Mind Body Spirit Artist Interview - Amy Kirkpatrick

How did I discover artist Amy Kirkpatrick and her gorgeous watercolors?  

Butterflies.

I was looking for images of butterflies to showcase on the Mind Body Spirit Marketplace 

 daily feature.  

Little did know that those beautiful, beautiful butterflies would lead me to

 discover an artist who could offer so much more!  Enjoy!

                                                                                                     ~ diane fergurson

Spotted Wing Butterfly

MBS:   Tell us a little bit about your background.  How did you start making art?

Amy:  When I grew up in Florida, playing outside with friends until dinnertime was the norm.  And, when I wasn't playing with my friends, art was my pastime. I filled every coloring book I ever had and once when I asked my mother for a new one, she handed me a stack of paper and said, "Make your own." And, so it began...

I studied graphic design at Florida State University. I took a lot of painting and drawing courses but what's funny is that I never took a watercolor class. My first job after graduation was working for a check printing company in Atlanta designing checks and bank logos. It gave me an excellent foundation and I've always thought of it as getting my Master's degree, because perfection was required. I moved on into advertising and corporate marketing creating designs for many leading companies. Advertising and marketing are fast paced environments with never ending deadlines and one day, after years of 50 to 70 hours a week, I had nothing left. I burned out. Thanks to my husband, I was able to quit working for awhile. My sister, who was an accomplished watercolor artist, immediately suggested I take up watercoloring, but I didn't right away. She kept after me until finally, in 1996, I signed up for a community class at a local college on beginning watercolor.

The first day of class, we painted a simple flower and were taught the technique of painting wet-on-wet. When my paint filled brush burst into the wet watercolor paper,… well, there's nothing like it … only a watercolor painter can understand. It was like magic to me and I've been hooked ever since. I put a #1 in pencil on the back of that first painting and my latest painting has #465 written on it's back.

 

The Journey Begins

MBS:  Having dabbled in watercolors as a mixed media artist, I definitely understand what you are talking about.  But what is it in that one moment of spontaneity that you think keeps you coming back and back?

Amy:  Every painting is spontaneous. I may have a clear image in my head of what I want, and if I was painting with an opaque media, I could achieve that image. But with watercolors, I can't be sure what I'm going to get and I am always surprised. I can paint an area and then barely touch a new color into that area and have it completely explode into a brilliant starburst only to have it fade to pastel when it dries. I would call it interactive painting because it's a bit like playing a game. I make a play, then the paint makes a play, and then I react either with joy or a scream. I never know which. 

When I first started painting the fear of the paint reaction was very scary to me. I'd have a beautiful painting and would be afraid to ruin it. My teacher used to say, "It's just paper. Paint!" I'd get pretty worked up and have to take deep breaths and walk around the room. I would want to fix every blossom and every splatter, but now I realize, those can be what take a painting from ordinary to WOW! Happy mistakes. Coming from my graphic design everything-has-to-be-perfect background, it's quite a challenge for me to let go and let the paint do it's thing. 

And of course, I can always change it up by changing the paper, going from cold press to hot press to Yupo. Even the same brand of 300# paper reacts differently than the 140#. 

MBS:  Your work reflects many different facets of the natural world around us, particularly animals and insects.  What draws you into nature so much as a subject matter?

Amy: I mostly paint what I feel a connection to, but I also paint a lot of requested subjects. If I can paint what I like I feel it will magically appear on the paper. Of course, good drawing skills and a clean palette make all the difference. I enjoy painting animals because feathers and fur are spontaneous. I try to simply capture the essence of the feathers or fur and leave the detail to the face, and I love painting eyes. Well painted eyes give the animal life. 

As for all my butterflies, I painted these in response to a request by the

wonderful people at Better Homes & Gardens Magazine. The first butterfly I ever painted, I sold on eBay the first hour I listed it, so I tried a second. BHG was doing a kitchen makeover, saw the second butterfly and chose it as the theme. They asked me to paint two more and while painting, I started my challenge of painting 100 butterflies in 100 days. I eventually ended up with 104 butterflies. I have recently completed a series of dragonflies and a series of sea shells, but again these were requests for licensing. 

