Hannah Cole is an artist based in Asheville, NC and the owner of Sunlight Tax. She also runs Money Bootcamp, a yearlong membership program to get artists from financial chaos to financial control, so you can get back to your studio. In her last episode, Hannah told you the one key thing you need to do to get started with control of your numbers in your creative practice. Today, Hannah answers the question behind why you haven't done it yet: how to pay yourself.   If you’re ready to de-stress your taxes, save time and feel understood so you have the freedom to create your biggest, boldest work, click below to join the FREE masterclass at Sunlight Tax: De-Stress Your Taxes and Get Back to the Studio (for Creators)   

I Like Your Work: Conversations with Artists, Curators & Collectors

How to Pay Yourself

I had the pleasure of sitting down and interviewing the amazing painter Clintel Steed in person at his studio in New York City. Clintel Steed takes inspiration for his work from his surroundings, whether it’s Utah or Harlem. His work is an exploration of moments, feelings, situations and experiences that he brings to life through art. His paintings often carry themes of the struggle of feeling divided, politics and current events.    Clintel Steed was born in 1977 in Salt Lake City, Utah. He received his BFA from the School of the Art Institute of Chicago and his MFA from Indiana University, and completed Advanced Studies at the New York Studio School of Drawing, Painting and Sculpture.    His work has been featured in numerous solo and group exhibitions, most recently Clintel Steed: Endymion at Steven Harvey Fine Art Projects, New York; Emoji Show at Klaus von Nichtsagend, New York, and So Much, So Little, All At Once at Regina Rex, New York,  and Mark Borghi in Sag Harbor, Solo Exhibition, "Behind the Hood" among others.    He is the recipient of the John Koch Award from the National Academy of Arts and Letters, and recent press includes Hyperallergic, Artcritical, and The New York Sun.   Clintel Steed lives and works in New York City and is an instructor at the New York Studio School of Drawing, Painting & Sculpture.    LINKS:  https://www.clintelsteed.com/   I Like Your Work Links: https://www.sunlighttax.com/ilikeyourwork Catalogs Subscriptions Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Clintel Steed: Seeing Life Through Paint

Hannah Cole is an artist based in Asheville, NC and the owner of Sunlight Tax. She also runs Money Bootcamp, a yearlong membership program to get artists from financial chaos to financial control, so you can get back to your studio. When you know what your profit is, you unlock the power to know what things cost you, whether you need to raise your prices and how much you owe in taxes way before the deadline. So how do you do it, and what is the one key action step that will help you right now?   Visit www.sunlighttax.com/moneybootcamp and use the code ILYWMONEYSQUAD to get exclusive access to the free community I Like Your Work Money Squad. The I Like Your Work Money Squad is only available to listeners when they join Money Bootcamp and is a free support group for artists that includes monthly emails and a private Slack channel that will help keep you motivated and accountable.   To apply for the 2022 Plum Lime Residency Program or Session 2 visit https://www.nyccritclub.com/       

Knowing Your Numbers & The One Best Thing You Can Do Now

I had the pleasure of sitting down to talk to the phenomenal painter John Walker. John is not only a painter whose paintings are poetic in their paint application but he is also an artist who cares about young painters. I had the privilege of studying with John at Boston University where we all were inspired by his words and awed by what paint can do.    John Walker was born 1939, in Birmingham, England. He studied at Birmingham College of Art (1956-1960), and continued his studies at The British School in Rome (1960-1961), and the Académie de la Grande Chaumière, Paris (1961-1963) John Walker was a Gregory Fellow at Leeds University (1967-1969). He was awarded a Harkness Fellowship to the United States (1969–70) and a Guggenheim Fellowship in 1981. He has been artist-in-residence at Oxford University (1977–78), and at Monash University, Melbourne (1980). He also represented England at the 1972 Venice Biennale. John has taught at the Royal College in London and at Yale University. In the 1980’s he was Dean of Victoria College of Art in Melbourne, Australia. From 1993 to 2015, he taught at Boston University and is currently Professor Emeritus of Art and former head of the graduate program in Painting and Sculpture at Boston University School of Visual Arts. He has had solo exhibitions at the Museum of Modern Art in NY; The Phillips Collection in DC; The Tate Gallery, London; The Hayward Gallery in London; The Kunstverein, Hamburg; The Art Gallery of New South Wales in Sydney, Australia; and others. His work can be found in museum collections, including The Art Institute of Chicago, Illinois; The Guggenheim Museum, New York; Irish Museum of Modern Art, Dublin; The Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles, California; Museum of Fine Arts, Boston, Massachusetts; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; National Gallery of Australia, Canberra; Phillips Collection, Washington, D.C.; Scottish National Gallery of Modern Art Gallery, Edinburgh; Tate Gallery, London; Victoria and Albert Museum, London, England; Whitney Museum of American Art, New York; Yale Center for British Art, New Haven, Connecticut.   LINKS:  https://johnwalkerpainter.com/index.php https://www.alexandregallery.com/john-walker Video on Brooklyn Rail- https://www.facebook.com/watch/?v=886689875405720   I Like Your Work Links: Subscriptions  Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Painter John Walker: Colored Mud

