artist studios

Three Times the Charm

Mia Weinberg’s studio shows her love of nature.

Mia Weinberg’s studio shows her love of nature.

You may have already seen the art of Mia Weinberg and not even known it. She creates public art. Her illuminated nature map was seen at the Richmond Skytrain Station. She designed another nature map for the floor of the Delbrook Community Centre in North Vancouver. Public art enlivens our everyday lives, but we seldom recognize the artist or the effort.

In this blog series, I'm interested in discovering what triggers people to turn to art after another career. In Mia's case, it was not a single turning point, but a series of leaps.

Mia came to art through a very circuitous route. She grew up in England and although she loved art as a child, she believed that real artists had an innate ability to draw. Although she excelled at pottery and screen printing, she couldn’t draw and thus believed that she wasn’t creative enough to be an artist. She went on to study materials technology and became a packaging designer in the plastics industry. 

But after nearly a decade of hard work and success, she made a bold decision. She was going to rent out her house, quit her steady job, and move to Vancouver to explore her artistic side. She explained to her puzzled friends and worried parents that this would be the gap year that she had never taken. 

Why did Mia make such a drastic change? It was a combination of things. Her job had shifted and she was looking for a change. Her milestone thirtieth birthday was approaching. Her sister had just gotten married—in Vancouver.

After arriving in Canada, Mia dove into the creative life and took art classes.  After her “gap year” was over, she decided to stay in Vancouver, applied for her visa, and found a job. Eventually she enrolled in the fine arts program at Emily Carr University.

But even though she had moved much closer to her childhood dream of being an artist, Mia's pragmatism still won out and she chose the industrial design stream. Her immigrant parents ingrained a strong work ethic in Mia, which meant she prioritized the responsibility to support herself. Night shift work at the post office financed her while she was at art school.

Her second turning point came at a summer retreat for personal development with new friends from art school. Mia realized what was really important to her was fine arts and freedom of personal expression. She switched from industrial design over to painting and photography, and began experimenting with photograms. Photograms allowed her to express her love of nature and natural forms. (You can see one of her photograms in the studio photo above.)

After graduating from Emily Carr, Mia continued with the photograms and her work at the post office. Then an opportunity arose for her to work with an art consultant. This job was more related to her art practice and its part-time hours allowed her to work on her art. At work, Mia created proposals and presenting to businesses—all new experiences for her.

The final turning point for Mia came when she was invited to apply for a public art project in Edmonton, which combined natural forms with granite. Public art was a perfect synthesis for Mia. The Edmonton project combined the nature themes of her photography, her work in industrial materials, and the business aspects of her art consulting. She loved the experience and began to apply for more public art projects.

A public art career is different from a studio practice. Mia applies to cross-Canada competitions for public art pieces. She develops a concept and then researches the materials involved---like the engraved granite she used in Edmonton. Her proposal includes: the artwork concept, a construction schedule, and a budget. The budget includes artist fees. After writing and submitting a proposal, she waits to hear if she has won the competition. Delays are common, and it can take months or even years before the artwork actually happens. Her schedule is tough to predict and years can be crazily busy or scarily empty.

Naturally, the more public art you create, the more well-known you become and the easier it is to win competitions. For Mia, her dream is to become so renowned that she will get to skip competition process. The day I interviewed her, she was finishing a proposal, and waiting to hear about two others. However precarious this life might be, Mia loves her public art practice. For the first time since she quit her job in England, she works full time in art alone.

Mia's art career has lessons for other creative people looking to pursue their dreams.

Don’t give up your day job.

Mia walked the tightrope between creative dreams and practicality. Although she was drawn to art from the beginning, she resisted the impracticality of an art career. She worked first in an art-adjacent field—packaging design—to make a living. In this way, she built up a nest egg that allowed her the financial freedom to take off for Canada and art school. Throughout her art career, she maintained part-time jobs alongside her art practice. Mia can proudly say that she has always supported herself.

But…your day job can inspire your art.

When Mia finally settled on public art, she was able to synthesize all her life experiences, something that a younger artist would not be able to do. Her work in industrial design, her interest in nature and photogram work, her art consultancy experience—all have come together in her current art. Most artists draw upon their lives and history to create art; the more experience you have to draw on, the more depth your art will have. 

To see more of Mia’s artwork, especially the public art you may have already admired, check out her website.

