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.

         

          Follow the daily updates of the Mind Body Spirit Marketplace 

on Facebook

and 

Pinterest

Mind Body Spirit Artist Series - Christina Saj

Artists express their spiritual and religious beliefs through their work in a number of 

ways, but probably one of the oldest and most traditional is through the use of religious icons.  

Christina Saj is an established artist who not only carries forth this 

sacred tradition through her work, but she is also someone very much of her

 own time - giving her iconic art a contemporary spin as well.  

I hope you will find her interview as informative and interesting as I did!

                                                                                                        ~ diane fergurson

Birth of an Angel, mixed media

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

Christina:  Painting is my destiny. I have always enjoyed making things and had a bent for it. I formally declared my intention in first grade having entered a poster contest about "what I want to be when I grow up". Even then, I was certain I wanted to be an artist. Our entries were hung in the window of a local department store and  I won first place. It was the first acknowledgement of my interest and the sense that I had talent. As a kid, I took elective classes whenever I could and was determined to start working in oils by high school. I explored a a variety of media, but was always drawn to painting.
 
My ethnic background is Ukrainian and I was lucky enough to know several working artists growing up and it seemed to me to be a viable occupation. Although a good student, by the time I went to college I was looking forward to being able to focus more on artistic pursuits. I went on to receive a BA in Fine Art from Sarah Lawrence College, followed immediately by an MFA from Bard College. While still in college I had an apprenticeship with a noted Ukrainian Iconographer Petro Cholodny the Younger in hopes of mastering egg tempera and the precepts of icon painting. These lessons stayed with me. Though I went on to pursue contemporary renderings my work is deeply rooted in the familiar tradition which had become part of my vocabulary. 

MBS:  It's interesting that you said you had the opportunity to be around working artists growing up.  That can make such a huge difference in the choices one makes to pursue an artistic life.  What are some of your thoughts about that? What did you take away from that experience?

Christina:  Being around working artists makes it real, viable and possible to imagine a life that is built around the serious pursuit of creative efforts.  It's not about that imagined, romanticized ideal of what we think it should look like. They were normal people, not all rich or famous, but contributing and realizing their talents.  I was also lucky to be part of a community that respected artists and supported them. Artists were just part of the landscape with the gamut of all people who make up the community at large -- it was just another job description.

I got to see them function, and saw the mechanics, which were often messy, all encompassing and not necessarily idyllic. Artists create in the middle of it all... it doesn't stop or start like a 9-5, its always there.  It can be all consuming and keep you up at night or if you're blocked keep you indefinitely at bay. You have to have the ability to make work regardless of the resources, for making good art and good money don't always follow, though they can. By necessity artists often had creative solutions to issues of "employment" or economic stability. I saw that artists have to have a glimmer of hope an idealism I suppose. But most of all you learned that artists can make magic anywhere, without pristine beautiful studios and all the perfect trappings that one imagines in the ivory tower. In their little corner of the world, sparks can fly. Making good art is about ideas, mastering skills, and practice! practice! practice!  Being an artist isn't about where you live, having time, or who your friends are (though a community  is necessary for support and dialogue). It's about doing it every day, expanding on ideas -- and hopefully making things that resonate and have meaning.
 
I accept that creating is part of my life and always will be, in one form or another. I trust my gut. I realized early, that I had a vision which was compelling and felt worthy of focus and letting go of expectations to make room to do serious work.  Twenty years in, I still just try to embrace the chaos and savor the joy of the creative act itself. I try to channel it so that I can be productive, content and continue to grow while managing all the pitfalls and demands of a full life. 

Archangel Gabriel, egg tempra

MBS:  For those who may not be familiar with it, what is Iconic Art?   

Christina:  Byzantine icons are sacred paintings of holy figures often depicting Jesus, Mary, saints, angels, or biblical scenes. They are devotional paintings used in prayer and often adorning eastern catholic and orthodox churches. They are rich with symbolism and there is a long tradition of rigid precepts making they decipherable to anyone who has been exposed to their vocabulary. Figures were always depicted the same way and inscribed with initials, to make them recognizable. Their purpose was didactic, as they were used in the early church to illustrate the narratives of the bible. The general population, then often illiterate, could remember the stories as they explored the images painted throughout the walls and ceilings of the churches. Small panel icons were used in personal devotion as a means communing with God.