You might be surprised that I really enjoy abstract painting. I haven't had much time lately to do them with all my requests, but I have a bunch. You can see a few here . My abstract paintings are never planned. I start with a pencil sketch and just go for it to see what happens. I have also filled several books with zentangle gel pen drawings that I love but I don't know what to do with them, yet. I keep my current book handy while watching TV.

MBS:  It sounds like you are able to somewhat balance the whole commission work vs "my" work dilemma that many artists struggle with.  I know some people say..."oh it must be nice to get to that point", but it really can be an issue.  Especially if the artist feels their creativity is becoming compromised.  What are your thoughts on this and how do you handle that balance?

Amy:  Funny you ask that. I seriously love painting dogs and I did a big local campaign trying to get pet portrait commissions, but it just didn't happen. No one called. Not one request that wasn't a friend, so I sadly let that idea go.

Beagle Thoughts

I don't get many commission requests from individuals, but when I do, I weigh it. Are they willing to pay me, do I have the time, is it something I can do, and I listen to my gut. Yesterday, I was asked to design a half-sleeve tattoo using one of my butterflies. I think tattoo design is a specialty and there are so many artists better suited for that, so I declined. However, if a company had come to me and asked me to design a series of tattoos for licensing, I would learn everything I could about tattoo design and do it. My art moved from being a hobby to a business with a clear, conscious decision I made. 

Several years ago, I got asked to illustrate every article of clothing in a clothing catalog. It was a huge project and I really wasn't sure I could do it. Before accepting the job, I asked them if I could take one home and give it a try, run it by them, and let's go from there. Of course, this was at my own expense. It turned out very well and created a lasting relationship. I ended up illustrating several catalogs as well as doing the graphic design layouts. Had I said no because it would compromise the integrity of my art, well, why not just go hit myself in the head with a frying pan... I'd have lost a lot of money!

All artists need to answer this question, are you creating art for yourself or to make a money? There are millions of artists and everyone I meet tells me, their aunt, uncle, brother and sister is an artist, so logic tells me, not everyone can be the next big thing in NYC.

Perched White Lady Butterfly

MBS:  Not everyone can be, but not everyone wants to be either.  And that's hard for some to even imagine!  lol  What materials do you use when creating your artwork?  Tell us a little bit about your process. 

Amy: I use fine art watercolors and high end watercolor papers such as Arches, Saunders Waterford, and Fabriano. I mostly use cold press but lately I've been painting on hot press paper which is smooth. I use watercolor pencils sometimes, too.

I mostly paint from photographs that I have taken, but I don't necessarily stay true to the photograph. For example, my peacock painting, "Hey, Good Lookin'" didn't have a a reflection in my photograph. I didn't do a pre-drawing but loosely sketched the bird directly onto the watercolor paper. I thought I had finished it but after walking by it for over a week on my shelf, I felt it needed something else, so, I added the reflection. 

Usually, I start by sketching a basic outline on drawing paper, then trace my drawing onto tracing paper and tighten it up. I don't draw every detail. Then I transfer it onto the watercolor paper over a light table. If it's a big painting, I'll tape it to a window to use that as my light table. Sometimes, I will use a grid system to do my drawing, especially if I am painting a face or have a lot going on in the picture. I try to limit my palette to five or six colors and pick them ahead of time. I usually paint the main subject first and then decide the background later. 

When I am painting abstracts, my process is different. I start with a loose, unplanned sketch directly on the watercolor paper. I usually choose just three colors but sometimes more and I just go for it without thinking too hard about it. I might add some collage and do some raised outlines with fabric or porcelain paint.

Bee Eater

MBS:  Do you work on more then one piece at a time?  In a series?  What are you currently working on?

