Lucan Zsolt Basti

In this episode I share what I've learnt about artist websites. I've just finished my third website iteration. Each time it's been PAINFUL! I procrastinate about it but like everything I learn by doing. We'd all prefer to be in the studio creating, but having a website is essential. I hope this helps motivate you because if you wait for the perfect website, you've waited too long. Put something up and then edit! Good enough is good enough! Links: For those in Ireland, you can avail of a business grant of up to €2,500 to pay a web designer help you build an e-commerce website. Click here for details I use Artwork Archive to manage my inventory and to send curated rooms to curators, collectors, especially useufl when I was updating my website. Click here for 20% discount Connect with me on Instagram

Nuala O'Donovan builds sculptural forms in porcelain clay based on the patterns and geometry of living organisms.  She has won many awards including the Golden Fleece award and her work is in many important public collections including the Irish National Art collection. Nuala chats to Éadaoin Glynn about her early career in architectural design as a facilitator of travel, returning to Cork and doing a self-directed MFA, how the regular irregularity of the geometry of nature inspires her and her deep love of pattern.  Nuala expresses her ideas by creating sculptural structures in porcelain clay.  She loves the plasticity, affordability and transformative quality of clay.  Her work explores pattern and form, taking patterns from nature as her source material and working within rules and constraints of classical geometry to build it. Nuala describes her studio and how she plans to work there by creating a dialogue between pieces. She talks about the challenges of funding, writing about art, rejection and her advice for emerging artists. Episode web page www.nualaodonovanartist.com instagram: @nualaodonovan www.eadaoinglynn.com Instagram @eadaoin_glynn

Self-taught painter and ceramicist Bernadette Doolan chats to host Éadaoin Glynn about imposter syndrome, falling into art, her intuitive approach to painting and being inspired by the resilience of children. Show notes web page www.bernadettedoolan.com @bernadettedoolanartist @eadaoin_glynn

Irish visual artist Rachel Doolin chats to Éadaoin Glynn about the challenge of taking the leap to become a professional artist, how materials inspire her, her slow research-based, collaborative approach and why she likes writing grant applications. Rachel graduated with a BA in Fine Art from the Crawford College of Art & Design and has received many awards, grants and residencies. Rachel's multidisciplinary approach merges art, experimentation, and ecology.  She collaborates with artists, NGOs,  community and professional organisations to create meaningful artworks in response to social and environmental issues.  In this episode Rachel talks about: Going to art college as a new mother Research in the artic Svalbard Seed Bank, the back-up for the world's seeds.   The sound of the glacier Seed research and working with Irish Seedsavers Inspiration for Heirloom Being overwhelmed with information The stories within seeds Seed Cloud recordings Seedarium, a wooden sculptural installation with a collection of donated seeds displayed encased in resin. How she preserved seeds in bioresin. Oscillithic, a collaboration with sound artist Anne Marie Deacy, based on research with Solstice Arts Centre and Dowth lands, Co. Meath. Dowth Hall megalithic passage tomb, said to be the most important megalithic find in Ireland in fifty years by archaeologist, Clíodhna Ní Lionáin Quartz was found in the tomb, which was not local to the area. Why was it there and what did it mean? Triboluminescence - quartz creates an orange glow when rubbed together. Sí in modern Irish language refers to both the megalithic mounds and the spirits believed to be connected to ancient burial sites. White quartz stones, known as 'Clocha Geala' or ‘Shining Stones’ have featured prominently at many of these ancient sites.  The theory is that quartz was used  in religious ceremonies and astronomical observations.  Quartz is an oscillator of sound and is used in our current material culture in our phones, solar panels, fibre optics. Creating a sound sculpture Studio practice - a slow considered process with the journey more important than the final product A disciplined approach to work Collaboration and research Time management, application writing and administration - " 70% of my time as an artist is spent on a computer because that's what I have to do." The benefits of grant application writing as a way of organising her thinking and planning around a project On rejection and asking for feedback Applying for multiple grants at the same time. The challenge of being a professional artist and how winning awards helped her confidence in taking this leap. Working in early years arts education The best advice she received Read the full blog post. Resources and links: Archaeologist Clíodhna Ní Lionáin explains why Dowth is the most important megalithic find in Ireland in the past 50 years on YouTube. Eco-Poxy resin Woodskin Irish Seed Savers  Madeleine McKeever Svalbard Global Seed Vault Will Bonsall  SeedCLOUD  Anne Marie Deacy  James.L.Hayes  Beili Liu  Katie Paterson Cal Flynn - Islands of Abandonment  Solstice Arts Centre Rachel Doolin on Instagram  Rachel Doolin website National Sculpture Factory Éadaoin Glynn on Instagram

