You get the anticipated callback and that’s when the questions come firing in; “So, why are you applying for this position? You seem too___.”
Yep, it’s the corporate version of Goldilocks and The Three Bears– this one’s too senior, this one’s too junior, this one’s just right (if you’re lucky).
You would think someone overqualified would go in there like a badass and do an extra damn good job, right? But, HR probably figures you’ll leave once a “higher calling” comes a-callin’– which is most likely true.
Flip the script– now you’re “too junior” (code for, “this person ain’t worked a day in their life”– at least, not at this level). In this case you would think someone junior would go in bright eyed, energized, and eager to learn, right? Not to mention flexin’ their innate knack for social media (because that’s what we do). But, HR probably sees it as too risky; we rather go with what we know– better safe than sorry!
Now, this time you’re that sweet spot in the middle– not too senior, not too junior– juuust right.
Wait a minute– there’s a part II. And in this chapter, you’re the Goldilocks making all the decisions around here (well, kinda). We have the responsibility of also choosing which company/employer is the right fit for us. Too stuffy? Stuff it. Too snobby? Slash it. Too geeky? Well, if that’s what you like– then go for it Goldilocks.
Writer/Artist, C.C. (Charles) Long gave us two options for a bio– might as well go for the long version.
All morning I’ve been working on a portrait of a friend’s daughter– it’s a complete failure.
Currently, I am being published in serial form by JukePop Serials on-line, The Archer’s Arrows; an urban-noir novel and a collection of editorials written for Flux Magazine, a British Arts Magazine; Our Man In Manhattan, is available on Amazon.
I had a poem published in Words Fly Away, published by the University of California about the tragedy at Fukushima. I have to paint three birds that I’ve sold, but haven’t painted yet.
I have two screenplays that are in pre-production with Chesapeake Films: Poe, and Future King. And I’m writing scripts for the Apple App: The Can Do Network. Recently, I wrote the column for Chin Magazine, Onion Soup. I painted ashtrays, some good– some were not.
Have had short stories published in many literary magazines. I am painting a six foot by eight foot sunflower and failing miserably. Plays: Actors Studio produced The Monastery, for the Performing Arts, and Santa Fe, by Jon Christopher Bua off-off Broadway. Poems published in Manna, Driftwood Review, and The Breadbasket. Have a letter from Andy Warhol telling me he loved my work. As an artist, I have shown in over 100 one man and group shows worldwide.
While writing this I have suddenly forgot how to write, paint and maybe walk, I’m too afraid to stand-up.
Hope All Is Well,
For more information on C.C. Long, his art, and his stories; visit his website, read his screenplay, and view his books on Amazon.
I received a surprise message from Argentine artist, Estela Cuadro, who wanted to share with us her day in the studio. So let’s talk art, music, and inspiration from Buenos Aires–her words, her story.
When I start my day in my studio, I want to listen to some music… It nourishes my imagination, it motivates me.
…I feel pleasure in that. I feel like I never want to stop doing this. It´s part of my life.
When I begin a new artwork I used to use a special cardboard that allows the pigments and water to react in a special way; giving textures, shapes, deformations and then letting my imagination act freely.
I used lots of techniques, like pencil, small coal and oil. Especially when I was young. Nowadays I like to use more than one technique at the same time, and make different results.
I use India ink with salt, and I let them act freely on the support. I use other things to generate texture, and I use oil painting, pencils and pens to realize details.
If I had to pick a style for my art, it would be quite difficult. Perhaps I associate my work with surreal art. My characters and their environment have nothing to do with reality.
The distorted reality is part of my inspiration, my contacts and my experiences. My artwork is based on the unconscious – all associated with my dreams, relationships & with life itself.
I don´t try to tell stories in my artwork. My work isn’t the realization of an illustration for a story, book or magazine (with a text behind the artwork).
There are always ideas or suggestions (of a story) but it’s not a literal sort of story. I take fun in other people’s freedom in interpretation.
I feel that it is important to feel total freedom without restriction and without much precise meaning. I like to leave the interpretation of each piece to each person, you can get carried away like I do in every piece of art.
I think each work has something special, they are part of my “games”, my pleasures.
When I talk about a “game” in relation to my work as an artist, I mean that’s the way that I have fun with the characters, animals and plants when my playfulness arise. You’re letting it flow! So you have to let go of the restrictions and really play with everything that is created, generating a new and unique artwork.
I would say that the (core) passion about art, is to feel free, to have your mind open to all the things new that can appear.
For more information on Estela Cuadro and her art, visit her Tumblr page and follow her on Facebook.
‘Look Up’ is a lesson taught to us through a love story, in a world where we continue to find ways to make it easier for us to connect with one another, but always results in us spending more time alone. Click here to watch