In this episode of The Art Biz, I’m joined again by Eve Jacobs-Carnahan. She was a podcast guest over a year ago and has come back to offer an update on her project, Knit Democracy Together, which was developed to discuss the U.S. electoral system within the context of knitting circles.
Today Eve is sharing a look at how such a long-term project evolves. She outlines the 5 indicators she is using to measure effectiveness, and even if you don’t have an art project focused on making a social impact, these indicators will be useful for appraising the successful reach of your exhibition, event, program, or teaching.
“It all took on a new significance.” Eve’s project changed after the 2020 election. (4:27)
The reasons behind improvements in the knitting circle. (8:11)
The mindset shift that created positive changes to the project format. (10:02)
Eve’s preparation helped secure her fellowship. (11:41)
Collaboration changes and letting go of tight control over the project. (13:28)
The topics that the project covers now are not the same as the initial intended ones. (19:25)
5 indicators to measure effectiveness in any project. (24:44)
Applying these tools to measure other areas of success. (31:40)
A look at what’s coming next for Eve. (36:40)
The evolution of Eve’s expanded exhibition. (39:11)
“I have definitely let go of some control, and that’s been good.” — Eve Jacobs-Carnahan
“I realized that I wasn’t going to be as effective by myself.” — Eve Jacobs-Carnahan
“I’m talking about what people can do to help strengthen the system so we don’t have chaos, all while knitting.” — Eve Jacobs-Carnahan
“Change can happen step by step, stitch by stitch and with many people working together.” — Eve Jacobs-Carnahan
“Artists who want to do social impact work definitely can be using these tools.” — Eve Jacobs-Carnahan
“Think about the people you know, think about your relationships with them, and be willing to ask for help.” — Eve Jacobs-Carnahan
Eve’s work appears in Astounding Knits! 101 Spectacular Knitted Creations and Daring Feats by Lela Nargi and garnered First Place in National Fiber Directions 2015 at the Wichita Center for the Arts. She was named a Creative Community Fellow: New England by National Arts Strategies in 2021.
Eve knit away stress while earning a B.A. in History with Honors from Swarthmore College and a J.D. from the University of Chicago. She lives in Vermont.
As an encourager, Alicia wants artists to go for it. She doesn’t believe in even considering a plan B in case the art thing doesn’t work out. She encourages artists to “find your people” because she knows what it’s like to be an artist and misunderstood by those closest to you. She found support in an online community filled with people who were making things and talking about business.
Even if you’re not a jewelry artist, I know you will be inspired by Alicia’s desire to continually improve her circumstances and grow her business. You especially won’t want to miss her insights into finding the right balance in your online presence. As she says, “You don’t need a lot of followers to make a lot of sales.”
“I was always plotting for the next thing.” (2:44)
Alicia’s transition from FIT to in-demand jewelry artist. (10:56)
Finding the people who share your passion. (19:05)
The origin story of Lingua Nigra (24:48)
Alicia’s forgiving etching and molding processes. (28:50)
What is considered costume jewelry? (33:31)
Alicia encourages ambitious artists to just get started. (37:30)
Taking the first step toward your next big thing. (42:05)
Finding a mentor, a support group, and the right sales outlets for your business. (48:50)
Growing your studio and your team to match your big ideas. (52:30)
A look at what’s coming up next for Alicia. (57:36)
Alicia Goodwin is a Chicago based jeweler who specializes in adding unique textures to her sculptural jewelry. A graduate of New York’s Fashion Institute of Technology., Alicia applies her knowledge of ancient techniques like reticulation and acid etching to her more contemporary designs.
Her love of complex ancient ceremonial jewelry created with minimal tools such as fire, sand and beeswax led her to truly admire the work produced throughout Mesoamerica and the African diaspora—influencing her own brand, Lingua Nigra.
First posted: artbizsuccess.com/next-opp-goodwin-podcast
For more than a year, Sara has been using tools like journaling and the Enneagram to discover more about herself and explore where she wants her work to go, and now she's looking for more. She knows there's a deeper level of fulfillment beyond posting and looking for sales online, so she has stepped back and reassessed. You'll hear Sara mention her upcoming solo show, which is part of a challenge that I issue to students in my seasonal programs. We also discuss why her Instagram strategy has changed and what her new approaches for Instagram and marketing in general.
“I fell in love with making art all over again.” (2:00)
The value of finding a dedicated space for your art. (7:11)
The difference between Sara’s maximum and minimal art. (10:18)
Sara’s success on Instagram took off and quickly became overwhelming. (12:20)
When app demands take over making artwork. (18:55)
The evolution of Sara’s work since pulling back from Instagram. (24:07)
The process of self discovery through journaling, meditating, and the Enneagram. (28:01)
Details of Sara’s latest 100-piece collection. (32:00)
How Sara would have handled her initial success and systems differently. (34:49)
Sara’s modified Instagram presence and increased in-person collaborations. (39:47)
Sara’s typical work week and why she starts work at 11 AM. (46:32)
First posted: artbizsuccess.com/growing-schroeder-podcast
Sara Schroeder is an abstract painter using gestural movement, intuitive marks, and saturated colors to convey energy and emotion. Works on canvas and paper feature drips, swipes, scratching, and subtraction methods, which build upon one another to form abstractions of nature. She finds inspiration in the potent hues of tropical plant life and the subdued pastel motifs of the Art Deco period preserved in Miami. Identifying with Kandinsky’s belief that color influences the soul, Sara's process incorporates the psychology of color, intuition, and chance.
Integrating into her work what psychotherapist Carl Rogers called “unconditional positive regard”, she aims to inspire rich revelations and encounters of the human spirit. Her works are held nationally and around the world in hundreds of private collections.
You are not alone.
It may seem like you are at times because you do so much work by yourself in the studio, but the art ecosystem is enormous and you are not alone. There are so many good people who are advocating on behalf of and supporting artists in their businesses and careers. I want you to know about these resources so that you can tap into them. They’re waiting for you.
In this episode of The Art Biz, I’m talking with Louise Martorano, the Executive Director at RedLine Contemporary Art Center in Denver, Colorado. RedLine is a nonprofit whose mission is to foster “education and engagement between artists and communities to create positive social change.” In many ways, RedLine behaves like a traditional arts council. But they’re far from it. Louise and I discuss their artist-in-residence program, affordable studio space, and how they collaborate with other art organizations in the U.S. and beyond.