Art As Therapy

This post marks the first in a series of interviews that I will be doing about artists who came to art later in life. I was inspired to do this by my own life as well as many questions I've been asked in my studio and after artist talks. I believe that many people are looking for encouragement in pursuing an encore career in art. Hopefully these stories will encourage people to explore their own creativity.


Sande Waters

Choosing a career in art was simple for Sande Waters. Art is something that she must have in her daily life. In her lovely water-view home in North Vancouver, she has not one but two studios. The upstairs studio is a wide desk crammed with art supplies located beside her kitchen in the place where most would install a breakfast nook. Sande has trouble passing this spot without adding something to the many paper works she has on the go. On the day that I visited, she had two ink abstractions drying there.

Her other studio is in a converted garage (shown above). She  shares this workspace with two of her sons; her three sons are artistic as well. Sande confesses that this studio can get cold in the winter, but it gives her a place to work on larger art. She has a big canvas laid out with a beautiful splotch of ink absorbed into the surface in a way that reminds me of colour field artist Helen Frankenthaler. This studio is also full of: artwork, art books, art supplies, and canvases. If the studio illustrates the brain, Sande is an artist overflowing with ideas.

Sande’s current work is abstract and energetic. Ink is her current obsession, and she uses it on Yupo paper, canvas, and even on the small paper boxes she constructs. Her favourite subject is overviews, the kind of images that you get from airplanes. The loose flow of the spread of acrylic ink can be converted into imaginary topographic maps.

And Sande’s artwork isn’t confined to the studio. She serves on the board of directors of the Contemporary Art Society of Vancouver, and is in charge of awarding prizes to cutting edge artists. Sande and I meet most often at Seymour Art Gallery openings where she serves on the board there as well.

The Turning Point

Despite all this creative activity, Sande wasn’t always an artist. Her life followed a more traditional path: office work, marriage, and bookkeeping for the family business. Then at 42 years of age, there was a turning point in her life: her marriage ended.

At that point, with three young children, she had decisions to make. On one hand, she could take courses in accounting and continue her career in bookkeeping. But the other path—her love of art—was the one that appealed to her. She took a job with the school board as a special needs aide that would allow her summers with her kids. And she began part-time art studies at Emily Carr.

Although Sande has no complaints about the turn her life took, she fully realizes that art became therapy for her. She loved all her classes at Emily Carr. For Sande, art was an escape: a place where she could be creative and maintain a sense of self. Every mother knows how draining children can be, regardless of how much we love our kids, we become so-and-so’s mother instead of ourselves. Art is a way of declaring our creative identity. 

Sande’s determination shows in her art education. She graduated with her BFA from Emily Carr, a feat that took fourteen years! And then she went on to get her MFA at a low residency art program at the San Francisco Art Institute. The low residency component meant she could remain in Vancouver with her family and attend only summer classes in San Francisco.

What artists can learn from Sande

I was impressed by Sande’s inner calm and confidence. Perhaps because of her art degrees, she has never had any trouble identifying as an artist and continuing her art practice throughout her work, parenting, and studies. She would like to make more money in art sales, but draws a distinction between “décor art” and “core art” that may be less commercial.

Regarding art as personal therapy, Sande said she can both “lose herself in art, and find herself in art.” Art cannot be understated as a way of expressing ourselves and working out our emotions. I have written before about the times when I’ve used art to escape my personal problems, and Sande’s experience underlines this idea for me. She sees art as a form of self-expression and has identified therapy as a consistent theme in her work.

Finally, I asked Sande if she has any advice for aspiring artists. In particular, what should mature artists do to make current, cutting edge works? Her suggestions:

  •  Be true to yourself. Don’t worry about what people buy or like.
  •  Use play and experimentation to extend your art practice. Sometimes finding your expertise is a process of elimination.
  •  Educate yourself about art. Take an art degree or quality art courses.

To learn more about Sande Waters’s art, please check out her website.

My Own Private Artist Residency

A new painting about...guess what?

Today you’ll find me in glamourous Montreal…wearing rubber gloves and scouring a toilet as part of my artist residency! But before you all rush out to sign up for this alluring experience, perhaps I should explain how this happened.

I’ve been toying with the notion of doing an artist residency for a while, checking out glamourous villas in Spain or collaborative spaces in suburban Tokyo. But an artist friend warned me, “You’re really at their mercy, you get a call and you have to come out right away…it’s difficult to plan ahead.” While I’m sure that’s not true of all residencies, it is a factor for me. I have an ailing mother, so I can’t go too far for too long. Summers I like to spend at home in Vancouver, my kids are home from school and the weather is pretty damn nice, especially this summer. Fall is a busy time, as I get ready for the November Culture Crawl. And I have to admit, I love my studio, it’s perfectly set up and I have yet to find a residency that welcomes resin artists. “Bring your toxic chemicals to our lovely shared studio!” And not working in resin would mean a big change for me.

