L.H.O.O.Q. (She's Got a Hot Ass), 31.5x47.25", acrylic, conté and ink, 1998. Yes, there are certain Rules and Ways Things Are Done out there in the Artworld, BUT noth- ing is static. Change is. the most constant thing in the universe. the show, working with a scale model | created of the exhibition space. A good friend of mine is a kick-ass website designer and | am so fortunate to have her cre- ate mine - a huge job given that there are over 50 images from my portfolio within the site. She is also one of my favorite models, and will soon have the beginnings of a Bachinski gallery in her home as pay- ment for the Unaverse.com! | have friends assisting me in the labour-intensive job of hanging the show (all unframed works). Many of my groovy and bodacious friends are preparing hors d'oeuvres for opening night that they will be sashaying about on platters through the throng of art lovers! My models have made it a pri- ority to come pose for one last sitting so | can have the works ready for the exhibition. And a good friend of mine, who is, among many other professions, a desktop publisher, created the invitation; payment will be in the form of his portrait! | could write an entire article just on the acts of generosity alone that have appeared along the way of creating this show. Given all this amazing support, you may won- der if | am feeling in any way nervous about the whole .thing. Well, aside from reoccurring nightmares where the walls are caving in, my place burns down, there's a Don't wait for a major gallery to swoop you up into the limelight - take charge now! blizzard on opening night and nobody shows, and the odd waking blip of self-doubt that says my work looks like doodles, I'm actually doing just fine thank you. Eating my greens, doing my daily exercises, asking for Divine Intervention, and focussing on accomplishing specific tasks each day has helped tremendously. That and going on a Disney video bender every other week. We live in strange and wondrous times where anything is possible. Where the word ‘impossible’ is being debunked and redefined on a regular basis. Yes, there are certain Rules and Ways Things Are Done out there in the Artworld, BUT nothing is static. Change is the most constant thing in the universe (and in the Unaverse!), so why not ride that creative wave of ebb and flux? Why not make the process of showing the work, of giving birth to the work in the public eye, as creative as it was to make the art in the first place? To me this seems to be the happiest way to go about things. To be in a place that is full of possibility, daring, and true to our hearts. In other words, don't wait for a major gallery to swoop you up into the limelight. Take charge now! With that in mind, here are some helpful tips to consid- er when launching your own artistic career: 1. Figure out what kind of event you want to create, i.e. solo show vs. group show, multi-media vs. single medium, etc. Be bold, unconventional, and really follow your dreams. Don't let anyone tell you it can't be done - chances are they are probably hold- ing themselves back in realizing their dreams! | decided to create a solo show because | have been mostly in group shows. | now have a large body of . work, which | feel needs to be seen a Itogether. 2. Make a scale-model of the exhibition site. Have a contact sheet made of your artwork, which you can then place within the scale model (mini paintings!). This is an excellent tool to help you visualize how the show will look, and how you want people to navi- gate through the space. 3. Give yourself lots of lead-time - | recommend at least 6 months. There are a million things to get ready when creating your own show, all of which have deadlines, i.e. printing and distributing invitations, preparing press releases, and so on. 4. Begin creating your mailing list now! The last thing you want to worry about, after your hard-éarned efforts to produce an exhibition, is whether anyone will show. Start compiling a mailing list now (whether you actually mail or hand deliver the invita tions is up to you - | like to do both). Make sure to include a wide range of invitees: people from the art world, the media, the corporate sector, and of course all your friends and family. 5. Use the power of networking! Tell everyone what you want to do and what you need. People have an innate desire to offer help especially when you speak to them with enthusiasm and ambition about your project. Connections can provide assistance in a vari ety of forms: people can offer their time, energy, money, and personal contacts that will open doors for you. 6. Ask other artists for assistance. You can avoid certain pitfalls by seeking the advice of artists who have been around the block. For example, their experi ence with lighting and hanging a show, as well as with the process of selecting works based on a theme, can be of particular benefit. 7. Keep notes on your process. It's very important to keep a diary of sorts, where you write down all of your ideas, plans, names of people assisting you, and keep track of important deadlines. Create a to-do list and revise it regularly. This will help you keep on top of all the myriad jobs to be done during the months before your show. While your head is in the clouds, dreaming of the Big Day, it's wise to keep your feet on the ground, moving you ever forward to actualizing your goal. And the Moral of the Story is? There are more ways than one to skin a cat, all roads lead toRome which certainly wasn't built in a day, and what doesn't kill you makes you stronger! Good luck! And wish me luck! Welcome to the Unaverse opens Thursday, February 10th, 2000 with a reception from 7 - 11pm at 256 East Georgia Street (between Main and Gore Streets). The gallery will be open as well on the follow- ing dates: : Friday, Feb. 11th 3 - 9pm, Saturday, Feb. 12th noon to 6pm, and Sunday, Feb. 13th, noon to 5pm. Una will be in attendance for the duration of the show. For more information contact: Una Bachinski (604) 730-0590 Email: u_bachinski@telus.net http://www.unaverse.com photograph by Nicholas Seiflow aL NOC, Una Bachinski 19 _ @ oe ee ae L.H.0.0.Q. (She's Got a Hot Ass), 31.5x47.25", acrylic, conté and ink, 1998. Yes, there are certain Rules and Ways Things Are Done out there in the Artworld, BUT noth- ing is static. Change is the most constant thing in the universe. the show, working with a scale model | created of the exhibition space. A good friend of mine is a kick-ass website designer and | am so fortunate to have her cre- ate mine - a huge job given that there are over 50 images from my portfolio within the site. She is also one of my favorite models, and will soon have the beginnings of a Bachinski gallery in her home as pay- ment for the Unaverse.com! | have friends assisting me in the labour-intensive job of hanging the show (all unframed works). Many of my groovy and bodacious friends are preparing hors d'oeuvres for opening night that they will be sashaying about on platters through the throng of art lovers! My models have made it a pri- rity to come pose for one last sitting so I can have the works ready for the exhibition. And a good friend of mine, who is, among many other professions, a desktop publisher, created the invitation; payment will be in the form of his portrait! | could write an entire article just on the acts of generosity alone that have appeared along the way of creating this show. Given all this amazing support, you may won- der if | am feeling in any way nervous about the whole thing. Well, aside from reoccurring nightmares where the walls are caving in, my place burns down, there's a Don't wait for a major gallery to swoop you up into the limelight - take charge now! blizzard on opening night and nobody shows, and the odd waking blip of self-doubt that says my work looks like doodles, I'm actually doing just fine thank you. Eating my greens, doing my daily exercises, asking for Divine Intervention, and focussing on accomplishing specific tasks each day has helped tremendously. That and going on a Disney video bender every other week. ‘We live in strange and wondrous times where anything is possible. Where the word impossible" is being debunked and redefined on a regular basis. Yes, there are certain Rules and Ways Things Are Done out there in the Artworld, BUT nothing is static. Change is the most constant thing in the universe (and in the Unaverse!), so why not ride that creative wave of ebb and flux? Why not make the process of showing the work, of giving birth to the work in the public eye, as creative as it was to make the art in the first place? To me this seems to be the happiest way to go about things. To be in a place that is full of possibilty, daring, and true to our hearts. In other words, don't wait for a major gallery to swoop you up into the limelight. Take charge now! With that in mind, here are some helpful tips to consid- er when launching your own artistic career: 1. Figure out what kind of event you want to create, i.e solo show vs. group show, multi-media vs. single medium, etc. Be bold, unconventional, and really follow your dreams. Don't let anyone tell you it can't be done - chances are they are probably hold- ing themselves back in realizing their dreams! | decided to create a solo show because I have been mostly in group shows. I now have a large body of work, which | feel needs to be seen a Itogether. 2. Make a scale-model of the exhibition site. Have a contact sheet made of your artwork, which you can then place within the scale model (mini paintings!) This is an excellent tool to help you visualize how the show will look, and how you want people to navi- gate through the space. 3. Give yourself lots of lead-time - | recommend at least 6 months. There are a million things to get ready when creating your own show, all of which have deadlines, i.e. printing and distributing invitations, preparing press releases, and so on. 4, Begin creating your mailing list now! The last thing you want to worry about, after your hard-éarned efforts to produce an exhibition, is whether anyone will show. Start compiling a mailing list now (whether you actually mail or hand deliver the invita tions is up to you - | like to do both). Make sure to include a wide range of invitees: people from the art world, the media, the corporate sector, and of course all your friends and family. 5. Use the power of networking! Tell everyone what you want to do and what you need. People have an innate desire to offer help especially when you speak to them with enthusiasm and ambition about your project. Connections can provide assistance in a vari ety of forms: people can offer their time, energy, money, and personal contacts that will open doors for you. 6. Ask other artists for assistance. You can avoid certain pitfalls by seeking the advice of artists who have been around the block. For example, their experi ence with lighting and hanging a show, as well as with the process of selecting works based on a theme, can be of particular benefit. 7. Keep notes on your process. It's very important to keep a diary of sorts, where you write down all of your ideas, plans, names of people assisting you, and keep track of important deadlines. Create a to-do list and revise it regularly. This will help you keep on top of all the myriad jobs to be done during the months before your show. While your head is in the clouds, dreaming of the Big Day, it’s wise to keep your feet on the ground, moving you ever forward to actualizing your goal ‘And the Moral of the Story is? There are more ways than one to skin a cat, all roads lead to Rome which certainly wasn't built in a day, and what doesn't kill you makes you stronger! Good luck! And wish me luck! Welcome to the Unaverse opens Thursday, February 10th, 2000 with a reception from 7 - 11pm at 256 East Georgia Street (between Main and Gore Streets). The gallery will be open as well on the follow- ing dates: Friday, Feb, 11th 3 - 9pm, Saturday, Feb. 12th noon to 6pm, and Sunday, Feb. 13th, noon to 5pm. Una will be in attendance for the duration of the show. For more information contact: Una Bachinski (604) 730-0590 Email: u_bachinski@telus.net http://www.unaverse.com ‘ LNOCG Una Bachinski ‘photograph by Nicholas Seflow 19 _@)