Mind Body Spirit Artist Series - Diane Clancy

Ever since I first saw Diane Clancy's stunning visual landscapes - with the beautiful little balls -  coming across by computer screen, I have been completely fascinated.  What are they?  How are they created?  What do they represent?  All I know is that once you see one, the images tend to stay with you ~  I hope you enjoy this interview with Diane Clancy as much as I did.  It's a fascinating peek into a beautiful world!

                                                                                                         ~ diane fergurson

Peach Fantasy

MBS: Can you tell us a little about your background? How did you get started in art?

Diane:  When I was 3 and 4, I spent a lot of time (when I was supposed to be napping) watching the shadows across the ceiling where the light snuck in.  We also had this cool blanket (and I still have it) that is peach and cream with the reverse designs on each side.  I flipped it back and forth, back and forth, to see the difference in how it looked depending where the colors were. My Mom would listen as I showed her these things.

I have always loved color and rainbows.  As a young adult I quilted and crocheted some using color in a way different from what I saw others use.

In my late 30's while struggling with a lot of health issues, I looked through every single offering in the U Mass catalog and found only one that I was interested in - Textile Design.  I was a double computer science and math major and I just needed a break.  In that class my work was different from others and they couldn't believe I wasn't already an art major.  They all encouraged me to go take classes in the art department and the rest is history - I never looked back.

For me, math and computer science were comforting and art was like jumping off a cliff … but I went ahead and jumped.

 

Conundrum 1 - Rainbow Woman

MBS:  Well I guess I have to ask the obvious - what did you find?  Both on the way down and also at the bottom of the cliff (or is there a bottom)?

Diane:  When I was very sick for a long time, I had a lot of time to meditate, connect with my inner self and Spirit.  Often I would make up spiritual exercises or read them in books or tapes and try them out.  Remember, I spent a lot of time in prayer and mediation - I couldn't really do much else.  One exercise I read about was being in a very large enclosed bubble.

The activity was to climb up and up a very tall ladder to the top.  At the top was a diving board that I was to walk out to the end and then allow myself to step off.  It was scary for me walking up that high, but it was still solid matter. Walking off the diving board was another thing.  I knew I would not really die, so I took the risk to go ahead and step off.  Absolute terror overwhelmed me as I was falling.  The feeling was totally real and present.

I knew I couldn't physically die, so I kept just allowing myself to fall.  And all of a sudden I was caught and held mid-air.  It was a very physical feeling. I have never felt the same level of fear since then - this healed something inside me.  This was totally transformative for my relationship with my inner self, soul, the universe. I have more trust in the unseen.

So computers and math are a foundation for me, a known quantity, an internal pattern of the universe.  Those first times I put a pastel to paper in drawing class were very scary to me.  Bits of terror flooded me.  But I did it anyway, with the knowledge that I had been caught when I jumped off that other cliff.  It often got easier.  But now, sometimes I still get panicked with a blank piece of paper or the start of a new project.  But I have that inner place now inside that has some essential confidence and connection that allows me to reconnect and thus keep going.

Church-Lady

MBS:  I've always wondered about the bubble imagery.  It's such a predominate part of your your work, but I didn't know if it was a bubble, circle, orb or something else of spiritual significance.  Can you tell us a little bit more about it?  The image is just always so beautiful,immediate and captivating.

Diane:  For me, while creating digital art there is always an element of surprise. There are lots of paths one may pursue as one is developing computer art. I played with KPT filters with Photoshop and came upon the bubbles.  When I first saw the bubbles, I was totally and immediately captivated.  This was a direction I knew I wanted to follow and explore.

The Bubblescapes look like mini-universes to me so I was hooked!  I love seeing things cosmically! The inner and the outer are reflections of each other.  These creations can be micro-worlds within a cell or the very outer edges of space and time (or anywhere in between).  To me, there is also a wholeness of a bubble … a perfect sphere that represents the whole.  I also am quite taken with the way some bubbles are transparent and then there are layers upon layers.  So, they are a reflection of life. These are some fractal Bubblescapes that I see very spiritually.

I then started to create Bubblescapes in a different way (with the Bryce computer program).  Lots of folks create worlds and landscapes with Bryce but I have never seen anyone else use it like I do.  This is partly why I say one chooses the ways to work within the multitude of possibilities with computer programs.  I got totally hooked on creating bubbles and Bubblescapes.

With Bryce the bubbles became more of images of people some of the time.  I have one digital painting (Evening Stroll) with a couple walking down the street with streetlights; I imagine that they are window shopping.   At other times with the ocean bubble landscapes, I also use the bubbles as people. With these kind of images I see the bubbles very much as representations of humans or other beings.

Sometimes the Bubblesapes are landscapes over an ocean with the bubbles floating. These Bubblescapes again seem more cosmic and mystical.  The series that has faces in the bubbles are overtly spiritual since the faces I used are from my Goddess series.  I have some Goddess images that I have created in traditional mediums (oil, mixed-media, acrylic, pastel).   Often the bubbles are transparent and thus back to the mysticism.  Other times they are opaque and reflect light and create color in wild and beautiful ways.

Bottom line, I connect with my inner self, soul and Spirit when I create, to the best of my ability.  So I am especially happy when my art reflects the whole, inspiration, goodness, spirituality in some small way.  Bubblescapes seem to help me reflect spirituality.

Spring Creation

MBS:  Are all of the Bubblescapes Digital, or have you created them using other mediums as well?

Diane:  I have a little bit of precursor work with Bubblescapes in traditional mediums, but as of now all my true Bubblescapes are digital.  I have tons of ideas for bubbles in pastel, collage, colored pencil, acrylics and even watercolor.  I am hoping as I get stronger and healthier, I will be able to get back into the studio.

MBS:  How long does it normally take you to complete a piece?  Do you work on more than one piece at a time?  Do you work in a series?