 Hannah Cole is an artist based in Asheville, NC and the owner of Sunlight Tax. She also runs Money Bootcamp, a yearlong membership program to get artists from financial chaos to financial control, so you can get back to your studio.   In this week's mini podcast episode, Hannah joins us to talk about the mental garbage that artists pick up throughout their creative careers. As it turns out, everyone insisting you're going to live in poverty can have a real effect on you. But what happens when creative people, women and historically marginalized groups have money? Hint: they change the world for the better.   Visit www.sunlighttax.com/moneybootcamp and use the code ILYWMONEYSQUAD to get exclusive access to the free community I Like Your Work Money Squad. The I Like Your Work Money Squad is only available to listeners when they join Money Bootcamp and is a free support group for artists that includes monthly emails and a private Slack channel that will help keep you motivated and accountable.   

The Artist Stereotype & Why We Need to Kill It

“I paint to create a deeper connection to my identity and history as a Black American. Metaphorically, I see Black people as personifications of the magic that is the ocean. My paintings and drawings combine abstraction with realistic renderings of Black noses and lips to rejuvenate the relationship of my history to my ancestor’s history with water. I use water from oceans, lakes, and rivers from places that have either a historical or personal connection to black history -- water that I collect to mix with and pour onto my paintings. My focus is to create a direct relationship to my emotions and understanding of my past, a journey of spiritual connection. I focus on Black history to celebrate my ancestors for surviving the challenges they faced, not to display their pain. I paint to bring the stories and histories with images holding an elegance and chaos that comes with this existence.”  Khari Turner is an artist and a Milwaukee, WI native who lived there until the Spring of 2015. The influence of Milwaukee shows itself often in his work, especially with the use of water. Set on the coast of Lake Michigan and located at the merging of three rivers, Milwaukee is truly a water city and Khari often sat next to the water in reflection. At a young age, he took an interest in art from school peers and his grandfather, a draftsman and carpenter. Khari found himself struggling between 2009 and 2015 which has been a big influence on the work he does currently. During this time, Khari wasn’t in school and found himself working a minimum wage retail job and switching between warehouse jobs.  He worked for the NBA as entertainment some nights but life was stale and unfulfilling for him, except for the summer.  His time as a child in the nonprofit called Lake Valley Camp, changed his life; He attended camp there in 2003 and later was able to work there until 2014 as Art Director. He counts his time at Lake Valley Camp as one of his biggest influences and it also led to one of his long-term goals: to start an organization that specializes in giving back efforts to young artist and creating murals in low income environments to promote community health, pride, and clean neighborhoods, while also trying to fight gentrification of these areas.  In 2015, Khari left Milwaukee and enrolled at Austin Peay State University moving his whole life to Tennessee where he received his BFA in studio art. Austin Peay was a large turning point for his artistic practice and helped him find his voice in his own work during the four years he was a student there. But, the biggest change came in summer 2019 at the Chautauqua residency.  That is where his work started to form and become what it is now.  In 7 weeks, Khari made a lot of work and had the open opportunity to really focus on what he wanted most, outside of class room and school limitations, questioning even if  painting or sculpture was the right path to take. Eventually, Khari was able to find what he was looking for and currently he is at Columbia University. Although Khari has a lot of different ideas, what's most important to him is being a good person, donating what he can, and focusing on the actual work. There is nothing more Khari  loves than creating. SHOUT OUTS:  Kevin Claiborne   SPONSORS: Sunlight Tax Free Masterclass “The Key to More Tax Deductions  (for Creators)”  LINKS:  https://khariturner.com/about https://www.instagram.com/khari.raheem/ I Like Your Work Links: Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Khari Turner: Painting Black Bodies of Water