MBS:  What do you find about Iconography/Iconic Art that is so compelling or interesting that you have made it the focal point of so much of your work?
 
Christina:  I adore abstraction. I grew up with a deep appreciation for the modernists and relate to their breakthroughs in non traditional representation. But, I realized that often it helps to have a point of entry for a painting... and in the end as an artist I need it to communicate something fairly specific. It seemed only natural to look to stories. Mythology and folklore with their mystical qualities seemed like rich areas to explore that lent themselves to bright color and fantastic depictions and these are areas I still explore. Icons were a natural for me because they were part of my experience. They have a rigid structure for telling stories which I could reinvent and make my own and yet work within the confines of a vocabulary people could understand. This offered another layer of appreciation and meaning, for in an icon it's all about symbolism.
 
There is also actually a tight correlation between abstraction and the way figures are represented in icons. Because the figures in icons are not of this world, they weren't held to the same expectations. Perspective was distorted and there was a sense that things were not supposed to be of this world. Finally, the way they were actually executed was by building up flat planes of color which meant that the approach was really based on the principles explored by the modernists, with whom I felt a kindred spirit.
 
I also think that in order to be good at something, you have to really know it, study it, and keep at it. Today art is full of casual appropriation. We live in a world where it's easy to cut and past "loaded" images, one that have ideas associated with them...but more often than not artists are not necessarily versed in tradition and technique. It's easy to make something look clean and finished without lifting a brush or knowing how to physically MAKE something.

Artists traditionally make things. In this digital age, I feel even more compelled to do so. I feel it is my obligation to know my tactile craft, to practice expertise and continue a tradition so it is not entirely lost.  Though as is evidenced by my work, I believe in evolution and change to reflect the age you live in. But significant contributions don't usually just happen. You work at them. 

Guardian Angel, mixed media on panel

MBS:  Oh I think that's a terrific point about a lot of artists' not actually having or utilizing the physical ability to MAKE something.  And when they do, it tends to be craft oriented, not really art.  Not that there is anything wrong with crafting, but still...  Speaking of making things, can you tell us a little bit about your process when you make your artwork?  For example what materials do you use?  What sizes do you work in etc?

 Christina:  In learning to paint icons I studied egg tempera. When I do more traditional pieces for devotional use, in egg tempera I build my own boards, make my own gesso, lay gold leaf and make my own paint from pure pigments. So it's involved and relatively speaking slow. It can take a week or two to prepare the substrates alone. Egg tempera is then built up. It's a fairly thin paint, opacity depends entirely on the individual pigment, so often a fair amount of layering is required. Because you make your own paints, you can mix them differently than commercial pigments and there are specific steps in preparing grounds for gilding.
 
As citizen of the 21st century and with a natural curiosity about materials, I have worked on glass, metal, wood -- and enjoy finding interesting ways to arrive at traditional elements such as gilded surfaces through use of a variety of different metallic surfaces. I started working in oils in high school and have worked on a wide range of surfaces to achieve different effect. My scale is often dictated by project itself. When working on an installation in a worship space, the needs are usually for large scale pieces. I've often found creative ways to provide work which is developed with a specific space in mind. Recent projects have often been driven by a request or invitation to a particular venue, but I continue to explore things of keen interest to me often initially on a small scale which I really enjoy. There is something delicious about working on an intimate and personal scale.
 
Although I don't want to digress, I do recognize that with the commercialization of prefab art supplies there is a tendency to go with easy out of the box... one of those. I do see that the proliferation of "craft" materials with projects in mind and defined end goals really don't teach people how to be truly creative or to think independently. So much of being an artist is about finding a voice and developing basic skills which lead you toward a vision. The time it takes to master these things affords you time to explore and think and really understand what you are doing. It's not just the end product that is the driver, though making gesso and doing preparatory work such as building boards isn't always compelling work there is something about the act of preparing for the mark making which makes the act more sacred.