Diane:  There is an incredible variety in how long it takes me to complete a piece!!  My signature piece of Conundrum I, mixed-media, took me over 100 hours over several months to complete.  Some of the digital work can have total synchronicity and pop out in a half an hour.  Many digital pieces take an hour or two while others it is hours.  Of course after I create a piece there is a lot of other work to be done.  In many ways the creation is the easy part.

I do work on several pieces at once - I find it helps me keep the momentum going.  Almost always I work in series.  I like to work from one direction, then another and shifting again.  I feel that helps me explore a subject, a feeling, a vision better.  Sometimes the series occur over a period of years.

MBS:  Do you have any themes surrounding the Bubbblescapes that you find yourself coming back to?

Diane:  I very much want to get back to the KPT filters to create more Bubblescapes like the Inner Flow series.  KPT only works on an older version of Photoshop and on an older computer (system 9 for Mac folks).  So I have that next to me to get going on them.  I love the sense of inner and outer connection that I get from this type of Bubblescape - it draws me deeply in.  So this pulls me back.

For the Bryce Bubblescapes I need to go back to an older computer also because Bryce is not supported in the current Mac system versions that one needs to use for protection on the web.  So again, I really want to get back to creating with Bryce!!  Those ocean bubbles speak to me so loudly!!  Ideas and values are fun to play with in the ocean Bubblescapes.  I have been working on a Simple Pleasures series that I would like to return to.  These are oceans with ideas like Whimsy, Love, Solitude, Joy.  It is such fun to create feelings based on color and design.

I also want to explore some of the landscapes like Peach Fantasy, Spring Renewal and Bubble Garden to see where I can go with them.  And many people have been responding deeply to ones that I have temporarily called Instincts and Bittersweet.  I like this clearer sense of bubbles as people and values.  So I want to dive more deeply into Bryce again to push the limits to see where else I can go and explore.

As I can, I sure want to expand the bubbles into traditional (non-digital) mediums.  In my mind I am testing what it would be like to work with Bubblescapes in different mediums.  I test ideas out so that when I face blank paper I will have some idea of what I want to play with.  So, as you can see, bubbles are always floating around my mind!

Love Birds

MBS:  Do you have any current projects or shows in the works?  What are you currently working on?

Diane:  I am working on a project with a friend in Norway and one in Denmark to showcase art and artistic images on home decor products to make it easier for people to find a wide variety in one convenient place.  Many of our friends promote others work (besides their own) as a way to make extra money from marketing others' products to get a small percentage of the sale (affiliation).  I have been working very hard to get many of my paintings on a wide variety of items both at CafePress and Zazzle to make sure I can be part of this promotion.

The range of merchandise is wild!!  It goes from shower curtains, duvet covers,  pillows  and canvas prints to skateboards, flip flops, thermos food jars, clocks and iPad covers.  As one can image creating images, prepping them and actually getting them on products is quite time intensive!!  Then comes the marketing!!  This is called POD (Print on Demand).  The items don't get created until someone orders them.  A lot of my time has been taken up with this exciting international project of marketing POD items.

Recently I gave a presentation on POD for 2D artists at the 4th Creative Economy Summit in Franklin County, MA.  I  also have been (and remain) on the planning Summit committee for the whole year it took us to put this together.  I have been involved with the Fostering the Arts and Culture Project for years as we work to promote and support the local creative economy, especially as it relates to artists.

I continue to create new artwork in a variety of directions.  These days most artists need to spend a lot

of our time marketing our work.  There are many new venues for sharing and marketing our creations. Part of the process of marketing is creating descriptions and tags so that buyers can find our work.  The rules for those seem to keep changing and most of us (including me) often struggle with that.   I network a lot (much of the new marketing involves one kind or another of social media), learn about what's happening and then dive in to keep moving ahead to cultivate collectors of my artwork.

Inner Flow Mug

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

Diane:  As anyone who owns a business knows, there is hardly a typical day! Some days of course I have appointments, including clients and meetings so that breaks my rhythm.  Or there are taxes to prepare, the plumber, roofer or whatever.  I like the days that I have no structure from when I wake up until I sleep!

On all days, first thing I align with my Inner Self, my Soul and Spirit first and ask that all my thoughts, words and actions be aligned with my own and the Universe's highest and best good.  At some point in the morning, I connect and check in with my partner, Susan.  I check and see if there are any orders from folks that I need to work on, fill or mail out.

On days that are all mine, I open up the computer and start going!  Often I have set up some computer work the night before so I don't have to think too hard to start.  Most of my life involves creating art, prepping this artwork for POD or printing or showcasing, writing descriptions and creating tags for this work, getting that creation where it needs to go for the next step and then promoting and marketing.  Networking is an important part of my day, whether or Facebook or some online group.

At some point, I take a break to exercise.  I might check in with a friend or family member.  At dinnertime Susan and I take a break and eat and watch some TV or a movie.  We love analyzing together the colors, design, story, issues …lots of things!!  We watch the ads with no sound and guess what they are trying to sell and see how well they did that.  With me as a painter and Susan as a photographer, videographer and writer, we get ideas to follow and not follow!  Then I go back to work on the computer.

I have made lists of what I think I should do every day and each week.  The problem is that I would probably need 10 of me to carry all that out.  (And that doesn't include making the art!!)  There is so much out there today for social media, selling and promoting one's art!!  Differentiating what is most important for me to pursue is an ongoing project.  I strive to analyze what is most effective.  And I want to keep learning the art programs I have to expand what I can do and what art I can create.  I value the connections I have made in my online and offline worlds around art and that networking is important to me.   In summary, my days are not boring and I feel grateful to have a full life!

Inner Flow 3

MBS:  I see that you sell your work online.  How has the online experience been for you as an artist?