Vanity galleries are parasites who feed on emerging artists' aspirations to show their work.  They make their money from artists' hopes and dreams. The origin of the name comes from vanity publishing.  They were a last resort for authors whose books were not deemed commercially viable by traditional publishers. They would publish any work at the right price. Authors could claim to have work published, but they had paid for it. With vanity galleries, it's a little bit different because the artist is duped. The artist thinks it's genuine and an an investment worth risking. A vanity gallery charges the artist fees to exhibit the work and they make their money from the artist rather than from sales to the public. Vanity galleries are not curated and they will exhibit anyone who pays. They may charge a fee to join them, charge the artist to send their work, to exhibit etc. It's all about money. It's pure commercial operation. Commercial art galleries get their profit from sales of artwork and spend years following artists before inviting them to join them.   If the artwork sells, the gallery makes a profit, and the artist is then paid. Vanity galleries have no incentive to sell art, as they have already been paid by the artist. Vanity galleries are not selective because they do not have to be. They are becoming increasingly sophisticated in their approach. If you're wondering if an approach is genuine, google ' is x a vanity gallery?' There are websites that show lists of vanity galleries and the many different names they use. Resource: Howsmydealing Have you any vanity gallery experiences? Follow Éadaoin on Instagram.

Annie Hogg is a visual artist based in Co. Tipperary, Ireland. After graduating with a Diploma in Fine Art from the Crawford College of Art and Design, Cork in 2001 and a BA in sculpture from Aki College of Art in The Netherlands in 2002, Annie worked and lived in environmental protest camps and learned organic horticulture.  When Annie Hogg was in art college, her interest in the environment was dismissed as not being 'real art', causing her to abandon her art practice.  Twenty years later, her work gravitates around the themes of solastalgia, ecopsychology and transformation. She uses plants, soils, stones, shells and found bones in her art practice, creating pigments and charring foraged objects from the landscape as a votive action to create paint and sculpture. She has won several awards, residencies and art grants, most recently was the winner of the K-Fest Arts Festival in Killorglin Co. Kerry.    Annie talks about: Her early concern for the environment Her work being dismissed as not being a worthy theme for art during art college Leaving her art practice for twenty years The importance of drawing and mark making Deciding to become a full-time artist Book illustration Return to fine art and sculpture Learning to extract pigment from the landscape Charring Family connection Foraging The impact of industrial farming Smell Sculptural work Collaboration for her installations Inspiration behind Lost - what happens in a landscape after the land has gone through conversion to an industrial scale farming model. Specifically a system of long established native hedgerows. Solastalgia - the emotional or existential distress caused by environmental changes Her deep sorrow over the loss of the local hedgerows and her guilt about not trying to stop it. Her studio Research Her next project inspired by soil will incorporate sound Grant Applications Rejection Advice Creating titles for her solo exhibition, Blood, Bone, Rust and Stone, using her father's Technical Graphics Textbook Annie also teaches workshops both online and in-person. Contact Annie or see her work on: www.instagram.com/anniehogg_thewidhedgeinkco www.anniehoggstudio.com Full show notes and images available. Contact Éadaoin on instagram.com/eadaoin_glynn and www.eadaoinglynn.com/podcast Artists who inspire Annie include: Pierre Soulages https://www.pierre-soulages.com/ Jesse Jones https://www.jessejonesartist.com/ Aideen Barry https://www.aideenbarry.com/ Books:Caroline Ross - Found and Ground A practical guide to making your own foraged paints https://www.instagram.com/foundandground/ Heidi Gustafson - Book of Earth A guide to Ochre pigment and raw colour https://www.instagram.com/heidilynnheidilynn/ 'Dreamtime' by John Moriarty https://www.lilliputpress.ie/author_post/john-moriarty Contributors to LOST: Natalia Beylis sound artis thttps://www.nataliabeylis.com/ https://www.instagram.com/nataliabeylis/ Adrienne Diamond glass blower https://www.glasssocietyofireland.ie/user/adiamond/ Sinead Brennan of Glint Glass Studio https://www.instagram.com/sineadbrennanglass/https://www.instagram.com/glintglassstudio/ Mick Wilkins on bronze http://wilkinsart.ie/ https://www.instagram.com/mick_wilkins/ Other mentions: Flora Arbuthnott of Plants & Colour https://plantsandcolour.co.uk/ https://www.instagram.com/plants_and_colour/  James Horan was the friend to whom our lecturer told“You have to put in the work to make the work” https://www.jameshoransculpture.com/ https://www.instagram.com/jameshoransculpture/ LOST exhibited atSouth Tipp Arts Centre (as a result of Residency Award ‘22/’23) https://www.southtippartscentre.ie/K-Fest https://www.kfest.ie/ blood bone rust & stone exhibited atLily Gallery Beara https://www.instagram.com/liligallerybeara/ And Cahir Arts https://cahirarts.com/ Annie attended a three-week soil research residency in 2023 with  https://www.live-art.ie/