Amy:  I usually work on more than one painting at a time, and I have several that I may never finish. I never throw out a painting, no matter how bad, because I think I might fix it, even it means putting a coat of gold gesso over it and or using the back. I even save all the little scraps of watercolor paper to do my color testings on. 

I do work in series but not everything I paint has a mate. I completed a series of 6 flamingos earlier this summer. Most recently, I've completed a series of dragonflies, a seashell series, and am currently working on a hummingbird series. Except for the flamingos, I haven't released these paintings for public viewing, because I still need to do the watermarking which is time-consuming. I will get to it soon. 

MBS:  What is a typical work day like for you?

Amy:  Get up, have breakfast, and make a daily to-do list while I have my coffee. I then go into my studio where I treat my art business like a full time job. I start by checking emails. If I made a sale, getting that out the door is top priority. Then I start checking off my list. I prefer to paint in the morning, and then do my computer work in the afternoon. Computer work may consist of updating my Etsy store, my website, or scanning art and color correcting it for prints. I usually work until 5 or 6pm, but I usually check my email again before I go to bed. I don't paint everyday although lately I have been. I've been under a deadline for an art submission, and I am actually looking forward to a break so I can clean my house.

The Tiger

MBS:  I see that you sell your work online.  What has your online/social networking experience been like in regards to your artwork and career?

Amy: Selling online has been a double-edge sword. The positive is that I've gotten noticed. I'm still fairly new at marketing my art. However, the possibilities for financial growth as a watercolor artist are very encouraging and being online has boosted my career tremendously. It's gotten me noticed by art buyers for licensing. Just this year, I have had approximately 50 paintings licensed and that wouldn't have happened without having my art online.

The negative aspect has been the copycats. When I got the idea to paint 100 butterflies in 100 days, I googled painted butterflies and saw absolutely nothing like mine. I spent a lot of time researching Etsy and other art sites and again, saw nothing similar. I felt I was onto something fresh and apparently, so did a few other artists. You might say "copying is a form of flattery" but in selling art, it feels like theft. 

Being able to connect with people on a global scale has been a heartwarming experience. I've sent art orders to Viet Nam, England, Australia, etc. and it's always a thrill. I occasionally get fan email from far away places and have made friends with artists I may never be able to meet in person. I love how I can email an artist on Etsy and tell them "great job!" I set up a Facebook page when I first started marketing my watercolors and plan to take advantage of other sites. I see where others have pinned my art on Pinterest and that always feels like a nice pat on the back.

Without the online experience, I'm sure my watercolor art would still just be a hobby, shared with friends and an occasional friend of a friend. 

Fly

MBS:  Where would you like to take your artwork from here, either creatively or from a business standpoint?

Amy: Creatively, I have so many ideas in my head and I just need the time to do them.

From a business standpoint, I want to get more licensing contracts in the works. I am a near-guru level Adobe software user and have designed a lot of overall patterns using my art that would look great on fabric, wrapping paper and gift bags. I want to see my art on all kinds of porcelain and paper products. My dream is to follow the licensing paths set by Laurel Burch and Thomas Kinkaid. 

MBS:  What advice do you have for those who wish to (seriously) peruse an artistic path? 

Peruse or pursue? I'll assume you meant pursue. 

Amy: My advice would be to marry well! Kidding aside, the best advice I can give is to know what kind of artist you want to be and know where you want your art to go from an art business perspective. Do you want to teach, work professionally, license your art, or just enjoy creating and enter a show now and then. Bottom line, it all comes down to how much time and effort you want to put into it. 

There's a lot more to making a living at art than just creating the art you enjoy. Every self-employed artist needs to know how to survive the feast or famine lifestyle. Save your money during prosperous times for those times that it seems like you'll never make another sale. Feed your Roth IRA before you buy new clothes. You'll need computer skills and to know how to negotiate. Understand that if you are a self-employed artist, your fees have to cover your supplies, computers, websites, promotions, health insurance, self-employment taxes, social security as well as pay your salary.  If art is your business, treat it like a business. Set goals and whatever art path you choose, strive to be the best you can be.