Diane:  For me, selling online has been fantastic!  I have gotten a lot of feedback that many people are uplifted by my work so it seemed to me that getting my paintings out there in different ways would be a high priority.  My original plan when I consciously went into business, was to license my art so that many people could be inspired.  With licensing, since a company would pay me a usage fee, that company would deal with all the printing and distribution and I could get some income from that.   In my mind, the best way to do that would be to get my creations on calendars, cards and items like that.

The industry has totally changed since then - POD (Print on Demand) has turned everything upside down.  This way I myself could put my work on things and get them out to people.  Instead of my having to buy 50 or 100 mugs to have my art on mugs, instead I can put my creations on mugs online and then when someone orders it, the company prints, ships, deals with problems and I get my markup.  The variety of items I can create blows me away!! Shower curtains and skateboards (and I have sold both).  This has given me my goals and dream in a different way.

There are lots of POD sites, like CafePress and Zazzle, out there now where the artist puts their work on merchandise and the rest is done - besides marketing.  There are also sites like Etsy where one sells directly to the customer, so all the preparing the work, shipping and returns is done by the artist - and again also the marketing.  Sometimes I sell directly from Facebook or my blog and I love that!

There are tons of places to network and market our work and products as artists.  One upside is that it is much easier to reach a real worldwide audience of potential buyers and collectors.  Another upside is that is thrilling to see my art out there, appreciated, liked and purchased.  Some of my art on merchandise is now in Japan, Sweden, France and the U.K. among other places.

One downside is that there are now millions of pieces of art easily available on the web.  Another downside for me as an artist is the relentlessness of all I can do for promotion and marketing.  I am very excited by the networking and marketing - I think it is thrilling to see my creations in the real world and have people buy them.  I know I could walk from any marketing I choose not to do (and I do walk away from a lot).   But it is still a lot and a large portion of where most of our time as artists goes.

For me as an artist with a disability, the online marketing has given me freedom.  I meet a lot of other artists online who also have been so happy with being able to participate on an even playing ground.  I still do some selling offline in shows, stores or privately, but the POD selling has given me a lot of ability to connect with my buyers.  Even though the networking and marketing can be just too too much, I am still overall totally delighted to be an artist selling online!

Dawn of Time Wall Clock

MBS:  Any advice for those who (seriously) wish to pursue an artistic path.

Diane:  Nowadays the art field is very different from even 10 years ago.  I would encourage someone to think about exactly what they wanted out of an artistic path.  There is many ways one can be an artist.  One basic question is how much one is going to connect making one's livelihood directly from one's own art.  Many wonderful artists paint and create while having full-time or part-time jobs.  That is a time honored path and a smart one in my opinion.

Other artists make their living working in arts related fields.  There can be a lot of connections made that way and it could be a way to break into an often elusive field.  It is important to be honest with one's self about what one really and truly wants to do - from one's heart, not just out of form's sake.

Whether full-time or part-time, it is important to decide how one is going to position oneself.  Some artists I know would never sell their work on prints because they feel it cheapens their work.  And certainly they wouldn't put it on POD (Print on Demand) merchandise.  They want to be artists who sell original paintings and only original paintings.  Very valid.

I want to get my work out in the world to be accessible to a vast amount of people.  So I choose to get my work out in prints, cards and lots of POD merchandise.  This is another valid position.  Still other artists I know, who create beautiful work, don't feel they can do much of that.  Many of them are full-time PODs sellers who figure out the trends and design for the trends.  Many of them create a lot of slogans, and what I would call cute work - very different from their artistic work.  They do this to make a living.

Speaking of livelihoods, obviously many folks who create ads are extremely artistic people.  Some of the ads are awesome in the artwork (I said some).  That is an example of working for hire in a field that can be creative and still give you a decent wage.  Speaking of money, one of the best ways to become richer is to lower what you need to live.  I know there are basic necessities, but for many people, lowering one's financial desires can translate into more artistic freedom.

I would recommend studying and analyzing where the art field is today.  I would look at the possibilities and use one's mind, heart and soul for direction to where to go.  If one is going to do art as a business (which most of us need to do), then studying business is good - maybe taking a business planning class at a local Community Development Corporation. There are also a lot of resources out there to teach artists the Business of Art.  Having that kind of perspective can really help in being an artist making a living.  There are a lot of internet resources and newsletters that share that kind of information.

One other tip - if one gets into creating POD merchandise, one can also affiliate one's own and others' products.  This gives a little bigger slice of the sale to the person who affiliated the product.  Some people make a lot, a whole lot, of money through promoting other artists' and designers' work.  A lot of these people work very hard but also make quite a bit of money.  It's a thought.

Whatever direction one chooses to go, networking is likely to be crucial.  If one chooses to do art online in any way, networking is the lifeblood of the web.  There are tons of kind artists who will help another artist on the way - even if they are helping to develop their competition.  Marketing is also the other key that makes a difference for one's work to stand out among all the other pieces.  Expect to spend a substantial amount of time marketing or expect to pay someone in one way or another. They say that now developing personal relationships with potential buyers and collectors is very important - and I agree.  They are collecting us the artist besides our art.

So, stop, think, ask your whole self which direction is for you.  Being honest to one's self is key to being a successful artist, whether you only create occasionally for yourself or decide to go full force into jumping in full-time art, no holding back!  Be true to you, create, ask for help, network, market and have fun!

Thank you Diane!
















