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 
Pinterest

 

Mind Body Spirit Artist Series - Holly Sierra

One of the things I continually find fascinating about different types of artwork, is the variety of ways that an artist can impact the life of the viewer through their use particular colors, style, imagery or inherent message.  Are you having a bad day?  Do you need to smile?  Would you like to see a body of work that will reach right down into your soul and infuse it with a jolt of positive energy that will warm your heart to the core?  Well then welcome to the vibrant, enchanting world of Holly Sierra! 
                  
                                                                                               ~ diane fergurson

Wolf Spirit

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

Holly:  As I reflect back on my childhood, I find that artistic expression was a natural outcropping of my youth. Both of my parents were artists (although entirely different from one another in style) and discussions of the arts and artist’s lives, be they ancient or present day, made up a great part of our family’s ‘everyday’! My crayons were always on hand, as was the paper, glue and scissors I used on a daily basis. I expressed myself visually, as best I could, from earliest youth, with much parental encouragement.

From within our old ‘turn of the century’ brownstone in Manhattan, one could hear the strains of Rachmaninoff’s 2nd Piano Concerto, Herb Alpert or Madame Butterfly emanating from the windows and find the bookcases crammed with fascinating tomes on all manner of art, artists and creative ethnic expressions from all around the world.

La Paloma - The Yogi Goddess of Peace

My father took me frequently in hand and we would visit the city’s great museums. Even as a small child, I was deeply touched and forever altered by the grand display I saw in these hallowed halls. I sought to create drawings that would touch people’s souls and recreate what I had experienced in face of such powerful visual offerings.

In particular, I developed a fondness for the Ancient Egyptians. I admired their amazing art, but more than that, I admired their passion for life, their quest for immortality and their incredible penchant, as a culture, for recording the details of everyday life. This early love has stayed with me and I feel it often makes itself known in the slightly stylized paintings of the Goddesses I create today!

My environment and surroundings play a very key role in my artistic well-being. Though we lived in Manhattan when I was a child, we also enjoyed weekends at the cabin my dad built in upstate NY.  I recall being happiest in this countryside setting where the air was filled with bird’s songs and the gentle hum of bees and insects at their work. I wiled away the hours in the woods and meadows, examining all the magic of the natural world. I marveled at the wildflowers, animals, birds, stones, grasses, fungi and lichen ~ my very own decorative natural world! As I sketched by a stonewall or the garden stile, I could hear my parent’s voices as they worked in the garden or from the tool shed off in the distance and I found this very comforting. I also recall my mother’s terrible dismay whenever we were due to return to our apartment in Manhattan! Her love of the ‘countryside’ must have left its mark on me, for I still feel anxiety when I am too long in a city setting.
I have lived in many different places since my youth but
 my present home in Vermont brings back 
all those childhood delights with its pastoral atmosphere.
I believe that the combination of my parent’s love of art, the city’s museums and the beauty of nature I found at our country cottage have forever nurtured my artistic soul. It was only natural then, that as a young person, I sought a Fine Art school in lieu of college and have enjoyed working and living as an artist ever since.

The Celtic Green Man

MBS:  Did you study illustration in art school?  How did your work evolve into what you are creating now?

Holly:  A good deal of the knowledge I use today in creating my artwork, I must credit to my high school art teachers. They really provided a wonderful groundwork upon which I flourished and grew as an artist.  And later, there were many fascinating experiences in college at SUNY Purchase Fine Arts, too. I experimented with paper-making, molds, oil paints and acrylics. But I recall, I was beginning to feel a bit conflicted as my artistic path seemed miles away from the other students. They were more interested in traditional landscape and still life, while I was infatuated with the likes of Gustav Klimt, Adrienne Segur, Edouard Vuillard and decorative, mystical subject matter.

At the same time, my father’s input influenced me greatly. He worked all his life as an ‘Art Rep’ in the Commercial Art Business in New York City. I was very inspired by his stories and enamored of the art he sold to various prestigious clients. Robert Heindel is a prime example of an illustrator my father represented, whose paintings were mystical, moody and atmospheric. I recall once he added a tiny dried frog he’d found to a painting he was working on… It reminded me there should be no boundaries in imagination. Eventually, Heindel’s journey took him from illustration to fine art where he achieved great honors; I was much impressed!