 Hannah Cole is an artist based in Asheville, NC and the owner of Sunlight Tax. She also runs Money Bootcamp, a yearlong membership program to get artists from financial chaos to financial control, so you can get back to your studio.     In this mini episode, Hannah joins us to talk about her journey as a painter who had miserable experiences with accountants when she was just starting out. So how did she decide to become one? Hannah shares the origin story of Sunlight Tax and talks about how the magic and love of the artist community was the right motivation to build a business that serves artists with the tax education they need.     Visit www.sunlighttax.com/moneybootcamp and use the code ILYWMONEYSQUAD to get exclusive access to the free community I Like Your Work Money Squad. The I Like Your Work Money Squad is only available to listeners when they join Money Bootcamp and is a free support group for artists that includes monthly emails and a private Slack channel that will help keep you motivated and accountable.   

An Artist's Journey from Money Shame to Accounting Magic

Internationally recognized artist Amir H. Fallah is known for his vibrant figurative work that draws from western painting vocabulary and turns the history of portraiture on its head. The work explores how one reconstructs identity and asks the question, how do you describe someone without showing their physical likeness? It’s incredibly powerful work that is also personal. In this interview, Amir talks about his background, how he began creating his current work, and his recent public pieces that were unveiled in California.    Amir H. Fallah received his BFA in Fine Art & Painting at the Maryland Institute College of Art and his MFA in painting at the University of California, Los Angeles. He has exhibited extensively in solo and group exhibitions across the United States and abroad. Selected solo exhibitions include the Museum of Contemporary Art in Tucson; South Dakota Art Museum, Brookings SD; Schneider Museum of Art, Ashland OR; San Diego Art Institute; and the Nerman Museum of Contemporary Art, Overland KS.   In 2009, the artist was chosen to participate in the 9th Sharjah Biennial. In 2015, Fallah received the Joan Mitchell Foundation Painters and Sculptors Grant. In 2019, Fallah’s painting Calling On The Past received the Northern Trust Purchase Prize at EXPO Chicago. In 2020, Fallah was awarded the COLA Individual Artist Fellowship and the Artadia grant. In addition, the artist had a solo exhibition at the Museum of Contemporary Art, Tucson, accompanied by a catalogue, and a year long installation at the ICA San Jose.   The artist is in the permanent collection of the Jorge M. Pérez Collection, Miami; McEvoy Foundation For The Arts, San Francisco; Nerman Museum, Kansas City; SMART Museum of Art at the University of Chicago; Davis Museum, Massachusetts; The Microsoft Collection, Washington; Plattsburgh State Art Museum, NY; Cerritos College Public Art Collection, CA; and Salsali Private Museum, Dubai, UAE.    Amir H. Fallah creates paintings, murals, and installations that explore systems of representation embedded in the history of Western art. His ornate environments combine visual vocabularies of painting and collage to deconstruct traditional notions of identity formation, while simultaneously defying expectations of the genre for portraiture by removing or obscuring the central figure. In Fallah’s works, the absence of the sitter’s likeness is substituted with a wider representation of their personhood—one that spans time and cultures and is articulated through a network of symbols and imagery. Fallah’s paintings question not only the historical role of portraiture, but the cultural systems that are used to identify one person from another.    When autobiographical, Fallah’s paintings employ a lexicon of symbols that amalgamate personal narratives with historical and contemporary parables. The paintings serve as a diary of lessons, warnings, and ideals providing coded insight into the formation of an identity, while investigating cultural values often passed between generations. When non-autobiographical, portraits of veiled subjects capitalize on ambiguity to skillfully weave fact and fiction, while questioning how to create a portrait without representing the physicality of the sitter. Although the stories that surround his subjects are deeply personal and are told through the intimate possessions they hold most dear, this work addresses generational immigrant experiences of movement, trauma, and celebration.    Fallah wryly incorporates Western art historical references into paintings formally rooted in the pattern-based visual language of art historical works from the Middle East. In doing so, his paintings possess a hybridity that reflects his own background as an Iranian-American immigrant straddling cultures. As seen in the artist’s tondos—circular paintings originally used in Renaissance portraiture—Fallah reinterprets classical floral paintings that entangle references to Dutch still lives and Persian miniatures. These botanicals depict flora that don’t “naturally” occur in the same ecosystem; this serves as a metaphor for immigrants that attempt to thrive in their new country, creating a new space that spans the limits of geography and disrupts the fallacy of borders.    Neither of this world or the next, Fallah’s works reside in the liminal space of being ‘othered’. The paintings utilize personal history as an entry point to discuss race, representation, and the memories of cultures and countries left behind. Through this process, the artist's works employ nuanced and emotive narratives that evoke an inquiry about identity, the immigrant experience, and the history of portraiture.      SHOUT OUTS:    Matt Phillips Asad Faulwell Matt Bollinger Wendell Gladstone   GALLERIES: Shulamit Nazarian, Los Angeles Denny Dimin Gallery, New York The Third Line, Dubai, UAE Dio Horia, Athen/Mykonos, Greece   SPONSORS: The Empowered Artist Workshop-Bridgette Mayer Sunlight Tax Free Masterclass “The Key to More Tax Deductions"   LINKS:  http://www.amirhfallah.com/ https://www.instagram.com/amirhfallah/   I Like Your Work Links: Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram  