The history and mission of RedLine Contemporary Art Center. (1:45)
The local and global need for artist career support. (7:46)
Visual arts coalitions fill in the gaps of an artist’s career. (11:23)
The staff, budget, and $22 million re-granting programs at RedLine. (19:15)
Details on residencies, applications, and juried interviews. (25:18)
Open studio doors increase opportunities for artists. (32:03)
Commission opportunities, stipends, and other program benefits. (33:58)
How to find artist support programs in your community. (37:19)
Group meetings and other expectations of artist residents. (41:01)
Auditing relationships and leveraging your community. (45:45)
First posted: artbizsuccess.com/advocate-martorano-podcast
“Artists are really expected to be all the departments in their career.” — Louise Martorano
“Artists’ careers can live and die on the relationships they build and the opportunities they have.” — Louise Martorano
“We’re trying to link arms with each other in Colorado to see if we can create a more seamless journey for artists as they gain traction and opportunity in their careers.” — Louise Martorano
“Talking about your work is like exercising a muscle. The more you do it, the more refined your language is.” — Louise Martorano
“Artists need to reevaluate who they know and who they’re connected to and see how they can use those arteries of opportunity.” — Louise Martorano
Louise Martorano is the Executive Director of RedLine, a non-profit contemporary art center and residency located in Denver, Colorado. RedLine's mission is to foster education and engagement between artists and communities to create positive social change. Under Martorano’s leadership, RedLine has received the Denver Mayor’s Award for Excellence in the Arts (2014 and 2015), the Greenway Foundation’s “Partner in Change” award, acknowledged by Denver Public Schools for excellence in community engagement, and has presented and organized over 100 exhibitions over the past 10 years.
Martorano holds a B.A. from the University of Colorado, Boulder, and an M.H. from the University of Colorado, Denver with a focus in Contemporary Art History & Music. In 2017, she was awarded a Livingston Fellowship from the Bonfils-Stanton Foundation for promising nonprofit leaders who hold significant leadership roles in Colorado.
First posted: artbizsuccess.com/art-reviewer-hartigan-podcast
James Joyce, literature and Philip’s journey as an artist. (1:54)
The subtle narrative of Philip’s current work and his gradual return to painting. (7:19)
How did Philip get into writing about art for publication? (10:13)
Overcoming disdain for a personal art blog in favor of clarity. (13:24)
Writing for an online publication and becoming an online correspondent. (18:25)
Creating meaningful connections through writing. (24:45)
The value of blogging in an Instagram world. (30:18)
Finding your why behind writing about your art. (39:00)
What is on the horizon for Philip? (42:20)
Philip Hartigan is a UK-born artist and writer who now lives, works, and teaches in the USA.
Hartigan’s art explores half-remembered moments from a childhood in an English mining town. His choice of materials depends on the emotional state he has arrived at after thinking about these stories. But whether it’s oil painting, intaglio printmaking, or sculpture, he aims to either tell a story in visual art or look for universally-recognized symbols for memory, loss, tragedy. Hartigan has lived for short and long periods in France, Spain, Germany, the Czech Republic, and Holland.
Collin’s background of artists and his work as a curator. (1:30)
Curating a massive space and Collin’s approach to rotating exhibitions. (10:50)
Scheduling artists into a gallery’s calendar isn’t as simple as it seems. (19:15)
Why Collin generally doesn’t accept exhibit proposals. (22:52)
What makes an artist fun to collaborate with? (26:48)
What Collin wishes every artist would do—and not do. (33:03)
Studio visits and what curators expect from artists. (38:25)
Finding inspiration for the most memorable shows. (45:35)
Details about juried shows and artist rosters. (48:55)
Balancing curating exhibits, making art, and a personal life. (55:03)
Born and raised in Denver, Colorado, Collin Parson currently serves as the Director of Galleries and Curator for the Arvada Center for the Arts and Humanities in Arvada, Colorado and is a former member at the historic Pirate: Contemporary Art cooperative and past artist-in-residence at RedLine Denver. An arts administrator, artist, curator, and designer he received a Bachelor of Fine Arts in Theater Design and Technology with emphasis in Lighting and Scene Design from the University of Colorado at Boulder and his Master in Arts in Visual Culture and Arts Administration from Regis University in Denver. His creative work involves the control of light and color to create vivid geometric light and space works. He has had the privilege of jurying many arts festivals and exhibitions and has received numerous awards and recognition for his curatorial projects. He was awarded 100 Colorado Creatives by Westword magazine in 2013 and featured in many television and print productions. Parson is the son of Colorado sculptor Charles Parson, whose experience with the regions arts community helped Collin long before his professional career began. Growing up in a family of artists, Collin is proud to be continuing the educational and creative traditions.
First posted: artbizsuccess.com/curator-parson-podcast
What do I think? Do you really want to know what I think?
In this solo episode of The Art Biz I want to talk about feedback. When you ask people ‘what do you think’ you are asking for their feedback, whether it’s intentional or not. We are often too quick to ask for feedback, and we ask for it in ways that can be more damaging than anything. In this episode, I’ll share what I’ve learned from wise women and from paying attention to my students and clients. I’ll give you tips on the right way to ask for feedback—in the right environment and with specificity. I’ll also share with you how to handle unsolicited advice and the best way to offer advice to others, all so that you can get better feedback when you are seeking to improve.
The best time and way to ask for feedback. (1:36)
4 criteria to meet before asking for feedback. (2:25)
You don’t really need feedback from everyone else. (5:35)
When feedback actually becomes necessary in order to improve. (7:45)
Asking for feedback from the right people. (9:15)
How to ask for feedback with specificity. (11:14)
The right way to offer feedback to others. (12:38)
How to respond to feedback graciously. (14:33)
“We’re often too quick to ask for feedback, and we ask for it in ways that are damaging.” — Alyson Stanfield
“You shouldn’t care what everyone thinks.” — Alyson Stanfield
“You need time to figure out what you think about your art before you ask others what they think about it.” — Alyson Stanfield
“At some point, feedback is necessary when you want to improve, but you have to set up the parameters.”— Alyson Stanfield
Risk is scary. Rejection stinks. Resilience seems elusive. When I think of these three R words, the word practice comes to mind. Taking one step at a time over and over again because we know it is the only way to make big progress. In order to embrace risk, we have to practice. We step into it, try it on, and, almost always, discover that it isn’t as bad as the soundtrack we were playing in our heads. Rejection is also a practice. We build up emotional muscles after receiving disappointing news. After years of accumulated rejections, we begin to understand that they are rarely, if ever, personal. And finally, resilience is something we have to work at. We were born resilient, but, over the years, life beat us up. But rejections give us courage muscles we never had before. And, because we paid attention, we pick up on a number of tools that help us become more resilient.
My guest for this episode of The Art Biz is Christine Aaron. You’ll hear how she embraces risk and has come to understand the role of rejection in her art career. She also shares the tools she relies on to act with resilience, to get back in the studio and do it all over again.
The unusual motivation behind Christine’s first watercolor class selection. (2:08)
Taking risks and challenging yourself in a rewarding art career. (5:31)
Refining your art by sharing it with and soliciting critique from others. (12:45)
Identifying your safe zone and moving beyond it. (21:45)
Taking on the work that pushes you out of your comfort zone. (25:12)
Name the risks to work your way through the potential rejection. (32:57)
What rejection really means about the work that you’re doing. (39:46)
Honing your resilience skills amid rejection. (40:35)
Stop comparing yourself to other artists and remember how far you’ve come. (45:45)
Reflecting on your work, your processes, and your improvement. (47:06)
The risks that Christine is going to take in 2022. (48:00)
“There’s not one of us that hasn’t experienced disappointment and loss in life.” — Christine Aaron
“I make work ultimately because I want it to resonate with someone else. And the only way to do that is to get it out there.” — Christine Aaron
“Think beyond what you can imagine now and know that you’ll have the ability to get the resources you need to do it.” — Christine Aaron
“Every artist I know gets way, way more rejections than they get acceptances. But nobody is talking about that.” — Christine Aaron
Christine Aaron is a conceptual and material-focused artist. Her work is exhibited nationally and internationally. Aaron received an artist’s grant from ArtsWestchester — New York State Council on The Arts, a Surface Design Association grant, and a residency and grant from Vermont Studio Center. She presents talks at The International Encaustic Conference in Provincetown, MA, received awards in printmaking and mixed media, and had a solo exhibit of The Memory Project at California Museum of Art Thousand Oaks.
Aaron holds a BS in education from Cornell University and a Masters in Social Work from Hunter College. She lives and maintains a studio in New Rochelle, NY.
First posted: artbizsuccess.com/rejection-aaron-podcast
Why is it so hard for us to take care of ourselves? We all get busy. We feel a sense of urgency to keep up and do more. But if we're honest, we realize that very little is really urgent. Still, all of this hustle means we neglect habits and routines that will keep us well and give us energy for work in and out of the studio. And it's even harder when you're also responsible for caring for others. Whether you're a parent with growing children or an adult with aging parents, caregiving can take a lot out of you. It's hard to spend time on yourself when you're maxed out on so many levels. It's no wonder that self-care takes a backseat to other priorities.
On this episode of The Art Biz, I’m joined by Shimoda Donna Emmanuel. Shimoda has been the caregiver in her family, primarily for her mother Izola who recently passed after living with Alzheimer's, but also for an ailing sister. In 2020, Shimoda wrote Sacred Stitches: The Art of Care Giving, which has tips for stitching yourself together when caring for someone with Alzheimer's, but can also be useful to other caregiving roles. Together Shimoda and I talk about her routine, how she keeps her home to maintain a high vibration, tools she uses to de-stress and to stay calm, and how gratitudes and "the rage dance" fit into her self-care routine.
The fiber collages, jewelry, circles of love and sacred stitches of Shimoda’s work. (2:13)
Key tips for de-stressing as a caregiver artist. (14:20)
How to keep your energy high so you can stay positive and productive. (24:52)
Spring cleaning takes on a new meaning with self-care. (28:40)
Finding a support group that can give you the support you need. (31:16)
Handling emotions might mean screaming, crying and doing a rage dance. (34:51)
How to cultivate a space that helps you destress. (36:30)
Making time for sleep and watching your diet. (40:45)
‘Let this be easy’- Shimoda’s mantra for hectic days. (46:05)
A peek at what Shimoda is looking forward to in the New Year, and where her name came from. (49:10)
“I’ve got to take care of myself. The caregiver has to take care of themselves.” — Shimoda Donna Emanuel
“I’ve got to keep my energy high and keep my vibration high. That’s what’s most important to me.” — Shimoda Donna Emanuel
“It’s just not good to hold it all in. I can get through emotions quicker if I just let myself deal with the feelings.” — Shimoda Donna Emanuel
Shimoda Donna Emanuel is a mixed media artist living in Harlem, N.Y. Shimoda Accessories has a range of work that includes intuitive jewelry & fiber art. Her art has been on HGTV as well as the covers of Essence magazine and other publications. Her art is available for purchase at The Smithsonian National Museum of African American History and Culture.
As a caregiver of her sister and her 97-year young mom with Alzheimer’s, Shimoda wrote Sacred Stitches: The Art of Caregiving. This colorful book offers tips for other caregivers. She found solutions that worked for her with creative exercises, rituals, and more.
Shimoda also published Sacred Stitches: Fiber Art Dolls for the Soul and Sacred Stitches, an inspirational 25-piece card deck.
First posted: artbizsuccess.com/caregiving-shimoda-podcast
We need art. Some of us need it more than others, and for some of us, it's as necessary as the air we breathe. My guest on this episode of The Art Biz is Rich Simmons, a London-based artist who insists that art saved his life. Rich is not an art therapist, but he is an advocate for the therapy of an art practice. He knows from first-hand experience that art heals.
Rich has struggled with depression and was eventually diagnosed with Aspergers. The realization that making art could make him feel better was life-changing, and he wanted other people to know about this. In 2008 he started Art Is The Cure to inspire people to turn to creativity in times of pain. Art has given his life purpose. In our conversation, you’ll hear that Rich has many balls up in the air. He makes murals, gives workshops, sells prints, has recently entered the NFT market, and is starting a podcast. And that is just scratching the surface of his inspiring ambitions.
“I was thrown into the deep end.” Rich’s unusual entry into the art world. (2:51)
Rich started on his artistic path at a very young age by trading art with his grandfather. (7:57)
Discovering art as a form of creative therapy amidst personal turmoil. (11:49)
The act of creative release has expanded Rich’s spectrum and allows him to make better art. (17:44)
Art Is The Cure gave Rich the purpose he needed to move forward. (24:50)
How to channel your negative energy in a way that affects change. (33:48)
Finding inspiration, community and movement, and what to do when art is the source of your stress. (36:50)
Rich’s income stream and his approach to creating a continual stream of potential clients. (41:50)
“I want to give back to art because art saved my life.” — Rich Simmons
“I like to say yes to opportunities no matter what it is and try to figure out how to do it.” — Rich Simmons
“I realized I had found my own version of art therapy, and I needed to help other people discover their own version of art therapy.” — Rich Simmons
“An artist’s job is not only to be a storyteller but to evoke emotions.” — Rich Simmons
“I couldn't be an inspiration for people if I wasn’t looking after myself.” — Rich Simmons
“You can be the messenger about how powerful art can be.” — Rich Simmons
Rich Simmons is an Urban Pop artist who has exhibited all over the world. Simmons' work explores the intersections of visual culture, spanning pop art, comic books, the Renaissance, contemporary fashion, sexuality and beyond.
Simmons' bold use of color, intricately detailed hand-cut stencils, sense of humor and thought-provoking narratives running through his work are proving Rich is both an innovator and highly collectible artist.
Simmons is also the creator and founder of Art Is The Cure, a vInspired award-winning organization promoting art therapy and has run workshops and talks around the world.
What are you doing to take care of yourself? To keep up your energy, maintain a positive mindset, balance out the hours in the studio and on the computer? Is balance even necessary when you’re doing what you love?
In this episode of The Art Biz, I talk with Maria Coryell-Martin, a busy mom with a thriving art career and companion business that supports her family. With all that she has going on, Maria makes time for almost daily swims and cold, open water, healthy eating, and plenty of sleep. Listen to hear how she does it.
Maria’s expeditionary art combines her passions for science, art and education. (2:20)
The motivation behind splitting Maria’s two artist endeavors. (4:57)
An income breakdown from Art Toolkit and Expeditionary Art. (7:44)
Maria’s art takes her all over the world. (10:31)
“I want to be a capable, useful person in the field.” (14:39)
How Maria successfully solicits funds for her expeditions. (17:17)
Self-care is the rock for Maria’s sanity. (19:25)
The physical aspect of making art requires taking care of your body. (24:06)
A typical day for Maria starts with getting enough sleep and swimming in the ocean. (28:21)
Monitoring energy levels, controlling what you’re eating, responding to stress. (35:15)
Setting boundaries around your time and energy. (40:57)
Getting the help you need so you can do your best work. (42:45)
The simple first steps for starting self-care today. (46:00)
“Ask for what you need. You may not get it, but at least you’ll learn something.” — Maria Coryell Martin
“I’ve developed tools and habits over my life that are my rock for my sanity.” — Maria Coryell Martin
“Work is like a river. You dip your toes in and do what you can and then you take your toes out and it keeps flowing.” — Maria Coryell Martin
“Mistakes are part of everything you do, but you’ve just got to move forward and let mistakes happen.” — Maria Coryell Martin
Maria Coryell-Martin is an expeditionary artist following the tradition of traveling artists as naturalists and educators. She graduated from Carleton College in 2004 and received a Thomas J. Watson fellowship to explore remote regions through art from 2004-2005.
Since then Maria has worked with scientists, local communities, and travelers in Alaska, Canada, Greenland, and the Antarctic Peninsula. In the field, Coryell-Martin sketches with ink and watercolor, and collects multimedia recordings to build her palette of place, a record of experience, climate, and color. This led her to create the wildly popular Art Toolkit.
This work became the basis for exhibits of large-scale studio and field paintings, as well as multimedia presentations and hands-on workshops for audiences of all ages to promote observation, scientific inquiry, and environmental awareness.
First posted: artbizsuccess.com/self-care-martin-podcast
In this episode I talk with Leisa Collins, who started her art business by targeting people whose homes she wanted to paint. After a few failed attempts at marketing her work, her career as a house portraitist took off. To date she has painted more than 2,500 house portraits and has a waiting list for commissions. She no longer has to send direct mail, which you’ll hear about, but maintains that the personal relationships with clients are paramount.
Leisa shares her quest across the country to paint a house in all 50 states, that following up with prospects results in 85% more sales for her, and how she has partnered with realtors to provide closing gifts for their clients.
“I exchanged my art for everything.” Leisa’s adventurous art journey. (2:17)
Combining a love of art with architecture and advertising it in effective ways. (4:36)
The details of direct mailings that lead to collectors. (9:45)
Hand selecting the demographic you want to work with. (13:05)
The business process and price range of Leisa’s non-traditional approach to commissioned art. (16:10)
Selecting, photographing and painting houses in all 50 states. (22:26)
Creating 250 pieces a year means Leisa gets two or three new clients a week—and has to keep careful track of them all. (30:50)
Selecting images, marketing and selling a book. (36:50)
The importance of following up with prospective clientes—without being too pushy. (39:31)
The details of Leisa’s spreadsheets help her maintain a personal relationship with her clients. (45:10)
Creating relationships with clients through realtor closing gifts and phone calls. (48:51)
A look at what is coming up next in Leisa’s very busy holiday schedule. (53:25)
“I could choose my demographic very carefully by looking at the house.” — Leisa Collins
“I now get tons of commissions every week because they told their neighbor… by now it's just word of mouth.” — Leisa Collins
“I get quite a few commissions coming in every single week. I get two or three new clients a week.” — Leisa Collins
“If you love what you’re doing, it’s not so much like work.” — Leisa Collins
Leisa Collins, a native of New Zealand, has carved a niche for herself as an acclaimed architectural artist.Eventually settling in the United States, Leisa became interested in the people and cultures that defined architecture throughout the country’s history. She was inspired to drive from coast to coast, creating original paintings of homes in every state. She selected 650 of these works of art—as well as the fascinating stories behind many of them—to share with readers in her new book, Hand-Painted Homes: An Architectural Artist’s Pen and Watercolor Journey Across America (May 2021). This coffee table book explores architectural styles in all fifty states, plus the nation’s capital.
In 2013, Leisa established the Leisa Collins Historic Preservation Award to pay tribute to exceptional individuals committed to saving and restoring old buildings across the country. Her work has been featured in publications such as The New York Times, Huffington Post and Los Angeles Times.
So many art venues shut down during the pandemic, and I'm sure many of the people that ran those venues mourn for not only what might have been, but also the fact that there wasn't an opportunity for closure. My guest for this episode of The Art Biz is Mai Wyn Schantz, an artist who was also a gallerist when she closed her space at the beginning of COVID. She hated to lose the relationships she had built over the years as the gallerist. She needed closure and she was determined to do right by her artists.
As soon as she felt it was safe, Mai Win organized a pop-up farewell exhibition with her artists. Her goal was to break even, which as you'll hear was far too conservative of a goal because she hit it out of the park, mostly because of the relationships she had nurtured throughout the years. Together we discuss the timing of the pop-up, the details for pulling it off, including the space she worked with, and what she learned from the experience. She reveals at least three things that she will do differently next time, and will inspire you to consider a pop-up gallery for your next art sales event.
Mai Wyn’s journey to finding her space in galleries. (1:42)
Acting as a gallerist when you feel like an imposter. (6:11)
The impact of an artist's experience on Mai Wyn’s gallery experience. (8:58)
Reflections on the decision to close her gallery. (11:55)
Celebrating the closure the proper way with a pop-up gallery. (16:16)
Artist requirements for participation in the event. (25:42)
How to promote a pop-up event across your network. (27:08)
Handling inventory and sales in a pop-up gallery. (30:10)
Playing the part of the hostess means hiring the right kind of help. (32:50)
Lessons learned from this hugely successful pop-up. (42:51)
Exceeding sales expectations by 1000%. (49:00)
The relationships that make artists and gallerists succeed. (50:26)
Mai Wyn gets real about what’s up next for her as a reborn artist. (52:22)
Landscape and wildlife painter Mai Wyn Schantz developed a love of nature at an early age canoeing the lake country of the upper Midwest with her father. Since her introduction to the art world in 1999, Schantz has exhibited steadily, including solo and group exhibitions at commercial galleries, art centers and museums notably the Museum of Wisconsin Art, Yellowstone Art Museum and Arvada Center for the Arts & Humanities in Colorado. Beyond the studio, she remains an avid hiker spending her down time exploring trails along the Front Range of the Colorado Rockies with her husband and young daughter.
But what do you do if you move to a new place and don't know anyone, or if you're just getting started? Where do you begin? In this episode of The Art Biz, I talk with Laurence de Valmy about how she has used her bonus talent as a writer to make connections in all areas of the art world. It started with the thought that there were people out there who knew more about how to be an artist than she did. She trusted that she could learn from them. Even if you aren't a writer, you'll be inspired by her boldness and creativity. Here's my conversation with Laurence de Valmy.
“This is the place to take the leap.” Laurence reflects on her artist journey. (2:32)
Have you ever Googled ‘how to be an artist’? The birth of The Curious Frenchy blog. (5:42)
Laurence’s publishing schedule is shaped by the artists she meets. (8:14)
How to more effectively learn from others while promoting their work. (9:52)
What was it like interviewing Henry Matisse’s granddaughter? (13:40)
Embracing the value of personal relationships with people. (15:30)
Opportunities that have come to Laurence as a result of her blog connections. (17:05)
How Laurence leverages and promotes blog content on social media. (21:17)
The difference that one-on-one relationships can make in your business. (23:29)
Tools for organizing your connections and contacts. (25:58)
A look at Laurence’s typical workday and schedule. (27:57)
How to meet people when you move to a new location. (31:32)
Simplifying the sharing of content on social media (32:29)
Laurence’s advice for artists who are intimidated about reaching out to form new connections. (34:08)
A look at what’s coming up next for Laurence. (36:16)
“All I knew was that I didn’t know. And so I had to learn a new job and in order to do so, I started to connect with other artists.” — Laurence de Valmy
“I quickly realized that’s how things happen. It’s through the people you know.” — Laurence de Valmy
“People work with people that they like.” — Laurence de Valmy
“The worst that can happen is that nothing happened. It’s as simple as that.” — Laurence de Valmy
“If you are prepared, you will know what to say.” — Laurence de Valmy
Laurence de Valmy invites us to reflect on the links between artists through times and the relationship between art and social media today. In her POST paintings, she revisits art history through imagined Instagram feeds of the past. Her recent work explores the place of hashtags in our communication. Laurence is French American and lives in the U.S. She writes about art on her blog The Curious Frenchy and for art publications.
We’re all about the quest for more followers, more likes, more shares, more views, and more comments these days. It feels good when more people respond to your art because art is a form of communication. It’s the means you use to share your ideas and your soul with the world. But that self-expression isn’t meaningful until other people respond. Until they comment, share, and start a dialogue with you about it. And when you put the work out there and don’t get the appropriate number of expected likes or comments, you are unfulfilled.
It’s not fair that the social media algorithms have so much control over who sees your art. But are we really so subject to social media giants? I believe we are taking huge risks by relying on mass communication to complete the circle of communication. We know for a fact that art must be experienced in person in order to be fully appreciated. So why do we insist on online validation?
In this solo episode of The Art Biz I want to talk about what really works for moving the needle with your art. It’s a secret shared by my highest level clients, only it’s not really such a secret. But I can guarantee that it will help you stand out in an over-saturated digital space.
The not-so-secret secret that moved the needle with your art. (2:18)
The most important information you can share is whispered one-on-one. (3:12)
Examining the anatomy of a whisper. (5:14)
4 ways to effectively connect on a more personal level. (6:19)
Where should you begin when your time is so limited? (9:58)
What you can expect to gain from one-on-one interactions. (10:55)
“We are taking huge risks by relying on mass communication to complete the circle of communication.” — Alyson Stanfield
“The most important information you can share is whispered one-on-one.” — Steve Cranford
“Personalizing the relationship you have with buyers, students, and collectors will make you feel better because it feels more authentic.” — Alyson Stanfield
“Stop relying on broadcasting for all of your marketing.” — Alyson Stanfield
“You’ll feel better about your marketing when you value individual relationships.” — Alyson Stanfield
In this episode of The Art Biz, I talk with Ali Manning about the responsibilities she feels as the person in charge of her business, including the responsibilities she has to team members. We discuss her membership-based business model, the dynamics between team members, how she hires, when and why she hires employees instead of contractors, and how she keeps team members happy. We also get into the hiring mistakes that both of us have made in the past—freely admitting that it was our fault, not the employees.
The ah-ha moment in Ali’s art journey. (2:45)
How does Ali make money in her art business? (6:25)
Running a business with 1,500 members requires the help of several assistants. (10:15)
The key difference between employees and contracted help. (12:27)
Bringing your team together regularly starts with a weekly meeting and the right technology. (15:09)
You might be surprised at where you can find the right help. (19:07)
Hiring mistakes and how to correct them quickly. (24:15)
Tests and onboarding processes that can smooth out the new hire process. (28:56)
Clearly defined business processes and procedures will help your team members succeed. (31:35)
Your assistant can’t actually read your mind, but taking these steps can help them out. (34:06)
Keeping your employees—and keeping them happy. (38:46)
A peek at Ali’s upcoming launch. (42:41)
“From a business standpoint, I want to be able to offer my help a secure job. It’s important to me that they’re invested.” — Ali Manning
“With as many moving parts as I keep in my brain, it’s no wonder that I needed some help with this stuff.” — Ali Manning
“It’s important to slow down, take a step back and really think about what you want and how you would like your assistant to do it.” — Ali Manning
Ali Manning creates bindings that showcase the stitching and the handcrafted nature of books. Her mixed media books are inspired by the forests of New England and the gardens of her home country England.
Working from her studio in a converted textile mill in Massachusetts, Ali has taught thousands of students via her blog, Vintage Page Designs, in person and with her latest online adventure, The Handmade Book Club. Teaching others to express their creativity through handmade books is her greatest joy. She believes that anyone can create a handmade book and it shouldn’t require expensive tools or equipment. Ali's work has been featured in Somerset Studio, Take Ten, Paper Crafts Magazine and Cloth, Paper, Scissors.
The point at which Trudy realized she needed help in her art business. (2:20)
Why hiring her sister was a perfect fit for Trudy. (6:17)
Writing a job description for a relative—or any employee—is an essential first step. (9:00)
Establishing an appropriate pay rate to compensate for the skills your new hire brings to your business. (11:48)
Structuring a typical week when you’re scheduling more than just yourself. (15:20)
Maintaining your voice when someone else is writing your social media posts. (21:24)
Communicating effectively in between weekly meetings. (24:01)
What Trudy wishes she had known before hiring her sister as her assistant. (28:25)
Identifying the areas that would allow you to accomplish more if you turned them over to someone else. (32:24)
Trudy’s advice to anyone that is considering hiring help. (34:54)
A look at what is coming up next in Trudy’s studio. (37:18)
Show notes, images, and listener comments
Artist and entrepreneur Trudy Rice has been a professional artist for more than 10 years. Based in Melbourne, Australia, Trudy has a diverse business consisting of original artworks on paper, paintings, commissions, large projects, wallpaper, and linen homewares. Her artworks are inspired by our natural world, particularly flora and fauna. Her works on paper and paintings are created with mindful observation, the initial drawings are etched in the very sun and water from which the original specimens are found.
Enter Robin—Angela’s student as well as a member of my former Inner Circle program for artists. In our conversation you'll hear how Angela has handled building a team and how Robin has been able to support her in this process. We talk about the technology they use, how they communicate with one another, and how they work with other team members who have since come on board.
Angela and Robin both focus on watercolor and Angela’s teaching offers regular lightbulb moments. (1:43)
How has Angela’s approach to watercolor grown her art teaching business? (4:45)
Building a thriving business while raising families and connecting in the artist community. (9:09)
At what point do you know it’s time to get help? (11:15)
Finding the best fit—from both Robin and Angela’s perspective. (13:25)
Learning how to hire correctly while trusting and protecting your values. (16:22)
Finding assistants that have the skill set you might be lacking. (19:35)
Building a support staff as your art business needs expand. (24:13)
A typical week in this thriving art business. (29:32)
The first step of a journey might be a boring one, but it can lead to a great adventure. (32:18)
Email support, tech support, and everything you might want to hire an assistant to do for you. (34:54)
The policies and procedures that keep a sustainable business running smoothly. (39:18)
What are the rewards and challenges of supporting another artist? (43:32)
Angela Fehr first picked up a watercolor brush as a shy teenager newly returned to Canada. During her teen years she’d lived in a remote village in Papua New Guinea, and the solitude had cemented a passion for art that she was excited to pursue. She quickly realized that watercolor was a perfect fit, and along the way, realized that she wanted something more for her paintings than simply to copy what she could see with her eyes. Angela aims to show her heart in her paintings, to pair the beauty of the world with a loose, intuitive, heart-led style.
She launched her first online course in November of 2013, with the goal of teaching technique and empowerment to help painters become their own favorite artist. Angela shares her home in northern British Columbia with her husband and three teens. The beauty of the Peace River and northern Rocky Mountain region serves as the main source of inspiration for her paintings.
Robin Edmundson paints everyday rural things in new ways with bold and unusual colors, using simplified shapes and lines to emphasize the patterns and rhythms of rural life. Robin grew up in northern Indiana in an old farmhouse on a property full of old farm buildings. Her early goal was to learn as many languages as she could. In college, she quickly found Linguistics and earned a Ph.D. in that field. She taught in various capacities at Indiana University for twenty-seven years. Always looking for creative outlets to balance her academic life, she learned to dye and weave and became an award winning fiber artist.
In 2011 she began blogging about rural life in southern Indiana. It took her a while to realize that she was still searching for a language that could express some things she wanted to say about life in rural southern Indiana. Imagine her surprise when she finally figured out that the language she was looking for was one of paint, color and line instead of words. Nothing makes her happier than to communicate through her paintings her deep love and respect for the unruly places and people of rural Indiana.
Robin’s evolution into the artist she is today. (1:30)
Trying new things, making mistakes and moving forward. (7:05)
More styles means more audiences and more effort. How does Robin juggle it all? (13:34)
Track your inventory with tools that work. (16:49)
Robin’s approach to marketing on social media. (18:23)
Managing multiple Facebook groups and social media sites means creating more content, but Robin has a system for all of it. (26:36)
Robin’s tools for staying so productive with such a long to-do list. (31:09)
Lessons learned for successful print on demand. (35:45)
Robin’s simple approach to bookkeeping and connecting with buyers. (39:11)
The tools, assistance and move that are keeping Robin moving forward. (43:04)
A snapshot of Robin’s typical day. (45:39)
Providing excellent customer service is a major part of what the best artists do. (48:12)
Paper planner or electronic task list, and all Robin uses Artwork Archive for. (50:38)
What’s coming next in Robin’s very full art business. (52:45)
Robin Maria Pedrero is an award-winning artist with work in museum permanent collections in Florida, Greece, public, corporate and private collections. Her abstract paintings are defined by layers of translucent color and overlapping forms, while her whimsical nature work, the paintings she calls “Joy Bringers,” is characterized by bold color and texture. Robin has had solo exhibitions at the Orlando Museum of Art and Lake County Museum of Art. More recently, Tamara Day of HGTV’s Bargain Mansion, has selected Pedrero’s artwork for that show. Pedrero creates from her studios in Frisco and McKinney Texas.
In this solo episode, you’ll hear a new definition for your mailing list that just might inspire you to give it your full attention again. You’ll learn about the five groups of people that need to be included in your list and how you should treat each of them. You will also hear about the upcoming Grow Your List program — our final program for 2021 that is designed to help you create a reliable system to attract new people to your list and nurture them in ways that can make a major difference in your art biz success.
How important is your mailing list, really? (1:30)
Questions to ask yourself about your mailing list. (2:24)
Broadening your definition of a mailing list to include everyone you know. (3:12)
The five groups of people that need to be on your list. (4:44)
The hardest part about growing your mailing list — and what to do about it. (8:47)
How not to grow your mailing list, and what to do instead. (9:49)
Finding the fuel that will power the growth of your list. (14:24)
“When clients aren’t getting good results I can often trace it back to the fact that they’re neglecting their lists.” — Alyson Stanfield
“Your mailing list is the number one asset in your art business, but only if you continue to develop it.” — Alyson Stanfield
“You have to treat everyone on your list well.” — Alyson Stanfield
“It’s not easy to get people on your email list right now, but that doesn’t mean you shouldn’t try.” — Alyson Stanfield
“Stop looking for shortcuts. Start doing the hard — and much more interesting — work of caring about people and connecting with them authentically.” — Alyson Stanfield
I think we unnecessarily complicate our businesses because we lose focus. We get distracted by social media posts and emails. The next great invention makes it to our line of vision and we suddenly wonder how we ever did without it. And during this month while we're working on improving productivity, it's even more tempting to search for solutions outside of ourselves.
But the truth is, you probably already have everything you need to simplify your to-do list and increase your productivity. To help unpack this idea, I’m joined on this episode of The Art Biz by Amelia Furman, who says that her to-do list was out of control before she took charge and started eliminating obligations from her life. She tells us why simplifying has become a way of life for her; what exactly she has simplified; and how she schedules her days, weeks, months and even her year in a way that is more productive than ever.
Amelia shares her artist's journey. (2:19)
The breaking point that revealed that Amelia’s to-do list was out of control. (4:53)
For Amelia, making big changes starts with a deliberate start to every day. (9:58)
Why is simplifying so important? (13:29)
Focusing on one goal or one word each year can help you recall what matters most. (15:05)
Setting boundaries and saying no helps Amelia reach her main goals. (22:00)
Doubling her gross income doesn’t mean that Amelia is doing more of everything. (24:17)
How to schedule your time in more productive ways. (26:08)
What does your ideal day look like? What about an ideal week or month? (29:45)
Bullet journaling, calendaring and planning your life. (35:32)
How to create a loose monthly flow that allows you to meet your goals. (37:38)
Simplifying, eliminating and focusing have increased Amelia’s productivity. (40:18)
The value of participating in a business owners group. (42:00)
Amelia’s advice for simplifying a complicated artist's life. (45:26)
A look at what is coming up next for Amelia. (46:30)
“A to-do list can help you get all the things done, which is awesome until it’s the end all be all. Then it’s not awesome anymore.” — Amelia Furman
“Organizing what needed to happen for that day only really helped to focus in and start this journey toward simplicity.” — Amelia Furman
“Now I’m not saying yes to things just because I can do them. I’m saying yes to things based on my goal.” — Amelia Furman
“So much of this is being honest with myself about how much time something actually takes.” — Amelia Furman
“I have no further plan beyond each day, and that really helps me stay focused on that day and simplifies it so much in my mind.” — Amelia Furman
“Be brave and start taking stuff out.” — Amelia Furman
About My Guest
Amelia Furman grew up in rural, central Pennsylvania amidst pastoral scenes of farms, fields, and forests, and now calls Colorado home. Nature has captured her attention for as long as she can remember. Visual arts were also a dominant force in Amelia’s life from an early age. After graduating with a degree in visual art from Indiana Wesleyan University in 2003, Amelia began to explore how she could use paint to express her love of the natural world.
Amelia’s background in printmaking and illustration has heavily influenced the direction of her work. She works in a combination of paper collage, text and thin layers of acrylic paint. Using a selection of documents, vintage images, handwritten text, and symbols associated with the painted image, Amelia reminds the viewer that places and objects have many layers of meaning, memory, and beauty.
More than just a self-congratulatory episode, together we discuss the value of acknowledging your progress, however imperfect it may be. We share what it takes to do the work, create the content, and develop the tenacity that results in milestones worth celebrating.
Why should you take time to celebrate milestones? (0:07)
Alyson reflects on the progress she has achieved at this milestone podcast episode 100. (2:16)
Fumbling your way toward success means just doing it! (6:04)
What helps Alyson maintain consistency in her content? (9:06)
The value of taking full responsibility for your commitments. (12:55)
Overcoming the challenges that might be holding you back. (16:32)
The systems that make podcasting a seamless part of Alyson’s life. (19:46)
Celebrating progress starts with reflecting on where you might be otherwise. (24:55)
The tools that Alyson uses to organize and produce this podcast. (27:23)
Celebrating milestones, developing key qualities and recognizing your progress. (32:41)
“When we don't acknowledge the milestones, when we don't pause to savor and appreciate and see what we did that brought us there, we really lose out on a lot of the benefits that we've accrued in the course of making our way to that milestone.” — Cynthia Morris
“Every milestone shows you that you are making progress.” — Alyson Stanfield
“We've seen so many people sit on the sidelines of things because they haven't figured out the right way or the perfect way. And then they never do anything.” — Cynthia Morris
Your plan is going to be imperfect and you just may have to change it.” — Alyson Stanfield
“When you promise something to people you’re promising something to yourself.” — Alyson Stanfield
“You can’t make more money if you’re doing all the things that you’re not good at.” — Alyson Stanfield
“The more artists that I talk with, the more artists I'm able to help and the better advice or consulting or coaching I can give.” — Alyson Stanfield
“You’re not really living unless you’re learning.” — Cynthia Morris
About the Guest Host
Cynthia Morris helps writers, artists and entrepreneurs make their big dreams a powerful reality. Cynthia is a certified coach, teacher, author and artist. In 1999, she founded Original Impulse, a boutique coaching company that empowers creative people to focus, follow through and finish projects that matter.
The author of The Busy Woman’s Guide to Writing a World-Changing Book, Cynthia has published seven e-books on writing and creative travel as well as the Paris historical novel, Chasing Sylvia Beach. She is a watercolor artist and visual journal keeper who uses art as a way to express joy and consistently access inspiration.
In this solo episode, you will learn about the income-accelerating plan that shapes a realistic strategy for increasing your income. This four-step process is what you need to begin to more easily visualize a more profitable future. If you’re ready to dramatically up level your business IQ by gaining insights into where your income came from, where it can come from, and how you can make it happen, this is an episode you won’t want to miss.