However, the idea of a residency kept nagging at me. I decided that I would arrange my own short residency; combining an art class with a city I loved. I chose Montreal, since my son already has an apartment there. He shares with two other McGill students, and I had seen the place when he moved in last September, it’s brand new and brilliantly located near downtown. I found a short art class I could take, and I was all set: museums visits, an apartment where I could paint as well, an interesting class and free accommodations. I promised my son I’d “pay” for my stay by leaving a big painting in the living room. What’s not to like?

If you could have predicted the problem already, you’re a lot smarter than I am. Apparently three intelligent young men, who can get admitted into a top university, are not smart enough to clean out the fridge before they leave for the summer. I saw mystery meat at university, but yesterday I got to see mystery vegetables…I have no idea what they were. And I’m pretty sure the apartment has not been cleaned since I saw it a year ago. So I’ve spent the first part of my residency getting the apartment into a state of minimum human habitability. I’m painting as well, but if my work is influenced by my surroundings, there’s going to be some sort of Hoarders masterpiece ahead.

Luckily for me, the hockey bag doesn't reek.

On the other hand, it is kind of satisfying to fix up a place like some HGTV show. If all goes well, I’ll post some before and after photos. And being all alone and in a new place is already inspiring some new ideas. I’ve been sketching Montreal buildings and my painting on canvas is very flat and smooth. And being able to make art at any time of the day is quite exciting. Despite the housework, I think my private artist residency is going to be great! 

This Is Your Brain on Studio


I wonder if our studios look like our brains? It’s something that I’ve been thinking about ever since I visited the studio of Siobhan Humston’s studio in Harrison Hot Springs, a tiny vacation town in southern British Columbia.

When faced with eviction from her beloved Vancouver live/work space, Siobhan began an odyssey of couch-surfing and artist residencies that ended up in this one year artist residency at the Ranger Station Art Gallery in Harrison. The Ranger Station is a two story building with a community art gallery downstairs and a rambling apartment upstairs. In return for being the artist in residence and manning the gallery on weekends, Siobhan has the entire second floor to fashion to her own needs.

As someone who has shared her home for over 20 years with one husband, two kids, three cats, and various small mammals and fish, I found it fascinating to see the home of an artist who lives with only one peaceful cat. The freedom to set up your home to suit your own interests is very appealing.  

Naturally, there’s a normal bedroom and kitchen/dining area, but the rest of the place is set up to suit her many creative pursuits. It’s like a dream come true for anyone who has ever had to clean up her art project so dinner can be served! She has a meditation corner that looks out onto beautiful Harrison Lake. She has her musical instruments set up in another corner, a merry mix of drums, mandolins, violins, and the like. There is book-filled nook for relaxing.  


She has a small back room with her sewing machine and fabric stash, where she is crafting pillows, clothing and accessories. 


She has a back room filled with power tools where she builds panels and sculptures. It's filled with supplies for her next sculpture project.


She has a big painting studio with multiple works on tables and pinned on walls.


There is a tiny corner for small coloured pencil works, where I longed to sit at the little desk and doodle.

A driving force behind Siobhan’s work is recycling. Many of her fabrics are donated or salvaged, and even some of the papers she paints on were saved from dumpsters. Her current sculpture project is based on one year’s worth of her waste, things that could not be recycled or composted. She has been collecting raw materials with a childlike freedom, sometimes with a vision and sometimes for unknown future possibilities. You can check out her lovely work here.

I really enjoyed my visit to Siobhan’s studio. It stirred my creative imagination to have a peek into her creative process through her studio. I drove up to Harrison with fellow artists, Rachael Ashe and Valerie Arnzten. We were all so inspired by the trip that each one of us blogged about it. For different perspectives, I've linked to their posts as well.

Now, look around at your studio. What's it saying about you?

A great week in the studio

I'm currently working on seven panels at once, which is a lot even for someone like me, who hails from Short Attention Span, Ontario. At the early stages, I often work similar motifs on all the paintings, they evolve gradually into something more unique.
Anyway, the painting is going really well, and here's a sampling of my past week at the studio. 




I can't get enough ombre, my resin work and
now my paintings have that dip-dye look.
The cats better watch out...