Diane Clancy's Art
http://www.DianeClancy.com
http://www.DianeClancy.com/blog
http://facebook.com/DianeClancyArt
http://DianeClancy.etsy.com
http://cafepress.com/DianeClancy
http://zazzle.com/DianeClancyArt*

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

         

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Mind Body Spirit Artist Series: Steelgoddess

When I recently showcased the enchanting artwork of the Steelgoddess as the daily feature on our Mind Body Spirit Marketplace Facebook page, the reaction to her work was so overwhelming , I knew I had to interview her for our Artist Series. This is one busy lady, but I'm very happy she was able to spend some time with MBS to tell us a little bit about her magical world of imagination!    
                                                                                                                  ~ diane fergurson 

Midnight Magic

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

Steelgoddess:  From a very early age I discovered I had a gift. It’s no wonder my favorite subject through school was art. What started out as a fun thing to do at my leisure became a full blown passion in high school. At the age of 16 my parents decided to move from the city to a rural farm town. I went from a class size of hundreds of students to around 20 kids. I never felt like I fit in and so in my attempt to cope, I turned to art to fill my loneliness. That’s when I really blossomed as an artist and considered making my passion into a career. It wasn’t until I was 25 that I made the decision to focus on my art as a full time job while being at home with my children.
I initially taught myself how to paint with acrylics, but after a few years with this medium, I bought a Wacom tablet and migrated to digital art. It was one of the best decisions I ever made! I searched the internet for tutorials and little by little I gained the confidence to experiment with different techniques and created the style I have today.

Wicked Nursery Tales

MBS: Your work really does have a unique look to it.  How would you describe your style?

Steelgoddess:  That is always a surprise to me because I don't think I have a unique style. I have heard that compliment enough times now though, I suspect it must be true! I enjoy capturing certain moods and expressions that are easily relatable to the viewer. My favorite subjects to illustrate are ones that tell a story and engage the viewer to experience a positive emotion. My ultimate inspiration belongs to Norman Rockwell who was a master at taking a snapshot of people’s ordinary lives and finding the humor and joy in that moment. With this in mind, my goal is to create similar moments in my character’s lives. For instance, my latest creation - "Wicked Nursery Tales" - focuses on the Wicked Witch sharing a tender moment with her beloved flying monkeys. She has such a horrid reputation, I wanted to portray her in a more upbeat light. I like to think viewers can relate as there are mornings we start off our day with a bit of Wicked Witch and are reminded to take stock of simple things that can turn our day completely around."  

Enchantment

MBS:  You mentioned above that you use a Wacom Tablet.  I was surprised to read that your artwork is digital -it looks so painterly to me.  Are the illustrations all digital?  Or is it a mix?  What is your process?

Steelgoddess:  My illustrations are created entirely on a Wacom Tablet. It's a bit of trickery I use in Photoshop with textures. My rule is to never make it look like you are using a texture but rather as a means to add depth to your illustration. My favorite images are speckled cement jpgs. By changing the layer style of an "overlay" and reducing the opacity, it will give your layers a distressed watercolor look. This is a lot of fun! Sometimes I will end up using 2 different textures to create the look I want. I typically keep the textures as black and white so as to not interfere with my color palette.    

Hoodwinked Fairy

MBS:  How long does it normally take you to complete a piece?  Do you work on more then one piece at once?

Steelgoddess:  I typically only work one piece at a time. Depending on the complexity and depth of the illustration, it can take between 9 to 50 hours to finish a painting. For instance, "The Crow of Crescent Hill" was 15 hours of work while "Wicked Nursery Tales" was close to the 50 hour mark.  

MBS: One thing that drew me to your work is that you explore metaphysical or spiritual themes in such a positive, lighthearted way.  The imagery is very warm and inviting.  It draws the viewer in.
Do you have a favorite theme or character that you like to explore, or that you find yourself repeating and coming back to?

Steelgoddess:  I enjoy exploring upbeat subject matters that invite the viewer to smile, bask and experience positive emotions while engaging their imagination to add to the story that is already laid out for them.. The themes I paint are either humorous metaphors of events I have experienced in my life or are directly influenced by my Spirit Guides, nature, animals and the Devic Kingdom. I am often guided as I illustrate and have learned to listen to my intuition and hunches as they are direct messages from guides and our invisible friends. There are a few characters I wish to revisit such as the Hobbit, Miss. Tittles (rabbit), mischievous mice and the Wicked Witch. They have taken up real estate in my imagination and are deserving of more storylines! As far as the spiritual aspect, this naturally flows from the characters and are not necessarily planned out. It is more of a byproduct and essence of who they are.    
 
MBS:  What is a typical work day like for you?

Steelgoddess:  My day starts at 5:30 with a stout cup of coffee. It is a challenge to find time to illustrate between filling orders and running a business. I like to start my mornings off fairly early. After a 10 hour work day, I usually call it quits around dinner time. I am an early riser so it's not too difficult for me to sacrifice a bit of sleep in the name of art!  

Pumpkin Prosperity Spell

MBS:  Any current projects or shows in the works?  What are you currently working on?

Steelgoddess:  I will be attending Faeriecon East between November 9-11 in Baltimore, Maryland. I am super excited to have been invited to attend such an awesome show with tons of super talented artists and performers! I am working on a few special pieces to bring with me such as hand painted Mortar and Pestles and bowls. To learn more about the show and ticket info, please visit their website:  www.faeriecon.com/ 

The Mystic of Darkwind

MBS:  I've notice that you sell quite a bit of work online, through Etsy.
What prompted you to sell online, and how has social networking worked as a tool towards your increased visibility and sales?

Steelgoddess:  I wanted to find a way to stay at home with my children and work. I stumbled across a few amazing artists through Ebay who were able to make a descent living while following their passion. This got me thinking and I decided to give it a try. I initially worked part time at the Girls and Boys Club and squeezed in painting in my free time. When my sales starting reaching a consistent fair price, I felt confident to transition to a full time artist. I have found word of mouth has been a tremendous help in networking. Facebook is a wonderful tool as well. I enjoy selling on Etsy and have to commend them for helping artisans connect with larger audiences. The ability to add shops to favorites and circles has broadened my footprint in fans and sales.      

MBS:  Any advice you have for those who wish to (seriously) pursue an artistic path?