St. George and the Dragon, egg tempra

MBS:  What are you currently working on?  Do you work in a series?  Any particular shows or
commissions on the horizon?
  
Christina:  I tend to work on a number of things at once... bouncing in and out between several pieces. I have been exploring some new media recently. So I've been doing some experimental works that have really just afforded me a place to just play. With 20 years in, a recognizable style, and a personal vocabulary it's easy to settle in. I've done half a dozen solo shows out of state in the last few years and so I've decided to consciously slow down and to stretch and allow myself room to expand my repertoire and try new things. I am always intrigued with reflective surfaces and have been looking at different ways to achieve that. I have also been allowing myself to do a lot of small studies which stand on their own rather than building towards a larger work. I often do work in series. The parameters of which can be determined by any one of a number of variables, scale, media, shape and/or subject.
 
I show in traditional gallery environments, but also often in liturgical spaces. I have been lucky to have requests from venues to exhibit bodies of work and or to do installations. When in religious venues, they are often tied to the liturgical calendar. I am just getting started on a series on the stations of the cross. I have had repeated requests and am now ready to tackle it. It will be featured next spring. The work surrounding icons is built on research an study of prototypes. I want my reinventions to come from an informed and carefully considered position. I keep books of notes with areas I have intentions to explore, and  sometimes things need to germinate so you can build up to them. I also find ideas come when I'm in the middle of series and working on a project and get ideas I can't get to till I'm ready for the next one.
 
I have been fortunate that in the last couple of years I've had museums approaching me for inclusion in curated exhibits. This winter there will be a show entitled "Sacred Voices" at The Canton Museum in Ohio which shall feature contemporary Christian, Jewish, and Muslim artists who are seeking to express faith through their art. It being done in conjunction with another exhibit at the museum entitled, Illuminating the Word: The St. John's Bible.

Mother of the Sign, oil on panel

MBS:  Since we originally met, you have children.  How has motherhood impacted your life as an artist? Also, what is a typical work day like for you?

Christina:  Motherhood is a blessing, but also a challenge if you want to do serious independent work. I had a well defined identity as an artist before I had kids. This meant I was actively involved in it when they showed up and couldn't imagine my life any other way. I didn't question my commitment at that point, but I certainly faced the challenges of all working women. Children make your life rich and full, provide insights, joy and shift our perspective as well as providing lots of distraction. They need and want attention. But I try to set realistic goals and work hard.

Right after my daughter was born I was working for a semester as an Artist in Residence at New Brunswick Theological Seminary at Rutgers University and did a temporary 300 square foot installation before she was 8 months old. As a baby she often came with me to the studio and the project was flexible enough that I could do it. Once they start walking it's a different matter. Then you need help. I feel lucky that I can make my own schedule and most of the time be able to be available when my kids need me and found help for when I had to really focus. There are definitely days I struggle, am tired and feel like balance is a real challenge. I try to work around my family's needs, but I consciously carve out time to do projects that are important to me. Exhibition schedules being what they are, we often plan exhibitions long in advance. When my son was born I had several out of state shows that had been scheduled long before his arrival. So I tried to just pace myself.

The early years are a sleepless blurr, but prolific enough. I did six solo shows in the last three years, so where there is a will there is a way. Since the they arrived I have carved out time that I can work every day, hiring someone to take care of them at least for a few hours a day so I could work. I believe in a disciplined approach. I was never one for hanging around waiting for inspiration. This served me well once I had kids. Generally I work in the early part of the day. My daughter is in school now, so I revert to mom most afternoons revisiting my studio and anything left over from earlier in the day in the evening.
 
The prism of youth invites us to rediscover the world and certainly, I have been inspired to do work which will have resonance and meaning for them. I have several pet projects I want to get to which certainly find their roots in my experiences with the kids, still working on fitting it all in, but taking notes for future reference.

Protector

MBS: I see that you are selling some of your work online now.  How has the whole online experience been for you, not just in terms of sales, but networking etc?