Honey Bee Cottage An Antique Bee Skep

Most of my early painting was done in oils. I would often drive to some scenic spot and set up an easel and begin work. Later, during the years when I lived in Asia, I focused on portrait painting. And then, upon my return to America, I became a Children’s Book Illustrator and this allowed me to work at home and raise my children while still being creative, although much of the work was educational in nature. The above-mentioned forays into the art-world didn’t culminate in an end result but they certainly helped immeasurably with my basic training.

I believe a tiny shop near my home called Uriah Heep, in Chappaqua NY held the key and planted some of the first visual seeds for my future Mystical, Magical work. It was one of the early Asian Buddha gift shops to sprout up in our vicinity. I began to see that what I loved. The shop was filled with exotic sculptures, amulets, fabric patterns, vibrant colors and the ‘stuff’ of legends and mythology. Here in this little haven, I came face to face with a variety of Goddesses, the Green Man, Buddha statues and Fairies galore! I found my passions staring back at me! I was reminded of my youth and my love of the artifacts in the museum. Another inspiration was the discovery of an old Italian Tarot Card deck in my parent’s attic! The possibility of illustrating of a Tarot Deck became a long-term goal at that point.

In my mind, I began to borrow from a myriad of cultures to create my first Goddess series. I wanted to express the magic I felt when I stood in the exquisite Alhambra for the first time, or when I scurried across the English Moors or explored the Po Lin Monastery in Hong Kong. The aspect that thwarted me in the beginning was how to define myself as an artist if my interests were so varied. I loved Southwestern Art, Asian Art, Celtic Art and Mystical Art. In the end, I decided to embrace ALL that I loved and make it my own!

The Divine Child

MBS:  I think that's interesting because for many artists it really is the trial and error of many different types of materials and experiences before it all culminates into what we love to do!  And I've also noticed that for many female artists in particular, it happens after they grow a bit older and have children of their own.  Do you have any thoughts about that?

Holly:  I find ‘trail and error’ a necessity in the art process! As a teen, I must have drawn over a thousand human faces. Again and again, I tried various techniques, fiddled with different lighting and features. During the time we experiment as budding artists we fine-tune our craft. Most recently the requirement of having to complete 78 paintings for The Chrysalis Tarot deck I’m creating has helped me to work more quickly, precisely and creatively. One hopes, when working on a project due for publication, that each piece will outshine the next. This may not always occur, but consistency of content must!

I have worked in watercolors, oils, pastels, colored pencil and finally acrylics. In the end, I’ve chosen acrylic paints because they handle well, clean with water and dry quickly. As well, they allow me to paint in a layered style that is forgiving!

There are moments along the artistic path when one feels they have found their calling or niche. Those are wonderful moments! I suppose the most important aspect is to realize that we are always growing and evolving. Each goal and niche is important. As an artist, I am usually so emotionally involved with whatever piece I’m presently working on, that I will set it up by my bed after the night’s work, so that when I arise the next morning I can gaze upon it with ‘fresh’ eyes. Fresh eyes reveal what I need to alter or what is perfect as it is…

I must admit that after having my children, I was more at home in my skin and felt more confident in my painting. I was always ‘desperate’ to have kids. In my case the creation of my family was as fascinating an adventure as any of my artistic quests! At the time it all began, I was living in Tokyo and was told I could not conceive. I felt quite powerless! Soon, upon our move to Hong Kong, I found a way to adopt an infant. My eldest daughter Gabrielle was adopted from the Philippines and as I didn’t work through an agency, it took me a full year to achieve success. I ‘received’ my baby girl right away…but the legal process was time consuming. Suffice to say, I bought lots of art supplies and drew whenever I could to pass the time in the Manila Hotel. Some years later I returned to the USA and DID conceive!!! My daughter Esme was born seven years after Gabi’s adoption.

Both of my girls are artistic and creative. I have learned from them and they from me. Having children helped me relax and grow as a person and as they became more independent I became more deeply involved in my painting!

The Storyteller - A Wise Old Sage

MBS:  When I look through your work, no matter what the subject matter, all of your art and illustrations seem to me to exude a very positive and sunny outlook.  What do you attribute that to?  Is it just how your style developed, or are you trying to project or portray something in particular through your work?