I blocked myself from creativity for decades. I didn't go to art school even though I had a place. Perhaps I felt I had to pursue something more sensible in life? Perhaps I just didn't give myself permission at that time to become a painter? Distraction I used to distract myself from this gap in my life..the void of not being creative. I used to distract myself by buying things. I think that was filling something inside me, because now I no longer have that impulse. Motherhood I wasted a lot of time trying to be a perfect mother. ... I spent a lot of time baking. I made very elaborate birthday cakes... all that creative energy was going into baking, into cooking. Since returning to painting, I've abandoned the concept of perfectionism.  I painted privately in my home for a long time before I had the courage to share my work. I felt very shy, very private. I wasn't brave enough to share my work. 'The Artist's Way' by Julia Cameron When I was struggling to find my way back into some kind of creative life, having never lived a creative life, I read Julia Cameron's book, The Artist's Way. The first time I read her book, I tried writing.  It seemed the obvious choice having studied literature. I had a Masters in French literature.  I spent years trying to write poetry and fiction.  It never came easily. I was using my laptop, it felt very much like work. I was at a desk, I was distracted by email. It felt very like my work life, my day job, it just never flew, there was never any flow. Years later, I started Julia Cameron's book again and this time it  resonated differently with me. She includes several exercises about trying to tap back into what resonated with you when you were a child. "[For me] it was painting, it was always painting. And for whatever reason I didn't give myself permission to paint before...when I started painting again, I felt so true to myself. It felt so real in a way that nothing else in my life felt real. It was like as if I was acting, performing in so many parts of my life. And when I painted, it was my authentic self." "I've been masking my whole life. I have been imitating others, trying to behave like others, trying to fit in. Painting in my studio is the only place where I don't mask, where I am completely myself." Creative Blocks Other things that block me include: Criticism Rejection The lull after finishing a body of work I experience a low point after completing a body of work, especially for exhibition. For me the wheel of creation was spinning very fast as I worked hard towards my fixed deadline.  Afterwards the wheel stops, there's no momentum.  There's a lull, a fallow period while I feel very uncreative.  I'm exhausted, depleted.  I need to rest, replenish, find inspiration again.  Overcoming Creative Blocks "Keep believing in yourself . Believe that with every painting, every body of work, your work is getting stronger. Keep following that voice inside you that's leading you." Leave uncompleted work in the studio 'Signpost Paintings' pointing you in a new direction Walking in nature Tidying the studio Investing in your art practice See art in person Ration the news Curate your environment Do simple tasks outside the studio I hope this has been helpful and given you some suggestions If you have any other suggestions of things you do when you're blocked, I'd love to hear them. You can see my work on instagram: @eadaoin_glynn and on www.eadaoinglynn.com