Christina:  The web has leveled the playing field for artists. It is an amazing resource that can serve you well and the whole world is your audience.  I was an early adopter. I have had a website since 1996. There is no question that it has afforded me visibility, increased exposure, and many opportunities which might not have materialized otherwise. It's a great way to stay in touch with other artists, dealers, collectors and just plain old art appreciators.... while pursuing this isolating work in the studio. Selling online means your work is readily available to the general population.  And I think that the tools available today are frankly amazing. It has changed the way we communicate, and given artists, especially folks getting started big advantages. I have forged new relationships and stayed connected because of the net. I certainly try to use them but it's important to remember they are just tools. The message is still key. If you are looking for an audience there is no question that there is one out there... so I think artists should embrace the web not be afraid of it.
 
MBS:  Any advice for those who wish to (seriously) pursue an artistic path?

Christina:  Make the best art you can, push yourself, stick to your guns and stay focused. Relish the creative act itself. That is where the magic is and what it's about at the core.
To "make it" in any sense, you have to work hard, you have to love it, you have to develop a thick skin and not get discouraged. 
 

 thank you Christina!

Christina Saj is a painter who lives and works in NJ. She holds a BA from Sarah Lawrence and an MFA from Bard College. Early in her career, she mastered the technique of Byzantine Icon painting.  Her contemporary interpretations of icons have been widely exhibited including such venues as the American Bible Society, Union Theological Seminary, The Ukrainian Museum in New York, Museum of Cultural Heritage, Kiev Ukraine, the American Embassy in Qatar as well as at the White House. Her works reside in private and museum collections in the US and abroad.  

You can contact Christina at:  chryssa@artonline.net or visit her shop on Etsy. 
Her website is at:  www.christinasaj.com

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

         

          Follow the daily updates of the Mind Body Spirit Marketplace 
on Facebook
and 
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Mind Body Spirit Artist Series: Joanne Miller Rafferty

I met Joanne Miller Rafferty about 12 years ago at the New Jersey Center for Visual Arts.  We both had an interest in learning to make handmade paper to incorporate into our mixed media artwork.  At the time I had no idea the extent of Joanne's art career, but I remember my friend who was also taking the class was simply astounded that an artist of Joanne's caliber and experience was working right along with us... up to her elbows in paper slury! As you'll see from my interview, Joanne Miller Rafferty has been creating fine art for most of her life.  She has won just about every award and recognition there is.  Her work is in thousands of private and corporate collections.  Television and movies have incorporated her pieces into their set designs.  Joanne sells her original pieces and edition gilcee prints throughout the US and is represented by a number of galleries.  Since 1990, Joanne has sold over 96,000 prints worldwide.  
                                                                                                                ~ diane fergurson

Memory's Museum #5  by Joanne Miller Rafferty

MBS: You've had a long and distinguished career as an artist. Can you tell us a little about your background? How you got started as an artist?

Joanne:  I truly believe that my "background" always included art in some form. From the earliest time I can remember, I loved to draw and I loved to "make things". When I was in the fifth grade, we had to write a story about our life, and the ending to my story was "I may go to college and study art". And that's exactly what I did. I enjoyed any kind of art project thrown my way in high school and went away to a college known for their art program. After obtaining my Bachelor of Science Degree in Art Education, I became an art teacher on the elementary level, grades K to 6th. I did that for six years, and during that time, took 30 hours of graduate courses in art education, began to paint in watercolor and entered the art festival/craft circuit.
My earliest offerings then were small floral watercolors and quotations in calligraphy, that I had perfected in college. My calligraphy professor, Jeanne File, did calligraphy for the Papal offices in Rome and was a perfectionist! My watercolor professor, James Kuo, was internationally recognized and my biggest influence at that time. I won a number of awards in those outdoor shows, and my watercolors began to change into very abstracted forms. There were also landscapes in pen and ink, before beginning to incorporate acrylic into my designs. And my work started to become larger in size. I stopped teaching and started to paint and exhibit full time. I truly loved the outdoor shows and the direct contact I would have with the clients who would actually own my work. The feedback was comparable to nothing else. So different in the gallery business where the gallery owners hear all the accolades! A couple of small businesses saw me at these shows and asked for work on consignment to place in their shops, this is how my first gallery affiliation came about. The owners were always interested in art and were just opening a gallery, so we really started off together. In the next few years , I looked for new opportunities to show my work and entered a very large exhibition at Madison Square Garden. From that show, I was contacted by my first New York Gallery.

