In our conversation, she shares insights about creating order from chaos, the business of art, and why being different is your superpower.
Where Are You From?
I was born in Washington D.C. and currently live in Joshua Tree, CA, with many stops in between.
Where do you long to live (reality or fantasy)?
I love where I live right now, but I’d also like to have a home in Spain (though I’ve never been!) Good food, and good art. Italy would work, as well (which I have been to many moons ago).Â
My life just kind of morphed into this amalgamation of interesting stuff.
What inspired you to pursue your current profession?
Hmmm….I’m not really sure if I have ONE current profession. I am a working artist, first and foremost, and I am also a part-time curator at La Matadora Gallery in Joshua Tree, a board member for the 501(c)(3) non-profit artist residency Highway Sanctuary, and a caregiver, both to my partner who is paraplegic, and for a 93-year-old Buddhist nun at her monastery. My life just kind of morphed into this amalgamation of interesting stuff.
I’ve always been creating in one way or another. I went to the sadly now-defunct University of the Arts in Philadelphia where I majored in jewelry and metalsmithing. After I graduated, I became more focused on music and toured the country several times with my rock/punk band The 440s. I always knew I wanted to get back to visual art in some form, but it was hard for me to find a way to make room for it in my life, as I was consumed with writing songs, booking shows, and trying to make a living somehow in the midst of the chaos.
But it eventually happened. What I am creating now has evolved from every single thing in my life that came before this. I’ve been making the type of altar-like mixed media assemblage art that I’m currently exhibiting since about 2008, and it’s been a process to get to where I am now, and I’m sure the road will keep going.
I’d like add that I was not raised Catholic. I say this because a lot of my work includes religious symbology and imagery, so many people assume that I had a heavily religious upbringing. This is not the case at all, and I don’t really know where it comes from, aside from perhaps my early childhood travels to Europe where
I fell in love with the architecture. Visual image ghosts must have followed me home and hung around!
How has the work you do changed and evolved over the years?
As far as my visual art, I have two bodies of work that I create – the 3D mixed media assemblage work, and work on paper. The work on paper kind of evolved from freeform meditative ballpoint pen doodles that I do without thinking.
After taking a traditional Byzantine Icon Writing workshop from the Prosopon School a few years ago, I’ve begun incorporating some iconography techniques into both my assemblage work and my work on paper, such as using gold and silver leaf with clay bole. My role as a caregiver has come into play in a lot of my work, as well, and I’ve created a series of assemblage work using medical waste.
My work tends to mirror my surroundings, at least as I interpret it. I use what I have. That is something that is very important to me. I love using found objects and things many people would consider “trash,” and creating something beautiful. I’m constantly on a quest to create order out of chaos.
It’s almost like a compulsion – I can’t stop! I scavenge through junk piles, visualize what can become of the refuse, and build, build, build.
I’ve recently started making what are known as “Memory Jugs,” which come from an old African Folk Art tradition. Altar-builder Laurie Beth Zuckerman inspired me to begin on this journey, and I’m excited to see where it leads. I currently have three on display at La Luz de Jesus Gallery in Los Angeles, and so far one has sold!
What is the most unexpected/strange/exciting thing to occur over the years in your line of work that you still think about today?
I’m not sure if this is exciting, but it was odd, and a good lesson.
One of my first shows after art school was at a gallery outside of Philadelphia, where I was showing some of my large-scale jewelry pieces. The night before the opening, the gallery was broken into, and all my work was stolen. Luckily, the gallery was insured (which I didn’t know), and I was paid for my work.
It was just kind of an eye-opener, basically to be aware of whether or not your work is insured.
As a gallerist, I know how challenging insurance can be – there are tricky areas when it comes to insuring things that you don’t own, and I’m sure it varies from state to state. If a gallery is not insured, it’s not a deal-breaker for me as far as exhibiting, but I just am aware that I am assuming some of the risk. As an artist, it may be wise to look into insuring your own work (maybe I should take my own advice!!)
The timing of this event was a little cosmic, as I was lusting after a vintage Gretsch guitar at the local shop. It seemed kind of symbolic for me to take this money and buy the guitar, as music became more my focus for many years after that.
Still, to this day, I wonder – WHO DOES THAT?
What advice would you give an artist starting out (at any age) who wants to be a professional artist?
Keep working, and don’t get discouraged! There are so many different paths and approaches to being what may be considered “professional.” Find yours. It won’t look like mine. That’s a good thing. Just keep doing the work. And LOVE what you do. That’s the most important thing. Keep that close to your heart.
What is the biggest mistake/challenge artists make when trying to become a professional working artist? How can they improve and grow?
I think this probably mirrors what I said in the previous question – there’s no “one size fits all” way to be an artist. Listening to all these “influencers” and “coaches” does not give you the tools to soul-search. Digging deep is what makes a great artist.