Holly:  I have often been told that when my paintings are viewed altogether, the effect is similar to that of a rainbow! I don’t intend to create exceedingly colorful work individually, but in the end it seems to be my ‘signature’. I expect one’s painting style is as reflective of one’s personality as is their wardrobe, handwriting or home décor. As a child I was always the family member who attempted to make everyone happy ~ Perhaps this aspect endures still! My father was a lovely man in many ways but he was often bad tempered and my mother was a worrier! (Perhaps due to my father’s condition) Whatever the case, I was the peacemaker!

By nature, I am very optimistic and enthusiastic and given your question, I guess this quality has emerged in my artwork. All I can say is GOOD! Much of my sunny temperament and optimism covers a very emotional, sensitive nature. Left to my own devices, I’d rescue all the lobsters in the supermarket and deliver them back to the ocean’s waves, I’d free all the animals who are abused and help all the needy children, etc. It takes me a long time to forget the pain I’ve seen in life. I like to think that the gentle Goddesses, Fairies and Green Men from my paintings add a little loveliness and gentleness to the world. I find beauty in the smallest things; like moss. And I believe it’s the artist’s job, through whatever means, to reveal these small beauties to others.

The Tarot Wheel of Fortune from the Chrysalis Tarot Deck

MBS:  I was going to ask you about the The Chrysalis Tarot Deck.  How did that all come about? Can you tell us a little bit more about it?  It's a very beautiful deck...the artwork is just amazing. Were you interested in and familiar with the tarot before you embarked on creating the deck?

Holly:  As I mentioned when I was a teen I came across an old Italian Tarot deck my parents had stashed away in their attic. I was fascinated with these extraordinary cards; they were both mysterious and beautiful. I keep them, to this day, on my bedside table along with my favorite, Aquarian Tarot Deck by David Palladini. I turn a card up almost everyday!

Anyway, it was some time later, in the eighties, when I began to see beautifully done Tarot and Oracle Decks that featured full color paintings accompanying the card meanings. The earlier decks were rather more simplistic. I liked the idea that an artist could add his own flavor and take on the Tarot. I suppose at this point a seed was planted (I would have to illustrate a deck myself one day) The task was akin to illustrating one of the ‘classics’ and making it your own.

When I was 16 my friend Danny took a card-reading course with Tarot author Rolla Nordic. Danny shared each and every lesson with me. We would sit for hours in his room studying and experimenting with the cards. This began a life long passion for me. I soon discovered that many of the card’s meanings varied from deck to deck. Eventually, my own reading experiences, over time, would begin to dictate how I interpreted the cards rather than relying entirely on a particular book’s explanation. I probably have over a hundred Tarot Card decks in my collection!

One of the most memorable experiences for me came during the year before I had my baby. I had been told by doctors in the Orient that I would not be able to conceive a child, but all throughout 1994 whenever I read the Tarot cards for myself, I kept turning up the ‘Empress’ card, which in my experience meant creativity and  ‘fertility’. I remember thinking- ‘What can this mean for me?’ And lo and behold, I found myself pregnant that September! Over the years I have read for family and friends as well as the public.

As many of you may already know, I am presently illustrating a Tarot card deck called The Chrysalis Tarot, with Author Toney Brooks. The Chrysalis is a rather unique take on Tarot. I am happy to say, I feel our Major Arcana is very strong in both the written and illustrated sense ~ I took a long time mulling over each visual interpretation, in sketch form.  As well, one of my very favorite aspects occurs with the Court Cards. Instead of the usual King, Queen, Knight and Page ensemble, we have supplied the reader with a Troupe of Medieval Characters, male and female, who provide insights and guidance to the querent.

Lastly, we arrive at the forty Minor Arcana, or Pips, which make up the body of the deck. It’s here, at this point, where I began to feel the pressure of being only half finished. I wanted my Pips to be equal in quality to the Troupe and the Major Arcana! As a Tarot Card collector and there is nothing more disappointing than finding a beautiful illustrated Major Arcana and a slightly less stellar Minor Arcana! So, I tightened my belt and gave each and every card my best shot!

The Sun - from The Chrysalis Tarot Deck

MBS:  With the Tarot Deck, but also with illustration work in general, an artist has to be able to have the ability to collaborate with the writer pretty well.  Some artists are able to do this easily, other artists tend to be more single minded in their work.  How do you find this whole process?  I imagine with some projects the collaboration 'dance' is easier then others!