Steelgoddess:  Paint what you love and follow your intuition. This will naturally create your own unique niche. Personally, I believe majority of fans and collectors gravitate towards artists who evoke positive emotions. This is my only rule I follow in choosing what subjects to paint. As long as it is fun and uplifting to me, that is my gift I am giving to the universe. Spend time studying artists work who you admire. Get a feel for their color schemes and techniques. Practice, practice, practice! Perseverance and patience pays off. Always remember to have fun!    

~ thank you!



For more information about the Steelgoddess and her artwork, you can visit her shop The Magic and Mischief of Steelgoddess




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Mind Body Spirit Artist Series: Julia Guthrie

The wind swept sea.  Mermaids, faeries, and Arthurian stories steeped in fantasy and mystery.  The stunning Cornish landscape and the beautifully inspired artwork of UK artist Julia Guthrie has left me completely spellbound.  I'm sure you're going to find Julia's wonderful artwork and words as enchanting as I did!

                                                                                                                        ~ diane fergurson

Freyja

MBS:  Can you tell us a little bit about your background?  How you got started in art?

Julia: Well, I have always been an artist. As a small child I would draw characters on the inside pages of my books...princesses with big dresses and big red lips!   lol

I loved my 'Big Book of Fairytales' the most, because of the stories but also because I loved the stunning illustrations that accompanied them. Girl's comics were another great favourite of mine...I used to colour in the pictures.  This evolved over the years to drawing portraits of my favourite pop stars and copying the posters I had on my wall, or I would copy their album covers with my paints.

I recall telling a teacher at school once, that I was going "paint record covers" when asked what I wanted to do as a job.

After school I did a year foundation course in Art and Design with a view to moving into Graphic Design. I didn't take that further though and in the last 10 years I have developed my painting skills in a more illustrative direction.

MBS:  I've noticed that many of the themes in your paintings center around goddess, mythological, and metaphysical subjects. How did this evolve into focal point for your work?

Julia:  I guess I have always been fascinated by the metaphysical world, and more recently, perhaps the last 15 years or so in particular, I had begun reading a lot more about various religions and their sources. The progression from believing in spirits/ tarot/ psychic abilities, led me to discover a whole new level which really fired up my imagination in a big way, while also becoming a life changing experience.

The Guide

One of my paintings is of a specific spirit guide who has been with me for a number of years. ('The Guide') It is very much how she appears to me.

Other paintings on this subject also have deep meaning for me, such as 'Inner Journey' (below). I wanted to express how it feels to be in a guided meditation, as I am a very visual person and I see rich, vivid landscapes which naturally I always wish I could capture onto paper!

The Goddess paintings, 'Freyja' (above) and 'White Tara' (bottom of page) came at times in my life when I had a very close connection to them in meditation. White Tara in particular had deeply inspired me during a meditation and when I had the idea to paint her it came together so easily that it genuinely felt as though I had channeled the painting straight from Tara herself.

When that happens I am as thrilled as anyone to see the image reveal itself.

Really I just paint the subjects that touch my life strongly...the parts of life that make me who I am, and my spiritual/ metaphysical side is one of the most important sides for me.

Inner Journey

MBS:  Do you work in a series?

Julia:  Some work is part of a series, such as the 'Storybook Cornwall' collection, which are illustrations created to reflect my love of books as a child growing up. And as I paint more Goddesses that will be a series of sorts, but there are just as many which are stand alone paintings.

MBS:  What materials do you use in your
work?

Julia:  My most used materials are Watercolour paints, because I like the versatility of them. They can be used lightly or layered for a more vibrant effect. Also pencils and sepia pencils.

However I also dabble in Oils and acrylics, and some recent paintings have been worked in mixed media such as acrylic, tissue paper, and gold leaf.

MBS:  Do you prefer a particular size when you work?

Julia:   I generally work with A4 and A3 sizes (approx 8x10" - 11x16") as it can take quite a while to complete a watercolour. Larger sizes always sound like fun but by the time I'm halfway through painting I wish I'd done it smaller!

MBS:  I've read that the inspiration from the visual landscape, legends and lore of where you live has played an important part in your work.  Can you explain where you live and how it has influenced you as an artist?

Julia:   I am lucky enough to live close to the sea in the beautiful County of Cornwall (UK). On the South West Peninsula you are never more than 16 miles from the coast...which for me, is absolute heaven!

Eventide

I moved here about 16 years ago and fell in love with the Cornish coastline, as many people do!  Cornwall is a place steeped in myth and legend, from mermaids, faeries and giants, to numerous Arthurian stories. I recall the day I realized that I lived right by the shores of the famous 'lost land of Lyonesse', from the tales of Tristan and Isolde; and I knew then that I had to illustrate these captivating legends.  They constantly tug on my heart strings.

A few of my earlier works are representative of that, but as my style has improved and changed. They are no longer online to view, but I still intend to capture those tales on paper. 

I spent 8 years living in Penzance, in a wonderful Victorian town house with distant views of the magical 'St Michael's Mount'. A stunning medieval castle on a tiny island just off the village of Marazion. Looking at something like that each day from my art studio window seat has carved a place in my heart which now forms the basis of much of my artistic inspiration.

Living in Cornwall has deeply inspired my creative muse in many ways, and I have also created a number of artworks based on my memories of childhood stories from Enid Blyton's 'Famous Five' and Susan Cooper's 'The Dark is Rising' series'.  These illustrations aim to capture the emotion and adventure of secret and magical places, where children can run free with bottles of ginger beer, and solve exciting mysteries!
 
'Storybook Cornwall' is a series based on my own photographs of places with a story to tell.

For much more information on 'my Cornwall', and many of the myths and legends I love, you can visit my blog page.

MBS:  That sounds absolutely magical!  Is there a particular favorite myth or legend from the area that has inspired you?