Thank you Amy!  For more information about Amy Kirkpatrick and her beautiful artwork,
you can visit the following sites -

Main Website

Etsy Store

Fine Art America

email: amykirkpatrick@roadrunner.com 

Facebook  
Etsy digital instant download design store

Links to other interviews in the Mind Body Spirit Artist Series.

         

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Mind Body Spirit Artist Interview - Fiona Stolze

Silk painting.  Many have explored this wonderful creative medium, but as you will soon read, for UK artist Fiona Stolze it quickly developed into much, much, more.  Author, artist, intuitive and teacher...what a fascinating interview with a truly creative soul!  Enjoy

                                                                                                        ~ diane fergurson

Spiralling Back To The Source

MBS:    Tell us a little bit about your background.  How did you get started making art?

Fiona:  It was never clear that I would end up creating so much artwork. In younger years I was always very arty and creative, taking every opportunity to draw, paint, make things, think up new ways of doing things. My first clear artistic memory was of me at the age of about 4, drawing little dancers in hula skirts for my friend and her loving what I was doing, telling me that she could always tell after the first few pencil strokes what I was going to draw. I told her that I was going to become a world-famous artist. But I also said that I was going to study and become a teacher, which I did. I never went to art school or did any formal training. So everything arose from my desire to explore different media. I loved sculpting things out of clay, playing with watercolours, doing intricate pencil studies of fascinating objects.  I always found it easy to present things in an aesthetically beautiful way, loving giving great attention to detail - the colours, the layout, the overall look.

It wasn't until I had completed my studies at University, done the teacher thing, gone through a few different jobs abroad in Germany including translating, working in a bi-lingual kindergarten and other things, that I turned my gaze to mandalas. They sort of magically entered my life, in a very unexpected way. I attended a workshop where we created coloured pencil designs, enjoying the symmetrical nature of the mandalas and letting our innermost come out to play. It was not long after that encounter that I started to play with my first pieces of silk and taught myself to use liner to create designs that would contain the flowing colours. And after some practice I ventured into the arena of the mandala, constructing my very first one using compasses and a ruler, totally geometric and so unlike what I create today. And I started large-format, braving it out onto a large silk canvas and constructing the design on a very unforgiving fabric. I was pleased with the result but quickly turned to the freehand method which I have retained to this day. Someone saw my first organic mandala and bought it on the spot, telling me to keep painting. Which I did.  And it has really been quite an adventure since then as countless mandalas have spilled out of my brushes in the process. I have now progressed to creating wearable silks, scarves and individual pieces of clothing as well as yardage.
I have many strings to my bow and so don't just do the silk painting but it is funny to see how it just squeezed its way into my life when I was least expecting it.

MBS: For those who do not know, what is a Mandala? Also, why do you think you are so attracted to the form?

Fiona:  A mandala is a sacred form. A circle. The word comes from the ancient Sanskrit language and has many translations. But 'sacred circle' is the one I resonate with. They are not tied to any particular religion or thought system and can be found throughout the ages in many different cultures. There is a central point, concentric circles moving outwards to an outer periphery.
In Buddhism, for example, different meanings are attributed to the various colours and forms inherent in the design and those who create the sand mandalas receive an extensive training. The mandalas are created for a specific purpose and afterwards the creation is 'destroyed' as it is released into the nearest body of water. This signifies the impermanence of life.

My mandalas are not based on any system or thoughts that arise. I have experienced them as a life force arising from within. I sometimes have an idea of what colours will be involved and perhaps of the shapes and motifs that appear. But on the whole I have always thought that I had very little to do with them. I don't think and plan them out beforehand and just let them emerge as they want to.
I don't think I ever consciously chose to take the mandala form as the main focal point for my artwork. It really just turned out that way. I can read a lot about what others may have written about mandalas in books and on the internet, but most of it doesn't resonate with me, as it is not something I know to be true.