You cannot be content to just break even in your art business. (:10)
The value of creating an income-accelerating plan. (1:20)
How can you make a plan for more money when you don’t know if anyone will buy your art? (2:35)
Step 1- Figure out where your income has been coming from. (3:38)
Step 2- Analyze the numbers and what they can tell you. (6:32)
Step 3- Set your next income goal. (7:25)
Step 4- Make a plan that will allow you to achieve your new income goal. (8:51)
What other artists are saying about the income-accelerating process. (10:57)
Intro and outro music by Wildermiss
“Don’t be content to break even when running an art business.” — Alyson Stanfield
"You need money to survive and shouldn’t be ashamed to admit it.” — Alyson Stanfield
“One of the best things you can do to improve your chances of success in any area is to create a plan.” — Alyson Stanfield
“You make a plan because you’re the CEO of your art business and that’s what CEOs do.” — Alyson Stanfield
While you don’t have any control over results, you do have control over the actions you take (or don’t take) to get the results.” — Alyson Stanfield
This is extremely difficult to do when you are trying to show and sell your art. You want to do more. To add new income streams and the latest marketing platforms. The ads and social media posts want you to do more.
But more is exhausting.
My guest for this episode knows how to get what she wants without doing more. Jill Soukup, who has been a student and client of mine over the past decade, is dedicated to becoming a better artist. She methodically improves her work to make sure that her career, her business, and her life are what she wants them to be.
In this conversation, Jill and I discuss how and where she sells her work, how teaching fits in with her income plan, how she makes sure she remains profitable, and why it's important for her to keep things simple.
Jill’s transition to full-time artist and where she shows and sells her art today. (1:51)
The inspiration behind Jill’s Western-themed art. (5:56)
Selling on Instagram is changing the dynamics of Jill’s work. (8:39)
Logistics of selling prints and giving customers what they want. (11:34)
You have to spend money to make money. (15:25)
The strategies that allow Jill to get work done without working harder. (19:31)
For Jill, doing less has resulted in even more success in her art business. (23:47)
Dedication to your craft and honing your skills is the hallmark of an exceptional artist. (29:10)
Teaching, raising prices, and decreasing her painting output keeps Jill’s income steady. (30:45)
Bookkeeping details and how Jill knows she is profitable. (37:24)
Why is simplifying so important in Jill’s business — and life? (40:56)
Insights from Jill’s typical work day and what she's working toward now. (46:14)
Intro and outro music by Wildermiss
“As artists we ebb and flow in our process and what we’re producing.” — Jill Soukup
“This experience is teaching me to dig deeper and to see things that I wasn’t seeing before.” — Jill Soukup
“At that point I recognized that I was so overwhelmed. I wasn’t making any decisions because I had too many decisions to make.” — Jill Soukup
“At that moment I realized what really was important to me, and that all of the other things on my list were not even necessary.” — Jill Soukup
“Everything I chose to do had to meet one of my three goals and it just simplified everything. And it was such a beautiful thing.” — Jill Soukup
Jill Soukup was born in Buffalo, New York. Shortly thereafter, her family moved to Colorado, where she still resides. Jill’s affinity for horses as a young girl resulted in countless drawings and studies of them, which made for a strong drawing foundation. As a teen, she started a pet-portrait business, acquired jobs painting murals, and designed logos for local organizations. Jill graduated from Colorado State University in 1991 with a Bachelor of Fine Art. There, she received awards for illustration and design and worked as an illustrator and designer for the university. She initially pursued a career in graphic design while continuing to paint part time. After 11 years as a designer, she made the switch to full-time painting. Her work continues to gain recognition as she receives awards, appears in national publications, and shows in important juried and one-woman exhibitions.
It's okay to go off-script.
In this episode, I talk with ceramic artist Patricia Griffin. If you visit her website during certain times of the year, you won't see anything for sale because she has sold out. Zero inventory. What you will see are items she has sold and an opportunity to get on her list so you don't miss a chance to purchase the next time her shop opens.
Patricia and I discuss what she refers to as events — the 3- or 4-times a year sales of her ceramics that sell out within hours and have led to a dramatic increase in income. She'll describe the philosophy behind them, the promotional timeline, the collaborations to help raise money for nonprofits, and how the events are a valuable tool for her to cultivate relationships with buyers and potential buyers.
The book that changed the course of Patricia’s artistic life. (2:04)
Patricia’s cautious first step into selling her art. (6:35)
A visual description of Patricia’s functional stoneware. (8:52)
An overview of Patricia’s sales philosophy and the online sales events that bring in more orders than she can quickly fill. (11:20)
The learning curve that comes with selling art in a non-traditional way. (15:46)
Cultivating a studio friends list allows Patricia to connect with interested buyers. (17:47)
Timing sales events and refining the sales process. (21:50)
How many pieces does Patricia have ready to go when her events go live? (26:25)
The benefit of connecting your Instagram feed to your sales website. (27:14)
Marketing for sales events and what launch day looks like for Patricia. (28:53)
Collaborating with a non-profit does not have to mean donating your work for free. (33:05)
Hosting online events, for Patricia, has resulted in a dramatic increase in sales and skills. (34:43)
Stories of creating connections and increasing loyalty with buyers. (36:20)
How to create the deadlines that will result in increased sales. (39:16)
The success of Patricia’s most recent online event — by the numbers. (41:04)
Which social media platform brings in the greatest number of customers? (43:18)
How does Patricia balance the need to produce art for her soul and the need to produce art for her business? (46:07)
Intro and outro music by Wildermiss
“I like the association with the people who are buying my art through online sales. I don’t know that doing it another way would cultivate the same kind of relationships that I have now.” — Patricia Griffin
“Some of these people had been on my email list for years and maybe just purchased something for the first time.” — Patricia Griffin
“Hosting online events has been really beneficial, not only to my business but also to my skills.” — Patricia Griffin
“I don’t think I would have had those commissions if it wasn’t for the online events.” — Patricia Griffin
“I’ve really felt the pull to do something else and get back to some of the experimenting that I like to do.” — Patricia Griffin
“I’m continually walking that tight line between the need to produce art in my soul and the need to produce art in my business hat.” — Patricia Griffin
Patricia Griffin is a potter-artist in the seaside community of Cambria on California's central coast. She makes functional ceramics that are hand-thrown and hand-built and etched with designs that look like woodcuts. Griffin’s work is sold primarily through shopping events held three to four times a year on her website.