Julia:  It really is magical...every time I go for a walk I am reminded of the reasons why I love it here. I am constantly drawn back to the Arthurian legends... probably because I can stand on the windswept cliffs and look out towards the Scilly Isles, picturing the stretch of land that supposedly once connected them to Cornish shores. Lyonesse, the home of Tristan, was later apparently wiped out by a huge flood. The Atlantis myth has also been linked to this area because of the similarities.

Many tales tell of Cornish fishermen out in their boats, hearing mysterious ghostly church bells ringing out at sea and they say that they have looked down and seen what appeared to be buildings beneath the waves.

The mermaid of Zennor is another one I already have the muse working on ideas for. An ancient mermaid tale set in the tiny coastal village of Zennor, not more than half an hour or so from here. This too has historical references, with a rather curious mermaid carving on an old church pew found in Zennor Church.  Many of my Cornish illustrations echo the folk tales and stories that inspire me, although with those I prefer the picture to tell it's own tale...

I also enjoy photography, and while I'm not trained or a professional in any capacity I have a real love of beautiful photographs. I do a lot of paintings based on my own photographs because I simply wouldn't have time to sketch or paint the locations while I'm there. My husband and I do a lot of walking on the beaches and around the countryside, so it's nice to be able to capture an image with all the magical, fairytale atmosphere within in, then take it back to the studio to turn into a painting.

Riven Tide

My Flickr account houses a vast number of my favourite photographs...some of which have become paintings.  For example... 'Riven Tide' is inspired by one of my favourite Pre-Raphaelite paintings by J.W.Waterhouse, 'Miranda the Tempest'. It is based on photographs I took of a nearby cove that has always reminded me of the Waterhouse painting. In 1588 the Spanish Armada was first sighted on this stretch of coast, the beacons were lit and the alarm was raised. It is an era that fascinates me, so I simply had to paint a picture that hinted at such a historic event, happening right on my own doorstep!

Of course, it wouldn't be complete without the wind chimes and wall hangings I make from driftwood found on these beaches too.  I don't find a great deal unfortunately, so whatever is in my Etsy shop is pretty much all there is until I find a load more to work with. Drilling and gluing driftwood is quite therapeutic really.  It helps keep me connected to the sea, which is my biggest love :)

MBS:  What is a typical work day for you? Do you keep a regular schedule to work on your artwork, or are you less scheduled about it?


Julia:  I do not have a typical work day at the moment, as I have recently begun working a 'day job' once more. But prior to that I would generally have a list with numerous commissions or business/ art related activities that needed completing, and I'd allow my muse to decide which ones got done first. It has to be fun after all...or what is the point? :)

While it is important to keep paperwork up to date and get orders posted quickly, you really have to be flexible when it comes to creating. If I wake up with my muse leaping about excitedly in my head, then that ought to be the first thing I attend to. Later in the day when I have less creative energy is the time for invoices and packing tape.

MBS:  Do you sell your work online?  What has your online experience been like?

Julia:  I have been selling my work online for a few years now and I have found it to be a lot of fun. Through the usual avenues of Twitter, Facebook and Etsy, where I have made many new friends who are both fellow arts and crafters, and customers alike.  I have also tried a few other shopping sites which have not quite stood the test of time.

White Tara

Overall it's a lot of work and anyone joining a site like Etsy thinking that 'if you build it they will come', may be in for a surprise as it takes a great deal of self promotion and effort to make it financially worthwhile.  Over the years I have gathered a number of loyal customers and 'fans', if I can call them that, while building my online presence the best I can with my website and Facebook page, etc. I am truly grateful to each and every one of them. Nothing makes me happier than when I receive an email from a new person who tells me how much they love a particular painting of mine because it reminds them of a place they used to live...a connection they have to a spiritual deity, or however it resonates with them. That heartwarming connection is what really makes everything worthwhile.

Often when I am commissioned to do a painting I will pick up on an idea for a theme, or a particular aspect such as a feather, animal, or a particular type of flower, etc, only to discover that it already has great meaning or significance to the customer. It makes the painting so much more personal for them, and that is very important to me. All my paintings have a symbolic reference to the subject. Whether it's connected to myself or a customer.  I also love the fact that my spiritual/psychic side comes into play even while creating artwork.

MBS:   What are you currently working on?

Julia:  I currently have a number of projects floating about in my head - as always!

My new work will be based heavily on the Pre-Raphaelite style, as it is what first drew me to art as a child.  While I have always been influenced by it, I have long since wanted to move more in that direction with my own work.

I have a new painting of the Norse Goddess Freyja in the pipeline, quite different to my previous one, which is probably one of my favourite paintings to date. (It is also featured in the 2013 Earth Pathways Desk Diary for those in the UK)

And I am working on some sketches to illustrate 'The Mermaid Of Zennor' tale I mentioned earlier. I would very much like to perhaps turn that into an illustrated book, re-written by myself, but we shall see! :)

Aside from the personal work, I have commission work in various forms...from book illustrations, to website banners.

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

Julia:  The best advice I could give in the current economical climate, and indeed beyond that, is to paint because you love it!  Draw...paint...be creative...try whatever your muse inspires you to try. Always enjoy what you do, and if you aren't enjoying it, do something else.

The most successful people I know, whether they are artists, jewellery designers or bakers, are successful because of the love & beautiful energy they infuse into their work. 

Take the time to learn how to meditate...then work when your muse calls.

Although saying that, a few business skills wouldn't go amiss either - for when the customers start banging your door down!  :)

thank you Julia!