Holly:  The funny thing is Facebook is really the forum that brought us together. I was feeling the urge, very strongly, to finally embark on my Tarot Card Painting project and I had just met an author on line named Toney Brooks. Toney had posted some of my paintings, which he seemed to like and we began to correspond. It occurred to me one day that he would be the perfect person to ‘pen’ the Chrysalis Tarot Card deck! Toney is a retired broadcasting professional. In 2001, he published a book called ‘The Mystic Rose’ about the return of King Arthur in our time, so it seemed to me he would be well versed in the mystical and magical…. He is a wonderful writer, concise, clever, intuitive and imaginative.

Toney and I began our collaboration by emailing back and forth

Here below are Toney Brook’s own words describing our Tarot Deck…

The Harvest Goddess

"I had three goals when writing the Chrysalis schema:

1) To make our deck more relevant to the 21st century.  To this end, we renamed several of the traditional archetypes, most notably Empress and Emperor, and reinvented several others; we re-imagined the court cards as a Medieval Troupe of artisans who represent real people querents may know or meet on their journey, and we renamed the four suits to underscore the deck's uniqueness.  Our suits, called Stones, Mirrors, Spirals and Scrolls, represent progressions of conscious awareness from the physical to the emotional followed by the mental and spiritual.

2) Chrysalis emphasizes Universal Oneness and connectivity; the answers we seek are the answers we already have inside us. The archetypes, the synchronicity inspired by the Troupe, and the numbered "pip" cards connect the user's conscious and subconscious mind to what we call the Otherworld, a metaphor for Universal Consciousness or Carl Jung's Collective Unconscious.  A Chrysalis Tarot reading enlivens the imagination and assists our readers in increasing self-awareness.

3) We call Chrysalis Tarot, "Transformational Technology for Everyone."  This branding recognizes that all Tarot decks represent what mythology calls the Hero's Journey, or the Quest for the Holy Grail.  As our readers progress through the cards, they grow in self-awareness and self-completeness -- their souls transform. The questions brought to a reading are answered in the traditional manner by the card's meaning, but also by engendering greater understanding of how those answers relate to personal destiny."

Morgan Le Fay

MBS:  Obviously spirituality plays a very important part in your artwork and life.  Do you choose the themes for your projects yourself, or do they tend to come to you?  What are your favorite images or themes to portray?

Holly:  Yes, spirituality does play a key role in my artwork and life. Nature is my religion and positive transformation is always my goal. In a lesser sense, mysticism, art and multicultural legends are the meat and potatoes upon which I dine!

I find myself inspired and wonderfully stimulated by almost everything around me…I’ll give you an example; if I happen in a book store and find a particularly lovely book on fiber art and dying wool, I am off and running. I think to myself about painting decorative sheep, felting and using their lovely raw wool as background material. I then begin to think of rams and sheep in legends and history, for example the infamous Golden Fleece in Greek mythology. This leads to thoughts of the Ancient Greeks and various lovely Goddesses and more and more fabulous visual material begins to reveal itself. I sometimes feel I live in a constant state of rapture when it comes to ‘inspiration’.

But back to the Spiritually aspect ~ I believe strongly in Karma and in intuition. And I try and live a life I will be proud of when I grow old. I try and share this with my children and husband. Another great belief of mine is that compassion for animals is intimately connected with goodness of character. I attempt to help any creature in my path.

Having recently lost my parents to old age, I have become much more aware of all the marvelous ‘signs’ that crop up in the everyday ~  Signs that remind us all how our lives and paths are interwoven and how indeed we are all made up of the stars!

As to my favorite themes in art, I am passionately devoted to the reemergence of the feminine in the New Age Art world. I love painting Goddesses, all forms of nature and the stuff of mythology and legends. Rather than limit myself, I embrace all sorts of themes, among them: Southwestern Art, Celtic Art, Asian Art and Fantasy Art. One of my greatest passions is discovering all the little details that make one ethnic art form differ from another. I find that the glory of humanity lies in these little details.

Tajdar

MBS - When you create your paintings and illustrations, what format do you use?  Size, materials etc?