MBS: I remember one time hearing you say something about those days of making art on your "dining room table" while also teaching and being a mom. There are "so" many women who can relate to that and struggle with it all the time... especially early in their career. Many quit making art as as a result. Looking back on those days, what insights can you pass on to others who are finding themselves relegated to the "dining room table"?

Joanne:  Luckily, I had finished teaching when my son was born, and then made the transition to painting full time. I think what you are referring to is the story about my painting table (which my husband built for me) that was in the middle of our family room when my children were toddlers. It had two leaves which could be put down on the sides. I had to clear away what I was doing and put the sides down in order to have enough room for the table where we ate our dinner. I think my children grew up thinking that all mothers painted...It was always around them! As far as juggling it all, I was and still am doing what I love. You can always make time for that. I think teaching, painting and having two small children would have been a whole different story, but I was fortunate that my income was adequate enough with the shows at that time that I didn't have to also have an outside job. So my insight would be to not quit, keep doing what you love and you will find a way.

Summer Fall Winter Spring available on Zazzle

MBS: Well that sounds a lot more doable! lol
Your work has really had a such nice progression, from starting in watercolors to incorporating other mediums and elements. Many artists start with one medium and use it their entire career. What has motivated to you keep pushing and exploring?

Joanne:  I think it was just a natural progression. I like to keep in touch with other artists and am always looking to what they are doing, as well as seeing current exhibits of interest. The progression to canvas actually happened as an experiment with watercolors on canvas, just to get the general feel of working with that substrate. That is probably why I use acrylics rather than oils because the washes have a watercolor feel to them. As pieces would sell I was motivated to understand what about that piece was desirable to the viewer. I could look at the photo of the piece and pull out certain aspects of what I liked about it.

MBS: Do you have favorite materials that you like to incorporate into your pieces?

Joanne:  Favorite materials keep changing all the time. I love the look of metal leaf, and have incorporated it into my work for quite some time. That is actually how I started creating my jewelry line. There is so much you can do with variegated colors of gold and silver leaf. After doing a number of workshops in handmade papermaking, I began to add pieces to my work and that has stayed quite constant. Lately I have been adding more textural items: painted fabrics and cording, lace, iridescent particles. 

World of Wonder Poster on Zazzle

MBS:  I've noticed inspirational quotes in many of your pieces.  Is that something new or have you been doing that for awhile?

Joanne:  From the earliest time I started exhibiting my work, I have incorporated meaningful words. The placement of these thoughts evoke different responses and are artistic themselves. When I am creating a work, I have always loved the way the quotation or thought influences me. As far as the paintings themselves, my main theme has always been a horizon. Sometimes extremely abstracted, and other times, highly recognizable, I feel there is a spiritual element to the viewer anticipating what they may envision is beyond the horizon that they see on the canvas. It is a spiritual journey, and every viewer has a different outlook, a different set of values, a different set of experiences with which to imagine the journey beyond the horizon line.  The collage elements many times contain words, and I make sure they are insightful. I have created a number of the new posters on Zazzle with inspirational quotations. Art and inspiration just naturally go together. Incorporating the mind the body and the spirit as one whole is what brings the viewer into a state of understanding what the art means to them. Stated on my homepage of my website:

"The journey of one color vibrating through another and the balancing of light as more and more collage pieces are incorporated into my work makes the concept of the landscape richer, sometimes more complicated, sometimes freer, producing a sense of motion and a place for contemplation. The uncertainty is the adventure; there is a higher vision. Perhaps over the horizon line the vision becomes more clear. Sometimes it only leads to another quest, that not being the final journey. My landscapes challenge traditional boundaries and sometimes give us new ones. Not always referencing specific memories, sometimes incorporating visual shorthand, the collage elements evoke fragments and memories of a universal nature."