Amir Fallah: Investigating Representation in the History of Western Art

Johnson’s work draws on a vastness of experience and a persistent desire to make paintings that explain the world through color and shape. He has always moved seamlessly between abstraction and representation and the art historian Peter Selz described Johnson as an artist who makes “realist paintings that are basically abstract paintings and abstract paintings that are figurative.”   Mitchell Johnson moved to California from New York City in 1990 to work for the artist, Sam Francis. In New York, Johnson studied at Parsons School of Design with former students of Hans Hofmann: Jane Freilicher, Leland Bell, Nell Blaine, Paul Resika, Larry Rivers and Robert De Niro, Sr. Johnson adopted their reverence for art history and their emphasis on drawing and painting from life as the source of a personal direction.   Beginning in the 1990s Johnson embarked on long painting expeditions to Italy, France and New Mexico with rolls of canvas packed in a golf bag like a modern day Corot. Wading through unfamiliar landscapes, often on foot, he worked to understand the ever complex geometry of land and sky. He prevailed not to capture some ideal sense of place, but to see better and to go deeper into painting.    Johnson has been a visiting artist at The American Academy in Rome, Borgo Finocchieto, The Josef and Anni Albers Foundation and Castle Hill in Truro, MA. In addition to attending Parsons, Johnson studied painting and drawing at Staten Island Academy, Randolph-Macon College, The Washington Studio School, The Santa Fe Institute of Fine Arts and The New York Studio School. His paintings are in the permanent collections of 29 museums and over 700 private collections. Johnson is the subject of three monographs: Mitchell Johnson (2004, Terrence Rogers Fine art), Doppio Binario (2007, Musei Senesi) and Color as Content (2014 Bakersfield Museum of Art). A fourth monograph, Where The Colors Are, will be published in summer 2021. ​ Johnson's paintings have appeared in numerous feature films, mostly Nancy Meyers projects, including The Holiday (2006), Crazy Stupid Love (2011), and It's Complicated (2009).       TAKEAWAYS FROM THIS EPISODE:   -current exhibition at Pamela Walsh  -the large paintings did not happen overnight, it took time to cultivate -Working with people from 9th Street Women -Working with Leland Bell - Introduced to the questions he would spend his career working on -Working for Frank Stella & Sol LeWitt -Traveling through Italy and France -Digital Photography -Color -Smaller paintings and bigger paintings are different problems -”What does the painting want?” -Freedom - Abstraction and Representation -”Make the painting feel special” -Keep enjoying the struggle -curious about transformation -On some level the paintings must sustain you on an emotional level    LINKS:  https://www.mitchelljohnson.com/ https://pamelawalshgallery.com/artists/mitchell-johnson/artworks/striped-chair-sideways https://www.artforum.com/spotlight/mitchell-johnson-85170   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