Holly:  At this point, all my paintings are done with acrylic paints and I use them much as one would watercolors. I actually started out using watercolors as a child, and then onto oils when I was in my teens and early landscape stage. Now and then, I will experiment with some colored pencils or pastels, in addition to the acrylics, for enhancements. I usually paint on 300 pound, Hot Press, Arches Watercolor Board or a fine weave canvas. As I am such a detail-oriented painter, I find the smoother surfaces give the best results.

As far as size is concerned, I work anywhere from the 6x9 inch Tarot Card paintings to a 24 x 48 inch canvas Goddess painting. I like working in differing sizes because it always feels like a fresh approach to the subject matter at hand!
I prefer Belgian Linen Canvas because it has a very fine weave. I am not a very highly ‘textured’ painter. I like to achieve the appearance of texture through design and mottling.

One of my favorite pursuits is achieving new ‘mottling techniques’. I experiment with everything; sponges, paper towels, saran wrap or rubber stamps. Most of what I use leaves a unique mark in the wet paint and thereby creates interesting patterning! The Arches Watercolor board is wonderful because it’s so durable, absorbent and resilient. I am very fond of the result when I paint with acrylics on the Arches board.

Fairy Song

MBS -  Do you work in a series, or more then one at a time?

Holly:  I have often found myself besotted with a certain vision and begun work immediately on a painting only to find myself similarly inspired in another direction, in a day or two ~ And so I would begin another new painting!!! I hate to lose a passing inspiration…. But a few years back my kids warned me that there were just too many unfinished canvases sitting around. I needed to ‘finish’ what I had started.

And so began a new philosophy- I would finish each and every painting I began and refrain from beginning a new one before the old one was completed. I could still, however, sketch in pencil and that’s how I keep a record of the passing visions.

I do love the idea of painting subjects in series form. It’s fascinating to me to note the differences and similarities as I move along. Take for example, Goddesses…I love adding details that represent the culture or legend from which they spring and noting the strengths and characteristics that those particular people admire. The fun for me is in the details!

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

Holly:  I usually awake in the morning with whatever painting I’m actively working on visible from my bedside. That way I can look upon it with fresh eyes and see what needs altering. Luckily for me, I am a fairly upbeat person; so most mornings fill me with a sense of purpose and enthusiasm for the most part. Frankly it’s very joyful to be an artist! It may not be as financially rewarding as other careers but it certainly is a good for one’s spirit!

Before I begin painting, I answer emails from folks and try and organize the orders that have come through the following evening. Packaging and mailing out orders is time consuming but I much appreciate the business and enjoy wrapping and personalizing each order; be they Prints, T-Shirts or Greeting cards. I am delighted that my art is gaining a following. I truly enjoy interacting with the public and I cherish the lovely letters people have written complimenting my art. One woman wrote me recently, telling me that if she’s having a bad day, she goes to my website and looks at my paintings and immediately feels calmer. That, to me, is what it’s all about; I love connecting and touching others through my work.

Anyway, the rest of the day is spent researching subject matter in my own rather large library or getting down to business and PAINTING!  I sit on a couch and work on a low, flat coffee table (A low table is best for my back and neck) and I'm not too fond of easels. I will usually watch something on television or listen to music while I work. I am a great fan of Loreena McKennitt’s music in particular and I guess I just like having informative or beautiful 'noise' on in the background; I find it inspirational!

To sum up my work philosophy, it’s fair to say that in between all the other aspects of life, children, husband, pets, bill paying, doctor appointments, hikes, cooking and shopping- I paint! I have always painted when ever a free moment arose...

Merlin - The Magical Mystical Wizard

MBS- I see that you sell your work online.  You mentioned your experience working with Toney Brooks up above, but in general, how has the online/social media experience been for you?

Holly:  Online social media has really been the ‘making’ of me! My husband encouraged me to get my paintings out there by creating me a website! I was hesitant at first but he forged right ahead; Steve is a Leo! Neither of us was extremely well versed in the graphic world then but we did the best we could and the results have been amazing!

Soon, Facebook came along and I joined up, creating a personal and an art page! Eventually too, I set up and ‘ordering’ aspect to my website and went on to make an ETSY Shop as well. Both have helped towards my making an income from my art. This is something I’m sure would never have occurred without the existence of social media. I have heard many complaints about Face book, and the like, but for me, it’s all been a wonderful experience. I did have a few troubling incidents, such as finding a woman in Russia who was selling my un-watermarked images as her small prints…And companies using my paintings without my permission. So I guess that is the unsettling side to social media. One must be vigilant and watermark or copyright everything!