Did some collaged stripes with a 60's feel.


I started striping it, but I stopped since it looked great already.

The stripes led to patchwork patterns.


More crazy quilts, I think it's the combination of order and wild pattern I like.


 These lovely layers are already gone, and now I'm working on some florals inspired by spring.  Stay tuned...

Hope



"Our house, is a very, very, very fine house; with two cats in the yard...

“Oh! I think this painting would look great in our living room!” says the wife enthusiastically, hurrying over to see one of my paintings close-up.

“Hmmm,” replies the husband, noncommittally. He looks around furtively for something he can understand, like a landscape or a map coloured in earth tones. Nothing like that exists in this studio.

This couple is fictional, but similar things have happened during open studios. My paintings get a reaction, not everyone loves them, but those do…well, they make my day. 

I love open studios because they give me the chance to hear reactions to my work and talk to people about art in general. The Culture Crawl is the biggest show for me, but usually it’s so busy I hardly get a chance to chat with people in any depth. For the past year I’ve been doing occasional open studios with some of the other artists in my building, organized by the calm and competent Laura McKibbon of Cul de Sac Design. These open studios are lot more laid back, since fewer people come. I can do some work in the studio, not painting since I'd need to concentrate and get messy, but something neat or organizational. We just finished one event, and the next one will be in early June.

One curious thing I’ve noticed is that sometimes people come in and look carefully at all the art, then talk to me about it. They tell me how much they like my work, and how much they would like to own a painting, but they can’t afford it right now. There is a look in their eyes, a dreamy look, like they are imagining how that future place will look. Perhaps it’s their current home, but fixed up or perhaps it’s a dream home. Surprisingly people become quite confessional, telling me what major crises and hardships are going on in their lives, but that change is coming.  And after that they want to come back and get a painting.

Is there something about art that inspires dreams? Or is it that paintings are part of an ideal? A vow that to shed the hand-me-down couch, get rid of the junk, and achieve the dream:  a beautiful home filled with lovingly-selected objects that inspire. If paintings can inspire hope, they’ve achieved something very grand.




P.S. Well, you don’t have to dream about owning a painting, you can still enter the contest to win a mini-masterpiece, so far the odds are pretty darn good. The contest will wrap up at the end of April, and there will be a new one in May.

How to Crawl

The Eastside Culture Crawl has been a huge part of my life for the last seven years, with my studio welcoming hundreds of visitors in that time.


My neat studio, a rare occurrence


However there are still a lot of people who are Crawl virgins, or who would like advice on getting more out of their Crawl experience, so here’s some advice. Of course, you may wonder how someone who sits in her studio during the Crawl can even give advice on how to tour…so I have also gotten help from an expert. Liz Malinka has been doing the Crawl for over ten years now, she is both an art lover and an art collector. In fact, she and her husband, Frank, both love the Crawl so much that they became financial supporters of the event.

I would say that there are many ways to do the Crawl, but here are the two ends of the scale:

Organized

Liz, who is divinely organized, recommends doing your homework. She goes through the entire Crawl website to check out the artist’s images, then notes the artists whose work looks intriguing to her and writes down the names and exact addresses of the ones she wants to visit. You'd be surprised how many people come in searching for an artist they saw on the website or mentioned in the newspaper, but they don't know exactly who or where that artist is. With over 300 artists, it's difficult to figure out who that might be.You may be interested in one particular area, like furniture makers, and the Crawl website allows you to search that. The Crawl website also lets you search by building or by artists.

You can plan logistically if there are a number of places you want to visit, starting at one end of the Crawl territory and moving to the other. You may want to get your hands on a Crawl brochure, with its handy map, which should be available at any artist's studio you visit. But with 65 different locations, you may want to prioritize the places you want to visit, choosing the area with the biggest cluster. I’m not sure if anyone has ever visited all the artists during a Crawl, but it would definitely take the whole weekend to do more than a studio fly-by. That said, many people do the Crawl over two or three days, because too many studios in too little time can fry your brain.

Organic

The other end of the exploration scale is one method I’ve seen many times in my own studio.  Many visitors merely choose a place, like a large building or a little neighbourhood with a few studios and start exploring. They meander through every studio and stop to admire and chat with the artists. They delight in the work or the atmosphere, and have an easy-going attitude.  It’s the Crawl as an experience, and you can explore this way for as much or as little time as you have. I’ve actually had visitors who started on the Crawl about an hour before it ended, but they get an hour of Culture Crawl in anyway. When you explore organically, I think you’re more likely to find things that surprise and possibly educate you in some way.