What is true for me, is the process of creating the mandala. Starting from centrepoint, that point of stillness deep within and moving outwards through different experiences which are the circles. Moving as that centrepoint on any radius until the outer periphery is reached. At this point, the innermost is seen as the outermost.
The important part of the spiritual journey for me is not getting lost in the experiences but being guided by this still point, the innermost. Which is true and real.

Metamorphical Reflections

MBS: There really is an unconsciousness that takes over when an artist allows themselves to be "turned over to the artwork". With some work I almost feel that the mandalas never make it to that point, that the artists are still involved in the exercise of color, definition and form. Can you talk a little bit more about being "guided" when creating spiritual artwork? Is this something you grew into, or did it just happen one day!  

Fiona:  Yes there is an unconscious or inner movement that takes over. When you give yourself over to this completely, it creates space for it to joyfully come out to play. A real ease and joy emerges. It's actually really easy for me to recognize when this is happening. There is no attempt to try to judge or change it as it takes form. There is an instant recognition that this is not from me. I love the colours, the inherent beauty, the shapes, the energy, the flow, the essence of it. I am able to stand back and look at the art and feel such wonder and appreciation arising, as if I had never seen it before. As if I had had no hand in it all. And ultimately there is no 'story' to it. It simply is. I realize that when I created my first geometrical mandala, it arose from the mind. But from the very next piece I knew to stand back and allow it all a free hand. And they just flowed from there. That was 14 years ago.

I know when it's time for a new piece of artwork. I go up into the attic room, stretch the silk on the frame and set the scene. I often paint with gentle, heartwarming music but not always. I sometimes play a recording of a spiritual teacher I follow speaking from a deep, honest space. But I also often paint in the silence these days, just dropping into my heart, becoming still and allowing that gentle movement and guidance to emerge.

 
 

Astrological Emanations in Blue

MBS: How has this unguided force impacted your work?

Fiona: I became aware of how this impacted my work as more and more people looked at it and responded to what it moved within them. I used to always do intuitive readings for people and always said that one day I would create a deck of cards myself. I remember how I was literally prodded a couple of years ago to print out all my mandala designs and start to create a deck from them. So I began. It was a long process but I kept following on through as there was a life force to this that keep moving from within and so I couldn't stop. I discovered which mandalas wanted to be in the deck and I birthed names for them all. Next I made a prototype deck which I worked with for a long while, getting to know them. When I announced I was taking the next step and starting to publish them, there was such a beautiful response from all the people who had been following me online. I was accompanied all the way through the journey of getting them out there. People began saying things about them and I could see clearly that this was not something that I could take credit for. I was the 'messenger boy'.
It was so touching to see how people loved the mandala images and were being touched and inspired by them.
Then came the point where I had to attribute meanings to the cards as a tool, a form of guidance for others. I had to really drop deeply to enable this to emerge. I had to give this time, allow more and more silence. This helped to filter and clear out all the mind level energy that might have slipped in.
They were eventually launched, received with much love and appreciation.
Today I know that everything I do is an expression of what resides deep within, of what I really am. And that I have nothing to do with it. So it does strike me as odd when people say - 'What a gift you have'. That personalizes it. I see it as being the gift in motion, being a transmitter of whatever it is that the innermost would love to share with us. And there is great joy in being that.

 

MBS: The way you created the deck sounds really interesting. I'm curious how you constructed it from more of a intuitive standpoint. I assume that certain mandalas probably resonated certain things with you personally about people or a situation (kind of like tarot cards)...but I'm curious how you knew what to include and what to leave out. Did you follow a form like the Tarot Hero journey or is it geared to something else? Also, when other people use your deck, how are you finding that they are able to relate to your personal system?

Fiona:  I will be writing about my creative process in detail in a planned downloadable ebook soon, but basically this deck isn't formed around a system of any kind. Each card can truly stand on its own.
I regularly get feedback from people who have bought the deck. They send me emails to share their experience of doing card layouts with my deck and seeking guidance. Many have had deep experiences and insights which is lovely.
Many just love having the artwork there in their homes to look at every day for inspiration. Just drawing a card can reveal some hidden truth that you didn't want to look at before and spark of more exploration and willingness to let go what no longer serves.