On the brighter side, I find many of the images people post, very inspiring. Facebook has helped me discover new artists and photographers, who's work I greatly admire... And I have found old friends from across the world and stumbled onto hundreds of new ones!

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

My advice to those who wish to pursue an artistic path is to jump right in! Paint, draw, sculpt, dance, compose, play, sew or act with abandon! Follow every lead and ask advice of those you admire. The more the novice works at his or her pursuit, the better. I have come to believe 'passion' is more of a requirement than pure talent. It is passion that enables one to sit and wile away the hours drawing or painting and to be fully engrossed with the result. And then, as another day dawns, so does the desire to begin painting anew! Being an artist is a very emotional experience. As well, it's inspiring and engaging; Both my daughters paint and draw...!

I believe art schools help a lot, especially for those who wish to teach or pursue a commercial or graphic arts career. One must consider their eventual goal first and see whether training in illustration or fine arts is called for.

The last little tidbit I have is trite, oft-repeated and apt. ‘Starving Artist’ is very often the sad truth, despite passion and talent. So, be sure an artistic path is what you desire…Because the joy and satisfaction in the artist's world really comes from the ‘doing’!

MBS:  Where can people find out more about your work?

Holly:  If you have more interest in seeing my artwork, please visit my website at  www.hollysierra.com as well as, my ETSY Shop at the following link- https://www.etsy.com/shop/HollySierraArt .

I carry Prints, Greeting Cards and T-Shirts on both pages. My email is hollysierra@yahoo.com and I love receiving letters, questions or comments!

Recently, I have begun creating LOGO’s for individuals and businesses…Most of them have been herbalists, doulas or healers and their LOGOs have been a veritable delight to create! As well, I have been licensing my paintings for use on people’s websites and blogs, too. It provides a small income for me and I’m delighted in the interest thus far!

And should you prefer a more intimate connection please join me on Facebook. My new work, especially the Chrysalis Tarot Card updates are found on my Holly Sierra Art Page and then for a more personal connection- Please join me at Holly Sierra! I look forward to meeting you…!

Thanks so much to Diane Fergurson for this lovely interview. I am honored to be interviewed for her 'Mind Body Spirit Odyssey' Artist Series!


Thank "you", Holly!

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

          Follow the daily updates of the Mind Body Spirit Marketplace on Facebook

Mind Body Spirit Artist Series - Amanda Clark

Fairytale enchantment - uplifting, dreamy and mystical illustrations that draw you further and further inside every time you look.  That's what the beautiful artwork by UK artist and book illustrator Amanda Clark does to me every time I see it.  I hope you will enjoy reading about Amanda and her work as much as I did interviewing her! 

                                                                                                                  ~ diane fergurson

Chalice Well

Question 1: Tell us a little bit about yourself.  How did you get started in art?

Amanda:   I always remember drawing and painting as a little girl and spending hours colouring in detail and pattern and drawing make believe characters, part human and part animal. Quite shaman like really now I think of it.  My family are all creative people whether the creativity is art, writing, story telling or music and textiles and our family home was a colourful affair and my room especially  full of creative mess, as I like to call it.  We are all nature lovers and love going for walks through woodlands and the English countryside gathering inspirations from the colours of the seasons and the change in the sky and clouds. I remember how I used to feel just being in different places, like walking through poppy and barley fields with the breeze making the waves in the grasses or heavy storm clouds coming towards us over the hills.  I have two lovely children of my own now and can share all of these wonders with them.

Apart from the teachings of my family, and the odd art course as a teenager.  I am mostly self taught in art and illustration, and many crafts.  The art and illustration I have as my income and has been for many years now.  The crafts I still have as a hobby if I have the time.  

MBS: That is quite a jump - from being a self taught artist to becoming an illustrator that is published throughout the UK.  How did that process occur?

Amanda:  Robin Clark, one of my brothers, is a writer and Homoeopath.  When he moved to Australia from our home in England about twenty years ago, he started writing a book he titled 'Voyager'. On a visit back to England one year, Robin saw the kind of art I was painting and it seemed as if we had been living parallel lives with all kinds of 'spiritual teachings'. So he asked if I would like to illustrate his book and he gave me free rein to paint what I felt would go well with his words.  Some years later, Robin has written four books and I have illustrated them all. You can see these beautiful books on Robin's web site:  www.peliguin.com.  Or there is a link for each book on my blog page: http://earthangelsart.blogspot.com/.