And unfortunately for the organized Crawlers, many artists are so disorganized that they won't appear on the website or map listing, they simply pop up and wait to be discovered by accident. The Crawl is full of lovely surprises.



General tips for the Crawl

Liz has some specific advice on what to wear to the Crawl: “Dress for the event, no high heels since you'll be climbing a lot of stairs and covering a lot of ground. I find that scarves are a must (since 1000 Parker can be cold) and they are a quick removal item when you do warm up!”  My own observation is that there are a lot of stylish people who do the Crawl, and I enjoy the fashion show through my studio.  People who like art, like aesthetics of all kinds.

Parking can also be an issue at busy times, so getting there early helps. Most areas of the Crawl are either industrial or residential, and neither are loaded with parking. Although I don’t know any secret parking spots, I would caution you to carefully read all the signs. My former studio was across from a huge No Parking sign on a fence which was ignored every year, since people assumed they were closed on weekends. When the trucks arrived at the lot, they had no choice but to call the tow truck. Lots of people do bike to the Crawl, and if you buy something most artists will hold it for you to pick up later. On sunny days the streets around the Crawl are packed with pedestrians, like a stylish country village.


What about those crowds? Here’s the scoop on the different times to Crawl. The Crawl is open from 5 to 10pm on Friday, and Saturday and Sunday from 11 to 6.  Friday nights have a party atmosphere, in my building the artists are more dressed up and serve food, not dinner of course, but nibbles. I think most studios have food on Friday.  Serious art buyers, like Liz, will be out on Friday in order to see the work first and get first dibs. More families come out on Saturday and Sunday, after soccer or music lessons, and the Crawl is a great family experience. Kids love to explore, and artists are usually pleased to talk to budding artistes. For younger kids, I would recommend keeping it short since it can be tiring to trudge through large warehouse spaces or through rain-soaked neighbourhoods. You can always do more the next year. Teenagers who love art can probably out-Crawl their parents.  
If you don’t like crowds, I would recommend checking out some smaller buildings or individual studios. If it rains hard, most people prefer to stay dry by staying inside and exploring bigger buildings like 1000 Parker or The Mergatroid (my building), so they can be crowded. If it snows, I can guarantee there will be no crowd at all!  One more insiders tip, I’ve often found that late Sunday afternoon is the slowest time on the Crawl, so if you go between 3:00 and 6:00pm on Sunday, you may have studios all to yourself.



Michelle Sirois-Silver in her studio


Here's some lovely advice from Liz, “Lastly, have fun, talk to the artists! It will add to the whole experience if you are able to connect with them and get to know a little bit about them. Who knows, perhaps friendships will develop, it's happened to me many times! “

Very true! Enjoy the Crawl and stay tuned for the next blog topic, How to buy art at the Crawl.

Michelle Sirois-Silver's studio


An organized rainbow!
When I was a child, I used to go to the home of a graphic designer who had her studio in the basement. I loved to wander downstairs and look at her papers, her pristine white drawing table and best of all her markers, perfectly lined up in the full rainbow of colours. Seeing ALL the colours in perfect order gives me an enormous thrill to this day. And that is why I love going into the studio of textile artist, Michelle Sirois-Silver.


These fabric stacks are my favourite things in her studio,
 the textile equivalent of a paintbox
.
I first met Michelle when she moved into the shared studio across the hall from my studio, and then followed her into her studio in the basement of her home, and then I helped her link up with her current studio. I've been wanting to take photographs of Michelle's studio ever since I saw her first studio, and now with the Culture Crawl on the horizon, I can feature this lovely spot and anyone can visit it as well.


So here are some photos of Michelle's studio, as well as her answers to my little studio Q & A.

Michelle, hard at work.

What is your favourite part of the studio?
My favorite part of the studio is where ever I am at the moment I am creating something. 
The old and the new.

Can you tell me about your studio routine?
I'm in the studio everyday 10-6pm.  I like to begin the day by organizing and putting away any new items and materials that I have brought with me that morning.  I set up my computer, cup of coffee in hand and begin work.  Generally, I reserve activities like magazine and grant writing, marketing, and updating my website for home.  I may pick up my rug hooking where I left off the following day, do some fabric dyeing, or create samples for a new work.  I take photographs of my work in different stages and I'll use these images as a record of the process or for promotional purposes.  While I'm working I listen to CBC radio, music or audio books.  I try to schedule studio visits for the afternoon.  The day concludes with about fifteen minutes of clean up which includes a daily vacuum to keep the dust and fabric pieces under control.  