Links to Julia's work:

http://www.etsy.com/shop/Madeofearthandsea  Etsy shop

http://juliaguthrie.co.uk/   website

http://juliaguthrie.blogspot.co.uk/  Blog - to keep up with my life & inspirations!

http://www.facebook.com/Juliaguthrieart  Facebook page

http://www.flickr.com/photos/juliaguthrie/ Flickr 

Email : juliaguthrie@hotmail.co.uk

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


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Mind Body Spirit Artist Series: Lori Field

I first became introduced to Lori Field and her enchanting world of art around 13 or 14 years ago.  Her work was part of an artists' studio tour that the town of Montclair, New Jersey use to host annually.  There were many homes and studios that were scheduled to be open that day, but I had been told under good authority that Lori's work in particular was not to be missed.  My source was correct as usual. Her work stood head and shoulders above the rest, and over the ensuing years I would inevitably cross paths with Lori over and over through various groups and events.  Every time her work would pop into my field of vision, it would have grown again, becoming more and more accomplished as she gained her full stride as an artist.  Lori's work is now exhibited all over the world and has been used in many publications.  Her facility with the mediums she chooses to use combined with the characters she creates has produced a volume of work that truly does embody the phrase, 'je ne sais quoi'.  I'm very happy and appreciative that she agreed to be interviewed for the Mind Body Spirit Odyssey.  Thank you Lori! 

                                                                                                                ~ diane fergurson

Beany and Cecil in the Garden of Earthly Delights

MBS: Can you tell us a little bit about your background. How you got started in art?

Lori: I grew up just outside of NYC. I attended art school in the fine arts program at SUNY Purchase for one year. This is my only formal educational background in art other than taking courses over the years at various schools in NYC during the twenty years I lived there after leaving school (printmaking, jewelry design, textile design, fashion illustration). For the first few years I did no art at all supporting myself as a bartender and cocktail waitress at restaurants and comedy nightclubs around the city. While still working nights I put together a textile design portfolio and got a job designing children's textile and lace and embroidery (designed for lingerie and home furnishings) for a company I'd work for for the next ten years both on staff and freelance later on. I never went back to art school to get a degree. While at this company, I put together an illustration portfolio and began to get freelance work in that field. I designed book covers, did editorial work, some album covers etc. for the eight or so years I did illustration. This overlapped with my textile design job, where I began to take on the role of art director after awhile. 

During this time I married, had a family, and moved to the burbs. In 1996, after a series of life-altering events, I began the work that would be my re-introduction to the fine art world. I started out doing collage work while my third child was an infant - I made one every day while she slept in her portable car seat. I began to submit them to juried shows and very soon afterwards had my first invitation to have a solo show at the Pierro Gallery in South Orange, New Jersey. I have never stopped showing since. Life begins at 40 is most definitely true when it comes to my art career.

Snakes and Snails and Puppy Dog Tails

MBS:  I'm finding that sentiment true with a lot of artists I talk to.  Being over 40 definitely alters a person's perspective.  What insights as an artist do you find that you have had over the age 40 that you did not have before?

Lori:  When I think about the rebirth of my fine art career after the age of 40 I keep coming up with the phrase 'I'm dancing as fast as I can....' I think that once I got started doing what I loved, and no longer trying to have an art career that didn't express my true voice I just attacked the whole process with a hunger I didn't know I had inside of me. The fact that I had three still young children whose lives and care I had to incorporate into my own was daunting. I think that the main insight I had was that being fulfilled as an artist would make me more fulfilled in every aspect of my life, including being a parent. When I was younger, procrastinating about what I wanted to 'do with my life' seemed less problematic. Once I began, as an older person, I just couldn't believe what I'd been missing all those years I put off doing what I really was meant to do.

MBS:  I remember that time period, when you started exhibiting in a really big way.  There are several aspects of your work in particular that have always interested me.  First, the mediums that you choose to use and in addition, how you choose to use them. Also your subject matter. As far as mediums, what do you use in your work?

Lori:  I have been concentrating on either archaic art materials, those that have fallen out of use for centuries until a recent revival of interest, and materials that are not usually considered art materials like slate chalkboards, embroidery thread etc. I like the idea of putting a contemporary spin on an ancient or incongruous material. The mediums I've been using the most in recent years are encaustic painting combined with colored pencil drawing or silverpoint drawing. I have a detailed description of the processes I use for both mediums on my website.

Purgatory

MBS: What sizes do you usually work in?  Your artwork seems very labor intensive.  How much time to you normally devote to a particular piece?

Lori:  The encaustic work becomes formally difficult if I go over 36" in any dimension. I have done one 48" piece but since a part of my process involves pouring molten wax over the piece, it isn't practical at that size. I'm getting some 12" square and 16" square mixed media and encaustic paintings ready for a solo show in Nashville this September. The 111 silverpoint drawings I am getting ready for my next solo exhibition in the fall in NYC range in size from teeny tiny 7"h x 5"w up to 50"square ones. The pieces vary in the time it takes to prepare them depending on medium or complexity. I also don't always work in a linear way from start to finish on an encaustic piece. Sometimes I'll spend weeks doing the drawings and then weeks more working on the backgrounds. Then more weeks adhering the drawings to the backgrounds and pouring and scraping to finalized the piece. In general the encaustic work and the silverpoint work are equally labor intensive, it's just different in that the process for the encaustic work is so complex and the silverpoint is comparatively simple, although in many cases takes as long to finish the detailed drawings. The largest silverpoint drawings (50"square) can take up to 2 or 3 months from planning stage through final drawing.

Be Careful What You Wish For

MBS:   You often refer to your love of drawing as "obsessive" and that it is a very important component to your work.  Has that always been the case, or did that passion for drawing grow more intense as you got older?  Have you figured out why?

Lori:  Drawing has always been a passion. Obsessive artwork has always been my favorite, the more obsessive the better. I think it is connected to the subconscious somehow, an underlying passion that goes unrecognized unless you tap into it , and then there's no stopping it. I go into a trance when I'm drawing, especially with silverpoint because you can't really erase. It lends itself to obsessive detail and to letting your mind take you places while you render the center of a protea flower or the lace jabot on a dandy's ensemble. A lot of outsider art that I admire is obsessive, and the obsession is almost the point with those artists, rather than the art making itself. It is not meant as artmaking, but as a purging of the mind almost. While I am conscious of art making, I am also indulging myself with mark making to get out feelings, to express inner thoughts, to tell a story, an obsessive narrative. The act of drawing becomes a surprising necessity. The compulsive, accumulative quality of much of my drawing work is deeply satisfying.