"The art world is slow. It is not fast. There's no ten steps to make it in the art world...Some people have two steps, some have 400 steps, some have 20 steps, some have 30 steps. The art world moves at its own pace. And at the end of the day, it's all about the work" Ty Clark is a visual artist, film maker, sculptor and writer based in Waco, Texas.  He produced an award winning film, Jump Shoot and is currently working on a documentary series.  He began a Mentorship Programme in 2021, through which he has mentored 49 artists from 17 countries. He recently wrote his first novel. He has exhibited extensively and is represented in many major US cities including Los Angeles, San Francisco and New York. US artist Ty Clark chats to Éadaoin Glynn about: The value placed on art in his family Falling in love with painting His studio Moving from figurative drawing to abstraction His studio practice Spending time with his work The importance of art learning Developing a body of work Working towards solo shows Having work ready for opportunities Being organised and Inventory management Working with art dealers and galleries How he uses Instagram His mentorship programme The importance of community for artists Experimenting and overcoming fear The best advice he received His advice for artists His approach to rejection His documentary film and novel His recommended books for artists include How to Be an Artist by Jerry Saltz, The War of Art by Steven Pressfield, Show Your Work by Austin Kleon, Art and Fear by Ted Orland and David Bayless and Ninth Street Women by Mary Gabriel Ty's two person exhibition, 'Of Warm Impermanence' with Vy Ngo, runs until 22 July 2023 in Arts Center Waco, Texas. Show notes available in the blog. See more of Ty's work on Instagram: @tynathanclark and his website: www.tynathanclark.com. Contact Éadaoin on Instagram: @eadaoin_glynn and her website: www.eadaoinglynn.com

Cork based Orla O’Byrne explores overlooked histories of sites and artefacts.  She works across a variety of media and techniques such as drawing, photography and sculpture. Orla rebelled against going to art college after school, travelled and lived abroad, before having children, setting up a bakery business and eventually went to art college aged 35.  She has an MA in Art & Process and a BA in Fine Art from The Crawford College of Art and Design.  She is a member of the board of directors of the Backwater Artists where her studio is based.  Some of her awards include The Lavit Gallery Student of the Year and the CIT Registrar’s Prize.   Orla talks to Éadaoin Glynn about: Rebelling against going to art college until she was 35 Her love of drawing Her deep affinity with her materials Coade stone Maverick casting Casting from a cast Writing about art Recording the Crawford Art Gallery on the cusp of change Physical material signs of the stories contained within a building Looking Up Examining old glass slides used for teaching Overwhelm Analog processes Her studio: time management, organisation and storage Peeling the skin off stone Her relationship with colour About rejection Advice Upcoming exhibition with the F Project group, in Chapel Hill School of Art, Macroom about how we perceive light. Full shows and images available in the blog. www.orlaobyrne.com Instagram: @orla_o_byrne Contact Eadaoin www.eadaoinglynn.com Instagram: @eadaoin_glynn

I've talked about entering open calls and managing rejection in episode 6.  In this episode, I talk about going to exhibition openings.  When you get a yes, when your artwork, painting or sculpture is accepted, you have to celebrate because they're so rare, those yeses...If at all possible, you have to try and go to that opening night. Opening nights are a way of meeting other artists. I believe you have to get outside of your studio and try and connect with the art world in some way, no matter how scary it is. I'm an introvert and shy but I'm motivated to meet other artists. In this episode, I share: Going to my first opening night when I knew no one.  Time and days challenging for parents Why it's worth it Opening nights are an opportunity My strategies for opening nights as an introvert Why I go early The advantages and disadvantages of going solo or with someone.  How I approach total strangers Using the opportunity to document Seeing your work hung with others Be generous and share other artists on Instagram Talking to the curator Making connections with other artists Making connections leads to other opportunities Document your work in exhibition setting, at the opening and at a later date when it's quiet.  Full show notes available Contact Éadaoin on Instagram @eadaoin_glynn and www.eadaoinglynn.com

Galway photographer Enda Burke gave a TED Talk on creativity and has been featured in The Guardian, Rolling Stone Magazine, Forbes Magazine and The Observer. He has been shortlisted for the Sony World Photo awards , The Zurich Portrait award and Saatchi Art Visions of the Future. Recent Awards include the international Bartur Photo Prize, Profifoto “best of new Talent award” 2022 and Lens Culture Home 21’. Enda's practice entails building elaborate sets filled with  props from everyday life and with narratives played out by his family and friends . His work is saturated with vivid neon colours and it is nostalgic, kitch and humorous.    He chats to Éadaoin about: why he loves photography How limitations made him creative How COVID led him to change direction The importance of his sketchbook His inspiration and love of colour His favourite cameras [Fujifilm CFX50R Digital and Hasselblad 501cm medium format film] The advantages of film and digital His advice and tips The importance of perseverance and self-belief Entering submissions Set building, planning and 'happy accidents' Photographing family, friends and his dog Time management Instagram and hashtags Upcoming exhibitions and teaching Full show notes available. Follow Enda on Instagram @enda35mm and www.endaburke.com Follow Éadaoin on Instagram @eadaoin_glynn and www.eadaoinglynn.com