A little sampler which I found quite beautiful.


What is one thing that really inspires your creativity?
There are three things that inspire my creativity:  I love narrative and the art of story telling and I try to bring this sensibility to my practice.   Visually I'm drawn to images that inspire a sense of intimacy.  When I'm looking at something I shut out everything else around it and view that one thing in utter isolation.  When I do this the image alters its form and it becomes a range of colour, a dynamic value contrast, or a pattern.  Its new potential is inspiring. And talking with fellow artists about their work, inspirations, and processes.    

Here is textile piece of Michelle's that I own and love. You can see more of her work at:


And if you would like to visit Michelle's gorgeous studio in person, come and visit her on the Eastside Culture Crawl on November 18, 19 and 20, 2011.


This post is the kick off to a series of posts I will be writing on the Crawl, as we head up to the big event.

The Secret Garden


Last night I went to dinner with two girlfriends at a Chinese restaurant in East Van. Afterwards, since it was still sunny and nice out, we went for a walk around the neighbourhood. The neighbourhood we were in is a slightly sketchy combination of businesses and down-at-the-heels houses, but fine in the daytime. We wandered past the security-bar clad windows and cracking pavement when our attention was drawn by a garden in progress.


The yard of former mechanic shop was being transformed with new rich soil and a variety of tropical plants. A water feature was being dug in, and once the plants fill out and blossom, the garden will be very beautiful. We peeked inside the open garage door to see who was performing this botanical miracle and saw a man talking on his cell. I recognized him immediately as a well-known Vancouver artist. Inside the shop were canvases pinned to wall and a variety of intriguing paintings in various stages of completion. Obviously the garden reno required a lot of hard physical labour, and I wondered what was motivating the artist. A desire to create a tropical paradise to transport him or inspire his art? A hope to make the neighbourhood more beautiful?


One of the plants in the new garden is appropriately called  Black Magic

Although I am notorious for envisioning artist studios in every empty building I see (Old schools! Deserted warehouses! Garden sheds!) I was especially happy to see this conversion of garage to studio. This plain brick building, transformed into a place of creativity and energy was inspiring. Like the budding garden outside, an artist plants the seeds of his imagination and they can transform the neighbourhood.

Obviously you don’t have to be an artist to plant a lovely garden, repaint a front door or just pick up some garbage off the street. Everything we do to make public spaces more beautiful and  interesting can be appreciated by all.

Lisa Ochowycz's studio

I am fascinated by other people's studios.  I love poking around and seeing how artists organize things and how the studio reflects the work.  So as part of an occasional series in my blog, I would like to introduce artist's studios that I find interesting.

Lisa Ochowycz is an abstract painter that I met when she was sitting outside my studio one early summer morning, waiting to sign a lease for a new studio space in my building.  She looked so friendly and we hit it off right away, and now that I have moved upstairs my studio is right across the hall from her.  I must admit, I was pretty surprised when I first saw her studio.  Her paintings are complete abstractions, with large areas of floating colour, drippy shapes, and soft transitions of form.  But her studio is divinely organized, and as a naturally messy person I am very impressed.  Anyway, take a look for yourself.  Here is Lisa's studio, and her poetic answers to my nosy questions.


What is your favourite part of the studio?

Firstly, I love the building I am in and the variety of artists I am surrounded by.  As for the studio itself, it's wonderful to have a place that really feels like my own; being tucked away up in the mezzanine, with lots of light, my painting wall, a small selection of teas, and a little tapenade and fresh bread....it all adds up to providing a great deal of artists legroom.  I feel so fortunate to have this space.




Can you tell me about your studio routine?

As an abstract expressionist it's become apparent that each element of my day is related to my time in the studio. Friendships, family, biking to my studio, chai at Granville Island, they're all precursors that set the stage for what can happen when I'm in front of a blank panel.  Once I've arrived at my studio I prefer to start my time with writing a bit in my journal it's an effortless way to achieve a general focus and clarity.  By the time the first brush strokes are made I'm clear and feel in tune and I don't feel overshadowed by whatever stresses may have accumulated during the day.





What is one thing that really inspires your creativity?
Acquiring a depth of understanding in life is the greatest muse I've come across, and few things promote it more than music.



To see more of Lisa's work, please check out her website.