Magical Healing Colors of Glastonbury

MBS:  Your work as an intuitive - how did that develop in conjunction with your artwork?  Did one come before the other?  Did they develop together?  How do they feed off of each other?

   

Fiona:  I've always been intuitive and it wasn't until I was teaching English as a foreign language privately in Germany that I found I was doing more 'reading' than language teaching. People gave me gifts as thanks and it wasn't until years later that I actually began receiving money for it. I always found it easy to see things others weren't seeing. Getting a glimpse well below the surface. I'm not sure really which came first, the artwork or this. They seemed to just grow alongside each other. And of course it was lovely to suddenly realise that I was about to create the deck of mandala cards which would mean not having anyone's system to work by.
Of course I wrote a booklet to go with it and this acts as a great starting point for others. However people will realise that I read a bit differently and so the card is just a spring board for going deeper into a space of clarity.

I remember people saying to me - you didn't see that out of this card, did you? Is that what this card means? I guess I always felt more comfortable working behind the cards. People are happy to surrender to what the cards say. They let it all in.

I'm becoming more and more aware of allowing people to interpret things for themselves. It's important after they've picked a card to sit with it and let it settle. They don't have to take on what is written there if there is no deeper resonance. Just tune in to what is in their heart and see if that is true. If it is, then they can go with that.

It's all about bringing in clarity. Seeing past the stories. Dropping what's no longer needed. I would never want to tell someone how to do that. They have to do it for themselves. We're all intuitive but just have to go past the noise in the mind to hear what is really true.

 

Gradual Emergence of Tranquillity

MBS: It sounds like teaching is also an important component to what you do.

Fiona:  I always wanted to become a teacher, even when I was small. When I grew up, I went to university and then did a teacher training. But there was no real fulfillment in it. I continued in life, teaching people outside the school system and discovered meaning in relating to others on heart level.
I love to share my processes in life and work and you will find me spending hours taking photos and blogging about what I am doing. I get lots of questions through my websites, asking for guidance in art and life and I always share what I can from a place of honesty.

I've moved on from needing to do things for others, needing to show them a better way or try to fix things. Now I tend to respond by reflecting back to others what they might not be able to see for themselves but without adding anything to the mix. Without bringing any personal agenda into it. That's why I named my mandala oracle deck 'A Sea of Calm'. It's there as a tool to return to that inner stillness beyond all the stories. And when people reach that place, they know how to move from there.
I know that the best teaching is not really teaching. It's simply about being in your heart, being an example to others. Being true to what you really are. That's what touches others the most. And there's no system or manual that will do that for anyone on the planet.



MBS:  What is a typical work day like for you?

Fiona:  I always smile when I'm asked what a typical day is like for me. There is no typical day in my life. Yes, I create art and document it, I go for woodland walks, I meet with friends, I tend to my websites, I see to my business. But how and when I do that has no scheme or regularity. I tune in and see to what needs seeing to first. Sometimes I get up early in the morning but then there are long phases where I sleep longer and stay up longer at the other end, burning the midnight oil.

I have a great passion for the things I do and so when I get an idea, I tend to just sit down and get started on it straight away. I tend to have that energy of - 'last man standing'. So I can keep going with something and see it through well beyond the point of actually being too tired to do any more.
I used to put lots of energy into eating certain foods but now I have reached a point where I receive great amounts of nourishment from within, from my connection with the divine, and have released the need to give so much attention to what I eat or how I exercise. I feel very balanced physically after years and years of struggle.  

Chakra Mandala Greeting Cards

MBS: Good for you! It does make a difference. What are you currently working on? Any specific projects or shows in the works?

