I mean it would be great wouldn't it feel so good if the three of us could talk about how how special

artists are and how you know the sun shines on them in a certain way and you know all the boring muggles just stay away. Hi everybody and welcome to episode 106 of art juice. This is on this

generous and humorous conversations to feed your creative soul and get you thinking with me Louise Fletcher and me Alice Sheridan.

Today we have a special guest. We are talking to Nicholas Wilton, founder of Art To Life and the CVP program.

We've asked him to come on to talk about a topic that we find really interesting, but we

wanted to get his take on on which is about elevating your work to another level and he talks a lot about getting into the top 10% of artists and we wanted to know what he meant by that. But before we talk to Nick, what have you been up to this week, Alice?

I have been gradually working on some these small panels that are beginning to come together now.

It just really occurred to me, we're having a conversation earlier in the week while I was working on them.

Like working small can be really difficult.

I find it harder than big.

Yeah and I was thinking why am I doing this to myself like because seriously the time that these take I'm sure I could work on bigger paintings and maybe more impact.

But there's something about the tactile quality

of working on something that is tangible

that you can pick up, that is small, that feels a bit precious, that you can t up that is small that feels a bit precious that you can tuck away into see that's

what brought me back to making art and I was just being reminded of it this week while I was working on those. I'm still being tempted by my bigger ones but I you know I I want to get this set done first so that's what I am slowly working my way through at the moment.

How many other?

There's only 10. Like, you know, I'm kind of making this a bigger deal probably than it needs to be and she says looking behind her hang on and I'm probably

85% close on five of them and I'm at maybe 60, 70% on the others. And I just have to do that thing where I have to tell myself these do not have to be everything that you want in a painting that you know, but each one has to find its own little precious thing it's like jewels in a

jewelry box each one is good for a different occasion they've all got to earn their place yeah that's what I've been doing what

about you books let me guess books.

Well, I have done some writing, but I was also doing some photography.

As you know, because I wrote you in a temper the other day. I'm sick of trying to find out how to change the F stop on this camera. So the deal is that the book will have about a hundred images in it and somewhere between 30 and 40 of those will be paintings which the photographer

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