What Does the Painting Want? Color & Structure in the Work of Painter Mitchell Johnson

Matt Bollinger is an artist living in Ithaca, NY who works across painting, animation, sculpture and music. Bollinger earned his BFA at the Kansas City Art Institute in 2003 and his MFA at the Rhode Island School of Design in 2007. He has had 6 solo exhibitions at Zürcher Gallery, New York and 3 solo exhibitions at Galerie Zürcher, Paris. His animations have been included in numerous film festivals and screenings in the US and Europe. His work is in the collections of the Nerman Museum of Contemporary Art (Kansas City, MO), Museum of Fine Arts (Dole, France), and the Bowdoin College Museum of Art (Brunswick, ME) Recent solo exhibitions include Extended Present, at the South Bend Museum of Art (South Bend, IN) and Labor Day at M+B (Los Angeles, LA). In 2020, Zürcher Gallery participated in the Armory Show for the first time with a duo-presentation of Staver and Matt Bollinger in the Focus Section, curated by Jamillah James.   TAKEAWAYS FROM THIS EPISODE:   -Everything comes from drawing -Base idea for work coming from a sentence -Creating character sheets for different paintings -Researching his work -Vulnerability and empathy of the characters - The primary direction of light -Think in tone -Always looking -Making the soundtrack for his animations -How much sound impacts the work -Drawing with sound - Never being shy about talking about his work -Kerry James Marshall - Remove process hurdles - How COVID impacted his practice - Finding ways for freedom    LINKS:  https://www.mattbollinger.com/ https://www.instagram.com/mattlbollinger/?hl=en   I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Room For Mistakes: Artist Matt Bollinger

Dana Frankfort’s paintings engage the history of abstract painting and feature bright colors, gestural brushwork, and text. She earned a BA in the History of Art from Brandeis University and an MFA in Painting and Printmaking from Yale University School of Art. She attended Skowhegan School of Painting and Sculpture, and was a Core Fellow at the Museum of Fine Arts in Houston, Texas. She received a Guggenheim Fellowship in Painting in 2006. Frankfort’s work has been shown in solo and group exhibitions internationally. She currently lives in Houston, Texas where she is an Assistant Professor of Painting at the University of Houston.   TAKEAWAYS FROM THIS EPISODE:   -Working with amazing faculty -British landscape painting as an influence -Taking a break from painting -The importance of text in her work -Painting as a sign or billboard -Painting as a long game -There isn’t one way to be an artist -The painting will be there -Color influxes -Accessibility of language -”Paint what I know” - We create our own opportunities -Investing back into the community     LINKS: https://www.uh.edu/kgmca/art/about-the-school/faculty/ https://www.instagram.com/dmfrankfort/ I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Keeping Your Eye on the Long Game: Artist Dana Frankfort

