Sabrina Shumaker on Panama, Ritual, and Painting Past Midnight

Sabrina Shumaker doesn’t paint until the conditions are right, coffee, full meals, and a WW2 documentary humming in the background, but once she settles in, the work pours out in late-night marathons. In this interview, she opens up about the Panamanian folklore and family photographs shaping pieces like “Green Boy,” the advice she’d give her younger self about handling criticism, and her dream of hiding tiny murals for strangers to stumble upon.

Where are you from and how much do you feel this influences your work in any way?

I live in Orlando, born in Texas, but lived many places ranging from Miami to Michigan to Inverness and Kissimmee in Florida. I would say most of my influences come from where my mother is from, which is Panama. Recently, trips to visit my mother’s homeland have been the reigning influence over my work. Several pieces involve either photographs I’ve taken in Panama or symbolic folklore that I grew up with. For example “Green Boy” is based on a photograph of a boy who helps my uncle on a cow farm, with his skin morphing into Panamanian flora.

Do you have any superstitions or quirky habits when you’re creating?

The mood has to be just right in order for me to be able to paint. Usually, this includes having 2 coffees and 3 full meals before I can even sit still long enough to get anything painted. And then I take a while to figure out what I like to watch while I paint- usually some WW2 documentary does the trick. There can’t be too much mess either, I like to have things somewhat organized or my brain won’t let me focus. Then having a lineup of sparkling water, tea, water and some snacks intermittently ready for me to munch on as I go. I have to eat a lot. I think the brain consumes a lot of calories, so when a painting is extra challenging I feel so much more hungry. When I finally am able to focus later in the day, I can usually marathon paint into the late night.

What is the one statement you could give to your younger self that you would give anything to go back and relay to them at a pivotal moment?

I would say- don’t give too much of your energy to people who discourage or judge your work harshly. Because they often have some insecurities, or they just have a different taste in art styles. We are all human so move forward with empathy for those figuring themselves out, but maintain firm boundaries with people who do not wish you well. Holding grudges is a waste of time. It can be particularly difficult in the era of anonymity, where putting yourself out there can put you in the way of harsh comments. Moving forward with forgiveness ensures less friction in life and art. Put that energy towards creation versus destruction.

If you could put one of your artworks somewhere completely unexpected, where would you put it?

I’ve always wanted to make a tiny detailed mural somewhere hidden on a side of an unexpected building, and turn it into an easter egg hunt. Or have a tiny gallery somewhere, like the little libraries you see in people’s front yards. I love the whimsy of having something with no real purpose other than for fun.

Sabrina Shumaker is a Panamanian-American artist born in Texas in 1993, now living and working in Orlando, FL. She began her career in 2016, teaching herself oil painting through YouTube (some of her tutorials have hit a million+ views). Her 2017 solo show Enchant at Henao Contemporary Center featured classical heroines in ornate, macabre costumes.

Since then, she’s expanded into clay, wood, resin, and mixed media sculpture, alongside large-scale public murals. Her work has been featured in Dear Darkling, Artborne Magazine, and on the covers of Nonahood News and Orlando Weekly (AAN 1st place, Best Illustration, 2021). She’s also a Beautiful Bizarre Sculpture Prize finalist, and has collaborated with Bloomingdale’s, FIFA Women’s World Cup, and the Outerspace Project.

shumakerart.com