Fiona:  I just recently published my mandala oracle deck which was a mammoth task but one which I loved and which seemed to be guided from a place deep within. It never takes long until I start on something new and so I find myself working on a new project.
It's a downloadable booklet with full instructions and photos, showing people how to create their own mandala on silk. A while back I released a DVD with footage showing the step by step process of how to paint on silk, specifically a mandala, using the template I supply. So now the next step is to create a written version of this as there are many people who have expressed the desire to have instructions in a booklet form. I am approaching the end of the writing and will need some time to work on creating the photos to go with this project.

It's always really exciting to create a new project and for me birthing tutorials is something I really love as I'm a teacher at heart. I've been painting again on acrylics over the past week and having a lot of fun in the process. It's so different from the focused, precise art of silk painting. I can feel the movement of my whole body as I move the acrylics over the canvas with the palette knives.
Next month I've been invited by a friend to take part in an arts trail in her part of the city, so I'll be setting up my space, doing silk painting demos and inviting people to create their own silk scarves in the microwave. I've not done one of these weekends for a while so I'm really looking forward to it.

MBS: I see that you sell a lot of your beautiful mandala silk scarfs and wearable art online. How has social networking and being online impacted you as an artist? Also, your work as an intuitive?

Fiona:  I sell almost all of my artwork online. About 3 years ago I took the plunge and signed up for a social media bootcamp with a group that was based in California. It was one of the best things I ever did. It swept away all my misconceptions about online marketing and enabled me to really get out there and become visible in the online world without pushing sales all the time. I was at the point of considering letting go of my online work and to be honest, I'm so glad I didn't.

Today I have built up a really solid following on my Facebook page as well as on my timeline. My blog is well-visited and my newly-vamped Silk and Art website has taken on a life of its own. It really does make a difference to have some know-how and to be able to make a bit of a splash on the social media sites. I continue to receive emails and PM's on FB about what I do and how I do it.

My husband designs websites and we have recently taken the decision to team up and offer a service together. Yes, another project. And no, I never get bored. I am offering social media backup. Individualised Skype consultations for people to help get their sites, blogs and other presence on other social media sites up and running, in conjunction with their personalised website. So I'm looking forward to that. It will be nice to have the husband and wife team after all these years. We will be targeting people in the arts and crafts arena as I particularly understand the challenge that these people face.

The social media aspect did impact my work doing readings. I ran a Blog Talk Radio show for a year and thoroughly enjoyed the contact with callers from all over the world who called in to chat with me and have a reading. I was also able to offer regular free readings on my Facebook timeline for anyone who wanted to have one. More recently I have stopped doing this, as time just didn't really allow for it any more. But people can still reach me to book readings via my blog. I must admit that I do miss my weekly shows and am thinking about maybe getting going with that work again in the future. Combining it with interviews. When the moment is right, I shall jump into action and make it happen.

MBS: What advice do you have to anyone who wishes to (seriously) pursue an artistic path?

Fiona: What advice would I give to anyone seriously considering following an artistic path? If you feel moved to create art, then don't even begin to think about how you can convert that into money. It has to come from the heart. It has to come when it is ready to come. Planning to earn a living by it normally doesn't succeed. So my advice is to just let the art pour out of you as it comes. Let people see it. Share it freely around. And your world will show you the way.
Don't try giving up our 9-5 job and think that you can replace it by being creative and bringing in sales to pay your bills. Create the artwork parallel to your work. Live and breathe it whenever you can. For the pure joy of it. And at some point you will notice that you are being pulled in deeper. So just respond to that.
And if you want to seriously develop a business around it, then remember to put your business hat on. Paperwork and planning have to be seen to. Cost things up reasonably. Keep a list of your expenditure. Keep your books up to date. This is an area that is often sadly lacking in the art world as too many artists just don't believe that they need to be practical. But they do. And believe me, it makes a difference.


Great advice. Thank you Fiona!

You can find out more about Fiona Stolze and her work through her website.

Also her blog, Facebook Page and Etsy Shop.

Links to other interviews in the Mind Body Spirit Artist Series.

         

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