Aoife Nolan's successfully operated her own fashion business for over a decade before going to art college. Aoife describes this change like a switch, like shutting one door and opening another. In the Crawford College of Art and Design, she was awarded the RHA student access programme and her graduate show received several awards.  She has exhibited in Ireland and in the Endicott College, Massachusetts in the US.  Aoife describes her work as the merging of interior and exterior landscape and her work is inspired our need for connection and for connection to the earth. Aoife's practice includes experimental processes, such as corroding copper, making her own pigments from natural materials and harvesting rainwater.  Aoife chats to Éadaoin about: thinking like an artist making the decision to go to art college the experience of art college during Covid Her experimental processes Natural materials How she makes copper ink Using seaweed as a pigment and for printing Her creative process both outside and in the studio Her favourite brushes Her favourite paper Inspiration The best advice she received Her advice for anyone thinking of going to art college Her upcoming exhibition Full show notes and images are available. See Aoife's work on Instagram @aoife_nolan_ Contact Éadaoin on Instagram @eadaoin_glynn and www.eadaoinglynn.com

My time in the studio is my most precious resource. When you're an artist, you're self employed. You probably have a day job. Your time in the studio, your creative time is really, really precious. There's so many things you have to do apart from the creative side. There's so much admin involved in being an artist - managing and tracking applications, submissions, sales, paintings and marketing. In this podcast, I share my top admin tools. I'm not into perfectionism. I want to do admin as efficiently and quickly as possible. These are the tools I use every day so I can spend less time on my laptop and have more time in the studio.  Artwork Archive Evernote Canva Email iPhone MailChimp Excel Go to  www.artworkarchive.com/warrior for a 20% discount and to try it out for free. Read the show notes for more detailed tips. Contact Éadaoin on instagram @eadaoin_glynn and through her website www.eadaoinglynn.com

Eamon Colman grew up in Dublin, Ireland in a family of painters.  He left school and starting painting in a spare room in his parents house, he took art classes by night at National College or Art and Design and studying horticulture by day.  He has had a professional art career since 1979.  Eamon was only 19 when he had his first solo show. Since then he's had over 40 solo shows in Ireland and internationally.   He was chair of the The Artists' Association of Ireland and president of the the European council of artists. He was elected a member of Aosdana in 2009 in recognition of his outstanding contribution to the arts in Ireland.  He has won many awards and his work is in many major collections. Eamon is represented by the Solmon Fine Art Gallery, Dublin, Hambly & Hambly in the UK and the Stern Gallery in Vienna. He lives in rural Kilkenny where he has converted an old barn into a studio.  Eamon chats to Éadaoin about : How he views himself as a worker who happens to be a painter The importance of tenacity The challenge of making a living as a creative person The gallery system His studio practice and the importance of privacy in the studio Planning, balance and composition The rare magic when paintings happen Overworking paintings Editing his work His love for paper Storing works in progress Writing and painting titles Sculpture helps his painting practice The importance of colour Having an art career Upcoming solo exhibition in the Butler Gallery How paintings are political and autobiographical His love of abstraction The importance of his garden Concern of climate change and the change he's seen in the environment in Kilkenny Beauty in his paintings The best advice he received His advice for emerging artists Mentoring as communication Instagram as a community His plans for an open call to his followers on Instagram Full show notes are available See more of Eamon's work:www.eamoncolman.com Instagram: @eamon_colman His galleries: www.solomonfineart.ie www.hamblyandhambly.com www.sternstudio.at  Teaching:Eamon teaches at www.artform.ie  Contact Éadaoin on Instagram @eadaoin_glynn and her website www.eadaoinglynn.com

Waterford based visual artist, Sile Walsh, chats to host Éadaoin Glynn about the challenges of painting with raising young children, returning to painting after a hiatus and her experience with Sky Portrait and Landscape Artist of the Year. Sile also talks about: The importance of drawing and life drawing in her practice How she draws inspiration from the sea and the sea swimming community Why she gets up at 5am to paint The evolution of her painting style away from form How her self portraits are guiding her Her favourite tools and paint The best advice she received Working on her self-confidence Her up-coming exhibitions Full show notes available. View Sile's work on Instagram: @silewalshartist and www.silewalshartist.com Contact Éadaoin on Instagram: @eadaoin_glynn and www.eadaoinglynn.com