Mark Joshua Epstein is a gifted storyteller and artist. If you want a great evening, hang out with Mark and talk about what you are working on and be prepared to laugh and think differently about what you have created. Born in Rockville, Maryland, Mark spent his early school years at a conservative Jewish Day School and his summers at a progressive camp learning about Third Wave Feminism. This duality in his formative years hints at his later exploration for a new and alternative space in his work. Something that pushes back and asks why it must be one way or another, both or neither. He achieves this by stacking fiberglass shapes to create new forms that function as a shaped canvas but also protrude slightly to make you question if it is also a sculpture. What is the line? Is there a line and if so, should it be there?   This questioning also arises in the pattern that is applied to the work. Some of the pattern points to op-art while other areas remind us of the hand and tools making the piece. In Nothing Matters When We’re Dancing, Ink splotches are dripped onto the surface and encapsulated by a line forming a circle. This pattern radiates out and brings to mind cells in the body.  His knack for storytelling comes through in his titles such as Small Talk at the Salad Bar. These titles add another level to his work. The seemingly abstract pieces begin to shift just enough for us to see a figure, or what could be a stand in at least, challenging us to wonder, does the piece have to be either or?   Mark Joshua Epstein is an artist, educator and curator. He received an MFA from the Slade School of Fine Arts, University College London, and a BFA from the School of the Museum of Fine Arts Boston. Epstein has had solo or two person shows at Ortega y Gasset Projects’ Skirt Space (Brooklyn, NY) SPRING/BREAK Art Show (NY, NY), Handwerker Gallery, Ithaca College (Ithaca, NY), NARS Foundation Project Space (Brooklyn, NY), Caustic Coastal (Salford, England) Vane Gallery (Newcastle, England), Demo Project (Springfield, IL), Biquini Wax Gallery (Mexico City, Mexico), Breve (Mexico City, Mexico) and Brian Morris Gallery (New York, NY).    Selected group shows include Arlington Arts Center (Arlington, VA), Des Moines Art Center (Des Moines, IA), Collar Works (Troy, NY), Good Children Gallery (New Orleans, LA), Monaco (St Louis, MO), DAAP Galleries at the University of Cincinnati (Cincinnati, OH), and Beverly’s (New York, NY).    Epstein has been a resident at Vermont Studio Center, Millay Colony, Jentel Foundation, Macdowell Colony, KHN Center for the Arts, I-Park and Saltonstall Foundation amongst others. His work has appeared in publications such as New American Paintings, Art Maze Magazine and Dovetail. He works as a lecturer at the Penny Stamps School of Art and Design, at the University of Michigan.   “Reckoning with the change that accompanies a new studio and landscape, new shaped paintings, my largest to date, delve deeper into queer ornament and graphic excess, while limiting their color schemes. Taking inspiration from pattern and decoration, op art, and furniture design, these works continue the use of ornate patterning and overlapping panels that confound perception, while relishing in a new discomfort of compositional order. One painting’s title, Finding refuge in inefficiency (2021), nods to the pleasures found in the laborious and time-consuming nature of pattern-making exemplified in these recent works. And, as with earlier paintings, these works continue to challenge a viewer’s sense of taste and orientation.   Recent photographs, stemming from an interest in index and documentation, further emphasize my painting process. The images reproduce hand-made cut-outs, created from scraps of paper, which I often use to generate repetitive patterns within my paintings. Normally meant to deliver flatness and depth, shape and form to my fiberglass surfaces, the cut-outs in these photographs reframe the landscape immediately surrounding my studio.   My current work, both in painting and photography, refuses the either/or of binary polarities and opposing geographic pulls. All the while, by latticing together different planes, motifs, and marks, my work never forgets its own amusement.”-MJE   TAKEAWAYS FROM THIS EPISODE:   -Growing up with progressive summers and a conservative school year -Dealing with anxiety due to change -Moving to Canada to pursue a different major -Gap Year - “Leap and then Look” -Graduate School in London -Working in museum education -Interior Spaces and being inspired by his grandfather -Excubert rooms and wild interiors -Hustling in the art world -Making work that takes time -Bathroom colors -Leaving NYC -Leaving a little bit at a time -his current show -Staying open when curating a space   ARTIST SHOUTOUTS: Christian Maychack @cmaychack Yvette Molina @yvette_molina Adam Liam Rose @adamliamrose Zahar Vaks @zaharvaks Elizabeth McMahon @elizabethwmcmahon   LINKS:  Website: www.markjoshuaepstein.com Instagram: @markjoshuaepstein Current solo show at Ortega y Gasset: www.oygprojects.com/the-skirt-current Current group show at Arlington Arts Center: www.arlingtonartscenter.org/exhibits/2021/stretched/ Upcoming outdoor group show in New York: www.bravinlee.com/regrowth-riverside     I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Leap and Then Look: Exploring Life to Find Your Artistic Voice with Mark Joshua Epstein