I still live in the U.K in a lovely country village called Shalford and Robin is now in Perth, Australia and sells these books world wide.

I currently illustrate for my own greeting cards to sell and I have a few ideas for my own 'Fairytale and Folklore' books. People that have collected my art and illustrations have asked about an 'Oracle Card Pack'. Well, I think I will have to find a publisher first.  For the last four years, I have illustrated for a wonderful Pagan diary called 'Earth Pathways Diary' along with other artists, writers, poets and all manner of creative souls.

Meeting Damh

MBS:  That's wonderful - and your book covers are gorgeous!  Thanks for sharing the links. 
Your work is such an enchanting, quiet reflection of the magical, mystical aspect of nature.
How do the ideas for your work come to you? Where does your inspiration come from?

Amanda: I've always loved fairy tales, especially the old European kind, and after reading these tales many of them seem to be shaman in nature. The characters from the fairytale 'East of the Sun, West of the Moon' for instance. The white bear is a prince and needed the love of a girl to rescue him so he could be human again and the spell broken. - 'Shape Shifting'. In another part of the story, the girl was flying on the back of the wind from the four directions.  There is so much magic in these kind of stories and they can symbolize teachings in our own lives in some way. I don't know if other people see the things that I do in fairy tales but this is a great inspiration for my art.  A quote from 'Einstein' is; If you want you children to be intelligent read them fairy tales. If you want your children to be more intelligent, read them more fairy tales.   I believe fairy tales can be very healing.

So with fairy tales, myths and shaman ways being part of my inspirations, I have the English countryside too. Very early in the warmer seasons, I go for dawn walks in the mossy woodlands or gentle hills close to my cottage. This part of the day has it's own kind of magic and enchantment.
When everyone else is sleeping, all you hear are the sounds of the birds  creating the 'dawn chorus' and sometimes the land is covered in ribbons of mist and dabbled sunlight shining through the trees. The wildlife is easy to see, with hares, deer and sometimes a fox. Here  I can feel the energy of my totem animals.  Morning dew making the cobwebs glow. Walking bare foot on the grass. Delicate wild flowers moving gently in the breeze.   This is when I feel the most connected with our Earth and she takes my breath away with her beauty. I find a place to sit quietly while watching the sunrise.  For me, this is where the mystical aspect of nature lies and is a constant source of inspiration for my paintings. 

Sacred Bee

MBS:  How do you make your paintings and illustrations?  What materials do you use, what size do you work in, etc?

Amanda:  I paint on artist's board, canvas or thick watercolour paper and card using acrylics, watercolour pencils, and sometimes mica for a little natural sparkle.

I have painted directly onto wood and even furniture.  When I paint illustrations, I keep them size small, usually no larger than 12x 16". Some of the original paintings I have as larger canvases and I exhibit these unframed.   When my children were small, I painted their rooms with sky, clouds and moon to go with the sweet, dreamlike animals and trees.

Trackways

MBS:  Do you work in a series?  Do you have any favorite characters or themes you like to re-visit?

Amanda:  I try to work in a series for a certain body of work but find I go back to add more paintings to this series later on, or inspired to create paintings that are similar for a future collection.  I have painted, 'Hares', 'Dreamy Landscapes', Tree People, Totem Animals, Fairy tales, Goddesses and the Greenman and I have many other ideas for my next body of work including paintings and illustrations for the astrology signs and artwork for future books.

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

Amanda: If they are small paintings, I tend to work on three at one time, especially if they are similar in colour.  I suppose one of these may take around six to eight hours, sometimes more.  Larger paintings on canvas can take up to one month or so and I work on one of these at a time. The larger the painting is, the more I need to concentrate and become absorbed by the creative process. This is a kind of meditation to me.

Shaman Flight

MBS:  What are you currently working on?