Artists are self employed.  We make work and we hope to sell it!  Marketing is important for artists.  Marketing is about communicating, sharing who you are, what your work is about.  It's about finding an audience.  Email is a very simple and powerful way of connecting with people who are interested in your work.   Email marketing is very effective for many businesses, including artists!  In this episode, Éadaoin shares tips and simple actions you can implement immediately. She explains:     Why email is effective How to collect emails  How often to send emails How long do emails need to be Why links are powerful Content ideas Lead Magnets explained Unsubscribers Email providers  Speedy email hack Subject line - why it's important Let me know if you found this useful!  Follow Éadaoin on Instagram and on her website.  Full show notes are available.  

"The opportunities are out there, and it's just a question of finding them and trying to take advantage of them." Limerick based visual artist and curator, Maurice Quillinan shares his thoughts on being an artist, his collaborative approach to work and curating, his studio practice and advice for emerging artists. Maurice chats about: Art college the best part of being an artist the opportunities that are out there how he tries to make connections and new opportunities Art as a conversation the importance of always learning Why drawing is such an important part of his studio practice Why all painting is ultimately abstract His approach to curating Why he loves brushes His studio and his approach to painting Editing his work Why he loves collaborating How travel feeds his art Time management and being selective about projects His philosophy the best advice he ever received His advice for emerging artists Full show notes and images available. Maurice Quillinan is on Instagram and his website www.mauricequillinan.net Contact Éadaoin on Instagram and her website.

Visual artist and curator Dermot Browne has an entrepreneurial approach to creating art spaces.   "Curators live in museums. They have jobs and titles..I'm an artist who wants to see certain exhibitions happen" Highlights of this episode include: the appeal of abstraction his approach to painting Using collage elements his studio and studio practice the importance of building an audience and a platform to sell work music as an influence how he mixes paint time management and how time away from you art can enrich it balancing painting, curating and entrepreneurial projects the importance of solo exhibitions how he selects work for solo exhibitions how he hangs exhibitions his least favourite part of being an artist his thoughts on applications and 'art speak' how he believes procrastination doesn't exist his attitude to rejection The best advice he received His advice for emerging artists Upcoming solo exhibition in Crane Visual Three new exhibition spaces: Crane Visual, Richmond Revival and the One Space. You can find Dermot on Instagram @dermot_browne_artist and his website. Detailed show notes with images available .  Contact host Éadaoin Glynn on instagram @eadaoin_glynn and through her website www.eadaoinglynn.com

There are two sides to being an artist: You want to spend as much time as you can creating work, investing in your learning and development and getting as good as you can. You also need to put your work out into the world, if you want it to be seen, to be discovered.  Open calls are an important way of doing this. Why enter open calls? Open calls are a level playing field. I view them as an opportunity and I'm grateful they're there. Builds CV Where do you find open calls? Google art open calls,  website resources online,  Instagram,  follow local galleries on Instagram and join their mailing lists.  In Ireland, Visual Artists Ireland (VAI) list open calls. My approach You can't get a yes without risking a no. Each no is getting you closer to your next yes. By entering open calls you're part of the art game.  You're taking a chance, you're being brave, you're a warrior. Even with rejection, your work has been evaluated and seen by a curator/jurist Rejection does not necessarily mean that your work is not good. There are always more submissions than space to exhibit.  Odds of success are always low.  Maybe your work is too large, or does not suit the theme, or does not work with the other pieces selected. Each rejection is a badge of your courage and bravery. Tips It's very easy to miss a deadline.  There are a lot of open calls I add them to a spreadsheet by date of submission. I check this spreadsheet about once a week to see the dates of upcoming submissions. Evaluate open call based on quality of opportunity, time involved, cost, geographical location Local opportunities are generally worth entering.  If you're successful it's easier to send work and attend the exhibition opening. I colour-code submissions: open call entered -  amber, yes - green, no - red. Tracking helps me depersonalise the process and monitor over time I make a note of the paintings I've submitted (to reserve them until notification) Paintings successful in one open call may often be successful in others Getting a yes All the sweeter after all the rejection Gives a huge boost to confidence Try to attend exhibition opening (another opportunity) Builds CV Have you any interesting open call stories?  Full show notes available.  See Éadaoin's work on Instagram