It doesn’t mean that you will immediately get the great shows and social media followers. But losing sight of your vision in the hopes of doing it the “right” way (for someone else) I think, is the biggest mistake one can make. The thing that makes us unique is our superpower.
I’ve always felt I didn’t fit in neatly anywhere in the art world. But I love what I create and I’ve kept at it and I finally feel that people are beginning to see and appreciate it.
At least some. That feels good.
La Matadora Gallery, with the band Karma Dealers
What do you wish more artists understood about the business side of working with a gallery?
Hmm….I’d say the majority of the artists I’ve worked with have had a great deal of respect for and understanding of what we do at the gallery. Basically, as both an artist and gallerist, I understand that a successful show is a joint effort. We both have to follow through on our commitments to one another. We both have to promote the show.
We both have to adhere to deadlines.
One thing that is helpful is that when we ask for files to be sent to us a certain way, that that is done. Otherwise, I’m spending a lot of time resizing and cropping photos, and my computer is SLOW! So yeah…my part is that I probably need a new computer.
What qualities do you look for in an artist when considering representation or exhibition opportunities?
I tend to look for artists who I think are doing something unique and interesting, who are pushing boundaries and are excited about their work. It helps to have some sort of social media presence. A ton of followers is not necessary, but having some place to share work with the public is helpful. It’s nice if the artist is easy to communicate with.
Another thing that I look for is an artist that doesn’t saturate the area that they’re showing in (kinda like a band who plays too much locally – people stop going to see them because they can always catch them next time), and who keeps their prices consistent. I guess this falls under the “advice” category – if showing in galleries is something you want to do, keep your prices relatively consistent, whether you’re selling direct to your collectors, or selling through galleries.
Very few galleries will want to work with an artist who tells collectors that they will sell them the work for half price after their show is over. It devalues the work. Figure out what your work is worth, and stick to it.
But yeah – an artist doing their own thing who has mastered their language and skill set is much more intriguing to me than someone knocking out cookie-cutter pieces they think will sell.
What is your favorite quote?
I like the simple ones.
“Do good work,” by Patti Smith, I think says it all. No excuses. Just do it.
What are you listening to or reading right now?
I often listen to podcasts while I’m working. “This is Actually Happening,” which features one person per episode telling their story about a crazy or brutal or tragic event that happened to them, and “This Podcast Will Kill You,” hosted by two women who share about disease biology and history, are a couple of my favorites. Chet Zar’s “Dark Art Society” podcast is another fave, and I was honored to have been a guest on that one a while back. “Death of an Artist” hosted by Katy Hessel and Helen Molesworth is historically interesting, as well, with episodes about Lee Krasner and Peggy Guggenheim. I’m hoping for more of those!
I used to love to read, but my eyes get tired so quickly now. I do like reading rock bios, and doing Sudoku puzzles! As far as music, I dig a lot of classic rock like Motorhead, Ike and Tina Turner, Sir Lord Baltimore, AC/DC, as well as mystical sounds such as Hildegard von Bingen.
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?
Being like everyone else is not all it’s cracked up to be!
Highway Sanctuary Shrine: Yucca Valley, CA
This industry thrives on collaboration and support. While it’s both beautiful and challenging for gallerists, curators, and artists alike, having strong allies can make all the difference. Is there someone you’d like to acknowledge for their support and impact on your journey?
First and foremost, my partner Tony Buhagiar is my biggest support. He’s my cheerleader, and I don’t know if I could consistently keep going the way I do without his encouragement. He is an incredibly talented artist and musician, and I’ve never felt one ounce of competitive spirit from him about any of my successes. We want one another to be our best.
I’d like to acknowledge Colleena Hake, owner of La Matadora Gallery, for being bold enough to take the leap to open the gallery, and for entrusting me to take on some of the curating. What a journey it’s been! I love the nature of the gallery – mixing high and low art, and everything in between, including performance art and installations.
And Shrine, president and founder of artist residency Highway Sanctuary, for having the faith in me to bring me on board…literally…as a board member. Shrine is an incredibly hardworking and productive artist and his creative spirit is infectious. He wants everyone to make art, all the time, out of anything!
Also, my friend and fellow artist Alea Bone has been a huge support, both creatively and personally. We met at a group show at La Luz de Jesus Gallery that we were both a part of in 2017, and she now lives out in the desert near me. We both are currently showing at La Luz de Jesus, and it is the first solo show there for both of us. We kind of bounced ideas off of one another constantly during the preparation process, and I’m grateful to have someone so committed to their craft to be able to do that with.
As an art collector, what is the last artwork you purchased?
I’m a small-time collector, when budget allows! The last two pieces I purchased are from the current exhibitions at La Luz de Jesus Gallery, where I’m showing along with Craig LaRotunda, Alea Bone, Stephanie Brockway, and Sea Monster. I bought a piece from both Craig LaRotunda and Alea Bone.