Amanda:  I'm currently working on new paintings for art galleries and collectors. These are a mix of the Dreamy Landscapes and a new series of Tree People that I will soon have limited edition giclee prints made.  After the Spring this year, I will be starting to paint new Fairy Tale illustrations.  When I'm trying to find fairytales to paint, I will re-read them until I find twelve that really resonate with me at the time. Inspiration, I believe comes from the heart not the mind. I'm sure when artist's speak of their muse it is when their hearts are open to receive inspiration and time alone, walks in nature or a walk on a beach somewhere, clears away the blocks to the muse.

I have a short tale I have been writing and illustrating. I can't say too much about it yet.  If you have ever been to the UK and visited Yorkshire, there you will find a beautiful and mystical harbour called Whitby. There have been many strange and wonderful stories about Whitby but not yet a fairy tale. I will make this story a handmade book to order for collectors.

MBS:  No, I haven't visited the UK (yet) - but I am always so intrigued by the depth of historic and
mystical lore that seems to inspire so many artists and writers who live there, and I'm always trying to find out from artists who I talk to and interview, what they attribute that to.  What are some of your thoughts?

Amanda: For me, the ancient history of the UK holds so much for mystery and magic. There are legends and myths that run deep into the history where people lived inland and by the coast.   The UK and Ireland are surrounded by the sea, they are both quite small Islands really.   Legends that are well known to everyone are those surrounding King Arthur. Merlin, Lady of the Lake and mythical beasts like Dragons. So many writers have their own fantastic tales but my favorites are 'Tolkin's  and C.S.Lewis.. Both of these creative writers had incredible insight into the land and legends and I'm sure walked through portals to bring back tales of mystery and magic.  Some would say that these stories were based on 'Christian beliefs, but even these were from more ancient ways that were taken from us long ago and changed into another way.  In the West, Druids and sacred places survived more than anywhere else on these Islands and are now still held strong and the pagan ways, including shamans, still celebrate at festivals throughout the year and live  a sacred life connected to nature.

Stories and tales of mystical creatures such as, Elves and the Fae come to mind and you can feel an energy in mossy woodlands and the moors of the UK and Ireland.  Goose bumps and tingles run up the back of my neck sometimes while walking in my favorite places.  Granite stones, Tors and other ancient sights like 'Stone Henge' are sometimes said to be like portals into another world. Even the 'Old English Secret Gardens' with their roses and herbs boarders hold an energy of another world.

I feel all of these things are in my blood and while I'm in the natural world I can sense the energy and feel the magic of it all.  Maybe it's creative people that are sensitive to this way of being, and all over the world in other ancient sacred places . It remains a mystery to me.

Autumn Equinox

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

Amanda:  My typical working day? I'm not sure I have one of these, every day is so different and painting doesn't feel like work, it feels like play. My partner, Nolan, and I home school our children too, so I suppose I mostly paint in the evenings.  In the Spring and Summer I love to paint until the early hours of the morning and then go for my 'dawn walks'.  It's great that both Nolan and I work from home because then we can be very flexible to who and when we teach our children. This opens up all sort of wonderful opportunities each day.

Moon Dream

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

Amanda: I sell mostly prints and greeting cards online from my etsy shop and website. This seems to work well.  The first year on etsy was slow to get started but I prefer to be painting and and spending time in nature and beautiful landscapes where I get my inspiration, than on a computer.  I have requests for commissions of original paintings from my facebook page and seem to have quite a following these days.  This always takes time to build up but is worth planning for because you meet some incredible  people and other artists and writers.  Of line, I have art galleries and shows I'm busy with and always busy painting for these.

The Queen and the Blue Crow

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

Amanda: Have patience and just do what you can. In time your creativity will shine through and your work will get noticed.  Most important of all is to follow your heart and dreams then everything is possible and before you know it, you are selling your art to collectors.  Have faith in what you do.

MBS:  Where can people find out more about your work?

Amanda: I am painting for art shows and galleries  and finding many wonderful shops to sell my work in. You will be able to see my lasted posts on my blog page with links to my website, facebook page and pop-up gallery and Etsy shop.  I will be showing my latest artwork and illustrations  and will soon have giclee prints available to buy from my website.
My email:  amandaclark@hotmail.co.uk

Blog page: http://earthangelsart.blogspot.com/

Website:  www.earthangelsart.com

Etsy shop:  http://www.etsy.com/shop/earthangelsarts?ref=seller_info

Thank you Amanda!

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

          Follow the daily updates of the Mind Body Spirit Marketplace on Facebook