Since becoming a mother in 2014 Hofer has been involving her children in her painting process, creating a 44-piece series with her first son and will soon be launching a new collection with her other 2 children in fall 2021. Brandi continues to be extremely prolific with her 3 little boys at her in-home studio, creating several bodies of self-motivated artwork, custom commissioned pieces, stunning large-scale interior/exterior murals, prints, custom artwork, & working with designers. Tiny hands play a role in all that she creates! Hofer is a well collected Canadian Artist, exhibiting internationally and across North America. Her main focus is figurative, abstract and portraiture painting, she explores themes of empowerment, positivity, love, and inclusion. Her work has been featured on national television and can be found in international publications. She has experience in creating custom artworks for designers and translates her artwork into large-scale murals. Hofer has attended residencies at Red Deer College, Toronto Island, the Marnay Art Centre outside of Paris France, and Montreal, Quebec. You can listen to her interviews about her life and process on several podcast platforms. Her work has appeared in HGTV’s House of Bryan, and featured in a General Motors commercial. Most recently herself and her family have partnered with a HUGE brand for an international commercial, but shhh we can't share just yet!! Stay tuned! Brandi Hofer's studio where she works and creates is located in the Canadian prairies. Hofer studied in Red Deer, Alberta, at Red Deer College from 2004 - 2006 before transferring to the Nova Scotia College of Art & Design in Halifax, where she completed her Bachelor of Fine Arts in 2008.She has been ambitiously pursuing her career upon attaining her BFA degree. You can find all of our studio adventures on Instagram! There you will find our podcast features, live interviews, and new collection releases.   TAKEAWAYS FROM THIS EPISODE:   -Choosing to move closer to family -How personal loss can open your eyes -Melting together family and art work -Post Partum Depression and the NICU -Spending time with kids in the studio -E-book she released -Pennyland Shen -Burn out and recovery -Mentoring People -Having goals -Getting Outside to Fight Burnout -Self-care -Deciding what you can and can’t do - Words of advice to moms who want to be an entrepreneur -Finding role models -Don’t get on a path that makes you miserable -Work together -Everyone starts somewhere   LINKS:  @brandihoferartist https://www.brandihofer.ca   I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Getting Real About Being a Mother Artist with Brandi Hoffer

I have followed Jessica Pinsky’s work since 2007 because this woman was my best friend in graduate school at Boston University. We would visit each others studios, talk about art over drinks and overall support and give feedback to each other. Jessica’s drive to create artwork and start major projects is unmatched which is evident in her prolific work and the space she has created in Cleveland, OH Praxis Fiber Workshop that houses looms, a gallery space, a shop, a dye garden and now a digital weaving lab.    In this episode, Jessica and I talk about her current body of work that responds to her pregnancy journey, taking risks in your work, setting up parameters in your work, and starting a fiber workshop.   Jessica grew up in Akron, Ohio and moved to Cleveland in 2011 after receiving a BFA in Studio Art from New York University in 2006 and an MFA in painting from Boston University in 2009. She began teaching at Cleveland Institute of Art in 2011 and is currently serving as faculty in the Sculpture and Expanded Media department. Together with Cleveland Institute of Art, Jessica founded Praxis Fiber Workshop, a community textile studio in June, 2015 and continues to serve as the Executive Director.   “My work is planned and executed based on degrees of equality. Previous work has closely examined color and form within cloth, and is consistently pushing the boundaries of the structure of woven cloth. With lots of experimentation I discovered I could make cloth behave very differently with the same basic materials, but changing just a few things about those materials. For example, I can hand spin yarn to be very tight and twist upon itself, or very loose so it hangs without body. My weavings explore a metaphor about how human beings are made of the same material, but can behave very differently.”   TAKEAWAYS FROM THIS EPISODE:   -Taking a risk in your work -Starting a new medium - “If you don’t feel a little bit afraid there is something wrong” - “We just have ourselves and our inner voice” - Always be learning - Her experience buying a building  - Starting Praxis Fiber Workshop - Creating a natural dye garden - Digital Loom - Creating a residency program - Working in strict parameters - Making more personal work - Healing Imagery - Stolen hours in the studio - Knowing yourself   Artist Shout Outs:  Rowland Ricketts http://www.rickettsindigo.com/ Cathryn Amidei https://www.cathrynamidei.com/ Tina Cassara LINKS:  https://www.jessicapinsky.com/ https://www.instagram.com/jpinsk/?hl=en https://praxisfiberworkshop.com/   I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Weaving Stories of Female Strength & Creating a Fiber Non-Profit with Jessica Pinsky

The work of Will Hutnick is filled with movement and plays off of the landscape and pattern.  As an artist, he draws inspiration for his work through what surrounds him such as objects he collects or the landscape that shifts as he travels between Brooklyn and Wassaic. In this episode, I learned Will has a background in music and plays the cello. Music has historically impacted and inspired artists from Matisse who played the violin daily, to Stuart Davis and Mondrian. As I look at Will’s paintings, I cannot help but think of this background as strong rhythms of pattern and form move me through his work. These rhythms found throughout his work are created through his application of black paint through various methods to create a ground to react to. He continually re-examines his work and his surroundings to build the pieces. In addition to his work in the studio, Will is also an active curator and is the Director of Artistic Programming at the Wassaic Project.    Will Hutnick is an artist and curator based in Wassaic, NY. He received his M.F.A. from Pratt Institute (Brooklyn, NY) and his B.A. from Providence College (Providence, RI). Recent exhibitions include: Geary (Millerton, NY), Satellite Art Club (Brooklyn), Craven Contemporary (Kent, CT), Collar Works (Troy, NY), Standard Space (Sharon, CT, solo) and One River School (Hartsdale, NY, solo). Hutnick has curated exhibitions at SPRING/BREAK Art Show, Ortega y Gasset Projects, Trestle Projects, Pratt Institute, Wassaic Project and Standard Space. He has been an artist-in-residence at Yaddo, Hambidge Center for the Creative Arts and Sciences, Elizabeth Murray Artist Residency by Collar Works, DNA Gallery, Wassaic Project, Vermont Studio Center and a curator-in-residence at Benaco Arte and Trestle Projects. From 2015-20, Hutnick was one of the Co-Director of Ortega y Gasset Projects, an artist-run curatorial collective and exhibition space in Brooklyn. He is currently the Director of Artistic Programming at the Wassaic Project, a nonprofit organization that uses art and art education to foster positive social change.   “I create topographical relics that record and reinvent my physical and sensory surroundings. Through idiographic mark making, personal artifacts and architecture become the impetus for pattern and form. I implement various printmaking processes - through the use of paint rollers and black paint on raw canvas - to create marks that resemble fractals, glitches, Xerox prints and stop-motion animation. These marks distort linear and expected notions of time. With a nod to queer ecology, my paintings disrupt the perception of a binary worldview that eschews the inherent interconnection of sexuality, landscape and lived experience.”   TAKEAWAYS FROM THIS EPISODE:   -One day a week all day be in your space with your work -Eliminate other concerns -Time Management  -Being a collector of objects and how that impacts his work -Process of building his paintings -Unpredictable layers and responding to that in his paintings -Reacting to the marks that accrue -The importance in creating space for other artists -Trestle Gallery -How location impacts work -Be proactive -Make the space you want -Who are your people?   Artist Shoutouts: Mark Joshua Epstein, NIckola Pottinger, Polly Shindler, Jack Arthur Wood Jr.   LINKS: Website: willhutnick.com IG: @willhutnick Interview: Art Spiel, “Will Hutnick - Artist as Facilitator”, August 24, 2020, by Etty Yaniv As The World Turns at Geary (Millerton, NY)  Current curatorial project Nickola Pottinger: Fosters Relief at The Wall at Trestle Gallery (Brooklyn, NY)  NYC Crit Club Ortega y Gasset Projects Wassaic Project     I Like Your Work Links: I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows

The Process of Reinvention: Music, Pattern, and Queering the Landscape with Artist Will Hutnick

I Like Your Work supports artists! Each week artist Erika b Hess interviews artists, gallerists, collectors, and curators to cover topics that will help you in your art practice! From inspiring interviews from the lives of artists to business practices you will walk away ready to get in the studio!

hubhopper

I Like Your Work: Conversations with Artists, Curators & Col...

hubhopper