I'm Just Wild About Saffron

MBS:  Yes, obsession is definitely a huge component of outsider art particularly because the artists
are so totally taken over with transcendent states of consciousness when they create (and often when they don't create) - which is much different then just being in a creative "zone" that most artists (hope) they get into when they make art. Your drawings, the characters you create and their worlds are probably really a form of automatic writing. Any thoughts about that?

Lori:  Yes, I guess it is a form of 'automatic writing' in a sense, or stream of consciousness drawing. First, before I ever start to draw I sift through piles and piles of references I've gathered for years. These consist of heads, bodies, hats, flowers, tattoo books, medical illustrations, poems and quotations, animal imagery, antique acupuncture manuals, lives of the saints (with pictures), Hindu paintings, etc. etc. etc. Only after I've done a very intuitive process of separating out the imagery that is speaking to me for that piece do I then begin to compose a figure that will be what I draw. So, that is a process of using my subconscious as the medium in a spiritual, deeply connected way. 

Homeward Bound

MBS:  Years ago I saw you finishing up a painting titled "Mother From Another Planet".  I had an immediate connection to it and knew at that moment that there was a much, much deeper element to your work then just the application of encaustic medium and drawing "really cool looking" characters.  As your work has progressed, I feel that this component has only become stronger.  How does spirituality play a role in your artwork and for you as an artist?

Lori:  Spirituality plays an enormous part in my art practice. Drawing is my drug of choice and as I've said, when really in the drawing state of mind I go into a trance. I listen to the news, and podcasts covering world events all day while I work, plus some podcasts about psychology, stand up comedians, science, art etc. I am constantly processing the world in my head and experiencing a reaction to the things I hear. Often a piece will be about something story that has struck me in a very deep, elemental, human way - I respond with the imagery. My work is primarily symbolism, the symbols being my own glossary of images that stand in for human feelings, foibles and relationships to the unknown. Drawing this way is the closest I come to spirituality, it is my spirituality.

Mr. Softee

MBS:  Of the work you create - the characters, figures, highly imaginative landscaped worlds - is there a common core theme or idea that runs through everything?   If so, what is it?  In addition, do you have one image or character in particular that you feel a special connection to?

Lori:  The common themes that run through my work are probably the idea of giving a symbolic voice to the 'other' in our society and expressing the concept of the vulnerability of the human condition. I have an affinity for all of my characters, in fact, they are a recurring cast of characters. Sometimes you will see the same head on a different body, or one character reappear in a different landscape or be realized in a different medium. I am sort of inventing my own mythology of little gods and goddesses, lesser beings, sidekicks, and supporting characters. There is one little guy who I call Mr. Softee, who has appeared about a dozen times in various pieces, from collage to drawing to encaustic. I am going to redraw him in silverpoint very soon.
 
MBS:   What is a typical work day like for you?

Lori:  Typical work day involves office hours, correspondence, searching for references, preparing backgrounds, making enlargements and reductions and planning out actually drawings in the morning say from 9-12 noon. Then drawing straight through until dinner time, break for dinner, then back in the studio. This varies depending on family stuff, but since two of my kids are off at school and my remaining child is in high school, not a lot of 'mom' duties to break up the day like there used to be. When I'm getting ready for a show or shows, as I am now, my day is longer, and I work well past midnight (sometimes to 3 or 4 am) in the studio. I like to percolate ideas and plan new drawings between 2 and 3 am. Whenever I do go to sleep, I always read a bit before turning off the light and finally closing my eyes.

Teeny Tiny and The Witch Woman

MBS:  I've noticed you've had an online presence for quite a long time, and that's something that
 until recently a lot artists have been very hesitant to do.  How has your online experience
 benefited you as an artist?

Lori:   An online presence is absolutely essential these days. My daughter is graduating from Pratt next month and the school actually requires you to establish a website as part of the curriculum and graduation requirements. My website has helped me immensely in being able to approach galleries and collectors both. I don't update it as much as I should but aside from that little bit of procrastination on my part, it's an invaluable tool. I even have a link on the front page to my NYC gallery for anyone perusing who wants to inquire about a work.

Paradise Lost

MBS: Where is your work available and can you share more details with us about your upcoming shows?

Lori:   My work is available through my primary dealer in New York City, Claire Oliver Gallery. I also have had exhibitions and have a working project relationship with Cumberland Gallery in Nashville, TN in Berlin, Germany with Janine Bean Gallery, and in Brussels, Belgium with Galerie d'YS .

I am working on a couple of exhibitions now that are coming up this fall. In September in Nashville, I will have an exhibition of new encaustic work at Cumberland Gallery and In October in NYC I will have an exhibition of my silverpoint drawings at Claire Oliver Gallery.

MBS: What advice do you have to anyone who wishes to (seriously) pursue an 
artistic path?  (besides not 
waiting until you are 40!  lol)
 
Lori:  My advice, short, sweet, and sincere (and somewhat corny but true)....Do what you love and the rest will follow. It is never too late to explore your creative self and pursue a career in the arts (one aspect of my life did indeed begin at 40), it becomes harder as you get older to gain a foothold, but it's not impossible. Don't be an art snob, seek out and be open to and inspired by a variety of other people's art.

Thank you Lori!

Lori's work can be found online at her website
Photo courtesy of the artist and Claire Oliver Gallery, NYC



Lori also did a series of YouTube videos showing part of process she uses in her artwork.
There are 3 parts.  Below is part 1.  Enjoy!




Part 2: http://www.youtube.com/watch?v=UxTbIMUB3As

Part 3: http://www.youtube.com/watch?v=lxX2L-J7qpw




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


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