MBS: Do you work in a particular format? A specific size...large, small...or does it depend on the project?

Joanne:  The format depends on a number of things. A lot of the time, I like to go with a size that happens to appeal to me at the moment. Of course, if I am doing a commission, I follow the format of what the client is asking.  Usually with a commission, they have seen a number of paintings and are asking for certain colorations or a particular size. I have done a number of commissions incorporating collage pieces sent to me by the client.

Past Lives Series on Zazzle

MBS: When you are painting do you start from general idea or theme for a series, or do you find the commonality between pieces after a group of work is completed? I know artists who work both ways.

Joanne:  I find the commonality of a series usually after the pieces are completed.

MBS: For a number of years you've hosted an annual open house in your studio. From a business perspective can you talk a little bit about that. Why you do still do it? How has it effected your networking and visibility as an artist?


Joanne:  The open house in the studio began when I was doing the art festival circuit. I exhibited in many local shows, so my customers were not too far away. Many of them had called and were looking for a gift at Christmas (this was at the time when I was working in very small formats) so I opened up the studio in early December and had an early Christmas Party, with studio open for sales if desired. When I lived in Maplewood, I was on the Board of the 1978 Art Center and we incorporated an Artist Studio Tour which has been a highlight in the town ever since. People love to see where an artist creates. I have now had my Open House every year since 1973. It is mostly attended by friends and friends of friends. It's a good way to try out new ideas and offer them to those I know. The real business of my art is still handled through the galleries with which I have an affiliation.

MBS: You mentioned your gallery affiliations. Where are you represented and what is it that they carry? Is it primarily paintings or do you sell prints as well?

Joanne:  Some gallery affiliations and representations have changed over the years, but presently those in Richmond (Chasen Galleries), Scottsdale (Rima Fine Art), Lahaina, Maui (Gallerie 505), and New York (Landmark Gallery) are my direct galleries to the public. I am represented by Slaymaker Fine Art in Chicago, that sells my work to other galleries in a number of locations. The galleries only sell my original paintings on canvas and a limited number of giclee prints on canvas, published by Uphouse Fine Art Publishers in Scottsdale.

MBS: I saw that you recently opened up a store on Etsy for your jewelry line and also a shop on Zazzle for your beautiful cards and posters. It seems like you have such great representation and visibility already, what prompted you to sell online too?

Zebra Marble Brooch/Necklace on Etsy

Joanne:  They say that one of the best ways to stay in business in any economy is to diversify your income stream. I have had many posters published by Bruce McGaw in New York and Editions Limited in California in the past.. I designed some posters of my own using images from my completed paintings as well as some designs made from portions of completed paintings. I found the designing to be extremely satisfying and used the Zazzle site for my designs. My jewelry line was created a number of years ago but really limited to show openings and friends. Placing my one of a kind work on Etsy has given me a market for this creativity that I wouldn't have had otherwise.

Question 11: What is a typical work day for you? Do you keep "hours" and go to work painting like a 9-5 job? Or are you less scheduled about it?

Joanne:  I definitely do not have a typical work day. No two days are ever the same! If I have a deadline, I probably work the best. Those days I may work all day into the night. Then the next day I may do something totally different. It's nice to also not be working on a deadline, because I can take time to create something totally new.

MBS: Looking back over your career is there any advice you have for those who wish to (seriously) pursue an artistic path?

Joanne:  My only advice would be what I had stated before. You have to be serious about what you are doing and look at every opportunity for others to see your work. With the onset of social networking, there are so many opportunities out there. On Facebook alone, there are artists and galleries and groups to join. You can start a fan page for your work and have friends join that. Linkedin also has artists and artists groups.

Thank you Joanne!

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You find out more about Joanne Miller Rafferty and her work by visiting her website and also her

stores on Zazzle and Etsy.

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From our Artist Series you might also enjoy interviews with:
Laura Milnor Iverson
Emily Balivet