There’s No Dejection In Rejection…
How do you deal with rejection? Some, enviably, accept it, shrug it off and move on. If, however, you’re like me at the other end of the scale, you not only throw your toys out of the pram, but hurl them with indignation across the room and anyone in the vicinity should duck and cover! But that’s me, an emotional ‘pick & mix’, you never quite know what you’re going to get next, but you can be sure it’s always going to be something interesting!
I was initially inspired to write this article by Dan Auluk’s work, ‘”I am sorry to inform you…”’, showcasing his crumpled 2010 West Midlands Open rejection letter. I was perversely excited to envisage Dan on the day he received his rejection letter, crunching it up and hurling it in the bin in a frenzied act of emotion. Only later, pensively feeling remorse, retrieving it, tenderly smoothing it out and truly reflecting on the words.
But upon meeting Dan and listening to his story, how wrong could I have been. Dan explains to me how, from the age of 18, he used to keep all his job application rejection letters, taking pride in watching the pile grow, knowing he was being productive in applying for job opportunities rather than wasting his time procrastinating. So keeping his 2010 West Midlands Open rejection letter was a natural reaction to him. In fact, Dan kept his 2010 West Midlands Open rejection letter in pristine condition, right up to the week prior to the 2014 West Midlands Open, when he was inspired to crumple it up, fully embracing his enactment of frustration by actually throwing it in the bin, before finally submitting it as his entry.
Dan continues to explain how surreptitiously, he longed for another rejection for his 2014 West Midlands Open entry as Dan now ironically feels that the message of his work has been negated, simply in the act of being accepted into the exhibition. Go figure! The inspired mind of an artist is always a marvel.
Rejection is ‘part of life’, says Dan and should be ‘collected’. He never gets overly concerned about rejections for his art, ‘as at the end of the day it is solely down to the choice of the selectors’ and not a reflection of his art. As rational as Dan is, he does, however, admit to me, a slight feeling of hurt, when upon seeing a review of his work in the 2014 West Midlands Open he suddenly became aware that the 2010 West Midlands Open rejection letter was simply addressed as ‘Dear Artist’ and left unsigned. It took four years for Dan to notice that one, which he now finds rather amusing; as do I! Did you notice the cold, soulless style to such a potentially emotive letter? Go take another look.
I also met with Nita Newman (‘Far above the clouds #1’) who exudes absolute passion for her work as she explains the inspiration of viewing the world from so many different perspectives with multifarious layers. Despite her enthused and effusive fervour, Nita still does not allow rejection to affect her. Nita is surprised when people get upset about a rejection to a particular exhibition, ‘It’s not because your work is bad, it’s just not appropriate for them’ she explains, ‘just take it with a pinch of salt’. Sometimes Nita does feel that her work would fit into an exhibition she visits but has the positive outlook of ‘hey ho, there is another day!’ ‘Is art important?’ she asks rhetorically, ‘not in the greater scheme of life, family and friends are more important’, ‘it’s better to focus on the best bits in life’. I love this about Nita; passionate yet practical.
John Thirlwall (‘Rockface – N. Spain) enlightens me with how ‘rejections make me feel a wee bit low, but it passes quite swiftly. It’s not important enough to worry about, it’s just someone else’s (misguided! – he say’s tongue in cheek) judgement after all’. ‘Acceptance and rejection goes with the territory, it’s a case of ‘c’est la vie’ in my case’.
One of our other amazing artists, Steve Evans (‘Shadows) describes how he has also experienced his work being rejected for open exhibitions but reveals that ‘whilst I found it disappointing, I didn’t have an overly emotional reaction. During my engineering career I had been involved in countless bids and interviews, some successful some not. So, I guess I realised that you just have to dust yourself off and carry on.’
So where are the ‘Drama Queens’, Van Gough ear slashing, crazed Salvador Dali, eccentrically emotional kind of artists I expected to find? Well it appears that our artists are still deeply passionate about their work but have developed a much more peaceful, pragmatic and positive philosophy for towards rejection, which I very much admire, respect, envy and now aspire to.
I came away from my encounters feeling humbled by these artists progressive and sanguine attitudes and in a nice way, somewhat chastened! So come on Phil, time to put this learning into practice; deep breath….. aaaand, relax!….
By Phil Mellanby,
Phil volunteers at Birmingham Museums Trust as a fundraiser and house guide at Aston Hall. He has a penchant for West Midlands arts and heritage.
The West Midlands Open is a FREE exhibition at Birmingham Museum and Art Gallery from 25th October 2014 – 15th February 2015, for more details visit: http://www.bmag.org.uk/events?id=3425
Contributing artists websites: