Episode Transcript
Speaker 0 00:00:03 The
Speaker 1 00:00:03 Free.
Speaker 2 00:00:22 All right. Welcome to the FRA Center podcast. Uh, today we have a special guest coming in, uh, Laura Williams. Uh, she's an enco painter, and she's gonna give me a, and I think Scott has a little bit of better knowledge on Encaustics than I do. But, uh, she's gonna give us a rundown. Tell us a little bit about that. Tell us a little bit about a show she's got coming up that she just, uh, happened to frame a whole bunch of stuff for. Um, we're excited to, uh, be a part of that. And, uh, here we go.
Speaker 3 00:00:51 Thank you. I'm excited to be here.
Speaker 2 00:00:54 Yeah. Well, um, can you start, can you maybe just give us, uh, before we dive into all things in Caustics, <laugh>, uh, maybe give us a little bit of a, um, you know, like an idea of your, your history as an artist. Are you, you from the South
Speaker 3 00:01:06 Shore? Sure. No. Um, I'm not from the South Shore. I'm originally from Long Island, New York. Mm-hmm. <affirmative>. Um, however, I have lived in Massachusetts now longer than I resided in New York. So, um, you know, I came to the Boston area after I graduated school. I went to school at Upstate New York for art. I studied painting and printmaking. Um, moved to the Boston area shortly after I graduated in 92. And, um, got involved in the art scene in Cambridge and Boston, um, at the time. Um, was showing there for quite a while. Um, moved to the south, fast forward 10 years, moved to the South Shore. Um, stumbled upon home Massachusetts where I reside now. Um, and I've been living there ever since. Yep. Um,
Speaker 2 00:01:59 A lights nice and hall, right?
Speaker 3 00:02:00 Yeah. Very nice. And hell, um, big art group there too. Very big art group. I'm actually a board member of the whole artist association as well. Yep. Um,
Speaker 2 00:02:10 I work with Sandra all the time. I talk
Speaker 3 00:02:11 To constantly Sandy, I know she's always in here buying frames. And Is that,
Speaker 2 00:02:16 Is Bart?
Speaker 3 00:02:17 Bart Bloomberg's the president of the group. Um, and, um, we're, you know, it's, it's a nice, what I'm gathering from the s shore community as I'm meeting people, um, is that, you know, it's a nice group of artists and there's a lot of them. Um, but we're all pretty supportive of one another.
Speaker 2 00:02:36 Yeah. There's, I mean, there's a ton of art associations. Yeah. Uh, we talk about this I feel like every week, uh, when recording these is like, there's all these groups and the artists tend to be like a part of a, of a few of them, if not all of them. Yes, yes. Um, do you mainly show with, uh, with the whole group? I mean, the, the, the show you have coming up at the Pratt, is that through South Shore?
Speaker 3 00:02:59 That's through South Shore Art Center. Mm-hmm. <affirmative>. Um, and I'm thankful to them. I mean, they gave me the opportunity to show in that space at the Paul Pratt. And, um, I am a gallery artist there. Mm-hmm. <affirmative>. Um, I juried in about a year and a half ago. I was gonna do it right before, uh, c but C came and everything shut down. Yeah. So, um, I will mention that I'm new to showing on the South Shore mm-hmm. <affirmative>, because I did have a hiatus and I'm kind of reemerging now after raising twin boys. Uh, so I have twin sons who are now 18. Um, and they're at Whole High Go Pirates because I got a playoff game tonight. One of my sons is playing. There you go. Um, but, um, I've, I felt a very welcome reception. Yes. Football. Football, yes. Football. Um, they're playing tonight. They're playing against Cathedral or Matton, otherwise known as Matton. Right. It used to be Matton. I think it's Cathedral now. Um, anyway, um, but it's been a nice reception and, um, I've been happy, you know, joining in Twin Boys, showing again. Yeah.
Speaker 2 00:04:04 Twin Boys. Kind of put a damper on the
Speaker 3 00:04:06 Yeah. I, how
Speaker 2 00:04:07 Much production
Speaker 3 00:04:08 I, I channeled all my other creative energies elsewhere, you know, part of the raising of them. And I'm glad to be back at it and yeah. Um,
Speaker 2 00:04:16 It's all good. That's great. Um, yeah, so the, the show, I mean, we saw a bunch of the work, um, that's starting, uh, you know, the 20th,
Speaker 3 00:04:25 Yeah, the 20th is, I'm hosting a reception there on the 20th. Um, it is open now, and it's running through the end of December. Okay.
Speaker 2 00:04:33 Nice.
Speaker 3 00:04:33 Okay. Yeah.
Speaker 2 00:04:34 Yeah. And then as far as the encaustics when you like, was that always what you worked in or did you
Speaker 3 00:04:40 Not at all. Not at all. <laugh>. I've worked in a lot of different mediums over the years, but I was classically trained as a painter. Oil painter. Yeah. And print maker. Um, and then I dabbled in some ceramics, uh, threw on the wheel. Yeah. I did a lot in between. Um, but the Acoss all came about, um, because I read an article in South Shore Magazine, um, and that was around 2019, and I was fascinated, there was an article about a contemporary artist, a female artist on the South Shore working in the medium. Um, and I was like, geez, that sounds like something I'd really be interested in. Um, cuz I do like a lot of mixed media work. And, um, I said, let me give it a try. So I set up a home studio in my house and I kind of Googled, like, what are the basics I need Yeah. To at least try it out, because obviously I didn't wanna make a huge commitment financially if I wasn't gonna like it. Yeah. <laugh>. Um, so I did just that. I started off with like a pancake griddle with a thermometer attached and, you know, a basic like
Speaker 2 00:05:49 Guy all
Speaker 3 00:05:50 Together. Yeah. A guy all together, which apparently is pretty common. Yeah. Um, based on what I see out there. Right. Uh, and I fell in love immediately. Did you,
Speaker 2 00:06:00 It's, it's interesting. I feel like when I look at Encaustics, you know, cause I mean, I, I know when I, when I see one, I don't know much about the process, but it feels almost like a sculpture, painting, almost like a Yeah. It has like a, like a feel of both just cuz of like the texture and like the
Speaker 3 00:06:17 Yeah. Which is definitely one of the reasons I really love it. Mm-hmm. Um, because I can not only paint and mix color, um, and apply it like I would when I worked in oils, I can also, um, etch within it. Mm-hmm. I can carve so I can do, um, interesting things. Um, with my printmaking background, um, it's really conducive to making mono prints or in sizing in it. Yep. Um, and then almost doing like an inal effect by rubbing ink over it. Um, because, uh, wherever it's a waxy surface, um, you can get the ink off of it almost like a, a plate in print making mm-hmm. <affirmative>. Um, but wherever you've, you know, etched so to speak, or incised with a sharp tool, the ink will, will, um, adhere and stick. Hmm. Um, so the other aspect, like you mentioned with the sculpture, I mean, you can really build up the surface is really thick.
Speaker 3 00:07:16 Um, so some of my pieces you'll see, um, if you go to the restorative places show, you'll see, um, they're really built up, um, like heavy with medium and wax and I'll encapsulate, um, imagery in it that I've taken while out walking somewhere either the beach or maybe like on a trail like World D or something local. Um, or I'll embed pieces of paper just for color. Yeah. Um, just to add additional texture mm-hmm. <affirmative>, um, to the imagery. Um, so it's quite, it's quite an interesting medium lot can be done with it, which keeps me busy and it keeps me inspired. Um, I love it. I really do.
Speaker 4 00:07:59 For those who aren't familiar with en caustic mainly mm-hmm. The process behind it might be interesting for how you start Yes. How you add in all the colorings and all the different tools you might use for it. So yeah. If you go over a couple of those, I'm sure that would really help some people understand a little bit more
Speaker 3 00:08:12 About it. Yeah. And I'll go back a little bit about the history too. Yeah. So en caustic is actually a really ancient medium. Mm-hmm. <affirmative>, um, it, right now, uh, there's still the, I guess the most famous would be the fm, um, mummy portraits, the funeral portraits, um, that date back to between like a hundred to 300 ad. Oh, okay. Um, and, um, they, you can see the vibrancy still within the color of those works like they were painted yesterday. Um, so, uh, it's quite amazing. Um, the nature, the medium itself is made up of bees wax and a resin, which is a tree resin. So a DeMar resin, which acts as a hardener. Um, one combined, uh, like a ratio of eight to one more wax than the resin. Yeah. Yeah. Um, when you, you warm that up, um, beeswax by nature is archival. Um, so it's light fast, naturally. Um, it is, oh, what's the word I'm looking for? Oh, well it'll come to me, but, um, it's, it's very durable. Very durable. I know people are typically concerned, you know, is my painting gonna melt when it hangs on the wall?
Speaker 4 00:09:30 Or a random sun beam that goes across it?
Speaker 3 00:09:33 No, no, it's not going to, it's not gonna melt natural light. Um, it would have to get above 150 degrees in your house in order for the, the painting to start to melt. Mm-hmm. <affirmative>. Um, even if it sits and gets sunlight passing across it, that's not gonna be an issue
Speaker 2 00:09:48 If it was in like, just direct light for
Speaker 3 00:09:50 Direct light even, you know, I mean, you don't want any work, any kind of
Speaker 2 00:09:55 Work dry
Speaker 3 00:09:56 Sunlight. But if it was to happen, um, again, I've had pieces shown in the windows at South Shore Art Center Yeah. Oh, okay. That were just there for a month mm-hmm. <affirmative>, um, during the spring and summer. And I had no issues whatsoever. At the end of the day, none, no damage
Speaker 4 00:10:15 A storefront window's not gonna do it
Speaker 3 00:10:16 Then. Yeah. Think it's pretty safe to say, um, it really has to be prolonged excessive heat. Excessive cold is not good for it either. Mm-hmm. <affirmative>. So basically don't leave it in the chunk of your car and don't leave it out. You don't wanna ship them in a shipping container. Yep. Um, for a prolonged period of time. Um, because they can crack because of the coldness of the wax. Makes a brittle. Makes him brittle.
Speaker 2 00:10:39 Yeah. Yeah. So how, when you're working with it, how like, like that's like a little, um, like an oven or a hot plate,
Speaker 3 00:10:46 Is that Yeah. So that's considered a hot pallet. Mm-hmm. <affirmative>, um, you plug it in and um, you set it to basically warm. You wanna keep, that's another important factor you wanna consider. You wanna keep the temperature of your pallets. Um, and the wax always consistent between 160 and 180 degrees is my max that I like to keep it at. Because you don't want it to burn. Yep. Because when it burns, it smokes mm-hmm. <affirmative> and when it smokes it's not good for you. Yeah. <laugh>. So, and it also will, um, change the medium, it will turn it yellow.
Speaker 4 00:11:19 Is the resin in there at that
Speaker 3 00:11:20 Point? The resins already in there. Yeah. Um, I can use the resin and the, the mixture. Like I have the pellets out here on display, that's just the medium itself. Mm-hmm. <affirmative> that comes pre-made. I can make my own, which I've done in the past. When I'm making large projects I'll make my own. But for convenience sake, it's really nice to have the pre-mix pellets. Mm-hmm. <affirmative>. Um, and when that, you know, when you melt that down, you can use it clear. Mm-hmm. <affirmative>, um, you can also mix pigments into it, um, such as oil paint, um, or you can buy them pre-made in front of the palette, which we can't see from our angle, but the camera angle, you'll see there's bars mm-hmm. <affirmative> of color. Mm-hmm. <affirmative>. So that is from one of the few companies in the United States that specializes in encaustic paints and medium. Um, and that is gonna be, uh, already pre-made for you with the pigment in it, with the wax, with the resin hard. Oh, she's ready to go. Ready to go. It looks like a big hard crayon. Sometimes it's much easier that way. Acts like a hard crayon. Um, but you can draw on the hot pal with it. You can mix with those colors. You can melt them into tin cups and pour and
Speaker 4 00:12:27 Then do pores. Yeah. Mm-hmm. <affirmative>. Yeah. Yeah. Cause I know residents in certain heat situations are, you know, fu do you have to worry about that with, is that what you were meaning by like
Speaker 3 00:12:36 Smoking? Yeah. So you don't want it to smoke because then it can release whatever toxins in the pigments. Yeah. And that's not good for you. Yeah. So as you know, a general practice I have, um, you know, it's good a lot of people don't wanna work in encaustic in the winter unless they have good ventilation in their home. Yes. Um, unless they can leave their windows open or they have a vacuum suction exhaust. Yeah. Um, which I have now, um, that I just place just as a preliminary, more precautionary than anything. Cause I'm trying to keep my temperatures low. Yes. Um, that can just get rid of if and when there's any kind of fu it can get sucked out. Um, but, you know, it's important. Um,
Speaker 4 00:13:15 I know I work with residents myself for top coating my acrylic pores afterwards to give that kind of glass tile like feel. Yeah. And if you don't have a ventilator box,
Speaker 3 00:13:23 And that's even I think more
Speaker 4 00:13:26 Pures
Speaker 3 00:13:27 Resident because
Speaker 4 00:13:28 Seems to come off it regularly not to imagine if you have to heat
Speaker 3 00:13:31 It. Yeah. It's like sort of when I'm like spraying anything like aerosol, it just, any kind of varnish.
Speaker 4 00:13:39 Luckily the last couple years have really supplied us s well with masks. So, you know, I've got a couple of ventilator masks
Speaker 3 00:13:44 That's really helpful out. Yeah. I have a respirator mask I use as well. Um, better safe
Speaker 4 00:13:48 Than sorry.
Speaker 3 00:13:49 Nowadays, you know, it's all just, just in case, um,
Speaker 4 00:13:51 What we do for our artwork. <laugh>. Yeah.
Speaker 3 00:13:53 Yeah. But, um, so the process is, you know, every layer you put down you wanna fuse. Um, so you have a sea heat source ready, you can use a butane torch. I tend to lean towards the, the, the heat gun right here. Um, because what's important is that every layer you put down, you fuse it to the layer below. Mm-hmm. <affirmative> and that acts as a hardener and also adheres to the surface. Yeah. Um, another important thing you wanna consider is that you're working on a hard substrate. So like wood is a great, um, surface. Yeah.
Speaker 4 00:14:25 So, so get them to give to
Speaker 3 00:14:26 It. That's, yeah. You don't want anything that's flexible. Like, so Canvas would not work with enco cuz you the give on it could potentially, you know, damage it. Mm-hmm. <affirmative>. Um, so it's usually a hard substrate like Masonite I like to use, I like to use wood.
Speaker 2 00:14:38 Yeah. What about plexiglass? Would that give you like an ability to give it more like transparency or would that I
Speaker 3 00:14:44 Would probably lean towards glass versus plexiglass. The heat aspect. The heat aspect to it, you know, and the glass can take the heat without melting. Yeah.
Speaker 4 00:14:54 That warping
Speaker 3 00:14:55 Spending all warping. Yeah. You can Jess, so your, your boards as well, but you would need a special Jess so you're not gonna use an acrylic gso. Yeah. Because acrylic would take away the absorbency of the wood. And it's also important to have some kind of absorbency that you're painting on.
Speaker 4 00:15:09 Oh, okay. So it makes it too smooth and too, too
Speaker 3 00:15:11 Flat too. Yeah. Too flat. So, so you want it to last over time and part of that lasting over time rip is having some type of absorbant surface that you're working on, which is why wood is great. Mm-hmm. <affirmative>, you know, and they do make a primer specifically just for encaustic mm-hmm. <affirmative>, which has less acrylic in it. Mm-hmm. <affirmative>. So it has less of that binder in it. Cuz the binder itself is what what creates, you know, is what you don't want. Sure. So, so to speak Oncotic
Speaker 4 00:15:39 Now those acrylic ins there that
Speaker 3 00:15:41 You use too. Yeah. So acrylic inks, um, you know, a that's more of my experimental side. Like I really like to put the acrylic and that more of my mixed media side. Yeah. Of it. Um, before I went into a caustics I was doing a lot of work with ink on paper. Um, so I continue to like using ink. Um, and you can apply that to the surface and just let it dry. As long as it's dry you can code it again with another coating of layer. Yeah. Do another mm-hmm. <affirmative>, I'm just gonna make sure anything that stays wet. Even if you wanna use oil on top of it. Yeah. You just gotta wait until the oil is fully dry before you put another code of, of the wax medium on it.
Speaker 4 00:16:19 Were alcohol inks worth with
Speaker 3 00:16:20 It? Or a lot of people use alcohol, do they with en caustic? Or a lot of people say to do that, you know, cause it's water based, it dry as quickly.
Speaker 4 00:16:27 Just another thing I played with before. So I just have no absolutely limited knowledge on it.
Speaker 3 00:16:31 You can, you can. Yeah. Um, I just of course, um, go with what I know and I like course the rich colors of the
Speaker 4 00:16:38 Acrylic. Yeah. They have a heavy pigment saturation. Those which is great for, for doing blends and things like that without losing any of your uh Right. Tonality.
Speaker 3 00:16:45 Yeah, exactly. And they come through like under multiple layers. You can still see, see that,
Speaker 4 00:16:50 See everything built up, which is great. Yeah. Cause a couple of your pieces that have come in, you know, I've seen several of 'em. Yeah. That last group that you brought in, the uh, the two that were of the seashore where it was the layered Yes. Uh, collage work with the stone Yes. And the beach. Those ones. Those are I think two of my favorites I've seen from yours. Oh, thank you. Your
Speaker 3 00:17:07 Groups,
Speaker 4 00:17:07 You know, most like that one. And it was, uh, one you did for a, um, you actually had a friend brought right to a couple, if I remember correctly. It was a, it was a long tall one. Probably about maybe a 30, 36 inch high.
Speaker 3 00:17:18 Oh
Speaker 4 00:17:19 Yes, yes. And it had like this void in the center and you can almost see like a figure standing in like a forested kind of. That always reminded me of the green, you know, the, the, the, the, the mythological creature.
Speaker 3 00:17:30 Yes. That was a commission I did for somebody. It's
Speaker 4 00:17:32 Just what I saw on it.
Speaker 3 00:17:33 And they gave me carp blanche. I could do whatever I wanted. Do what you want. Even that kinda, yeah. They just gave me the location. They, I went into their house, they showed me the location mm-hmm. <affirmative> and I was able to create something for them.
Speaker 4 00:17:44 Yeah. Cause I had to take, I'm like, I gotta take, I'm like right guys, what do you see? I'm showing all my friends to like, oh. And they see the, the same thing. So I was like, okay, I'm not crazy. Totally
Speaker 3 00:17:51 Sits in there. Yeah. Yeah. And it's funny because I never saw that until it was, it was actually filmed like, so I didn't realize
Speaker 4 00:17:57 It was there Right. As the spirit of a forest kind of situation.
Speaker 3 00:18:00 The green,
Speaker 4 00:18:00 It's usually called, you know,
Speaker 3 00:18:02 Maybe like some guide of mine. I don't know. Yeah.
Speaker 4 00:18:04 It's just really cool. That's again, just one that sticks out in my mind that I've seen from Yeah, yeah. Yeah. Several pieces. Cause I do follow you on Facebook, so I do see all your postings on that. Well, thank you. Yeah. Yeah. See all those a year. Always quite busy it seems.
Speaker 3 00:18:14 Yeah. I am very busy. You know, I'm, um, busy but happy to be busy. Mm-hmm. <affirmative>. Cause I really like what I'm doing. Um, and um, I'm excited to be showing again. Yeah. You know, for after so many years of not showing. Um, so it's,
Speaker 4 00:18:30 It's tough with kids to try and be able to do everything you need to do for them and then try to also
Speaker 3 00:18:33 Do stuff yourself. Yeah. Yeah. And I also, you know, work a full-time job, so that
Speaker 4 00:18:37 Too,
Speaker 3 00:18:38 <laugh> <laugh>. So I couldn't work three full-time jobs at the time. Now that they're older, I'm able to, they have a little more time. Yeah. They're much more independent and they're like, you know, if as long as I have food out for them and, you know, they have shelter, <laugh>
Speaker 4 00:18:51 Cabins, snack foods and drinks and we all Yeah,
Speaker 3 00:18:54 Exactly. Yeah. So, um, that, that's freed up quite a, a lot of my time.
Speaker 2 00:18:59 Now is there a, is there a number of Enco artists on the South Shore? Or is that like, uh, you know,
Speaker 3 00:19:05 There are a couple that I know of, um,
Speaker 2 00:19:09 Is not like a, you know, there's
Speaker 3 00:19:11 Not like a lot that I'm familiar with. And please forgive me if you're out there listening and I'm wrong. But I know of maybe a handful in on the within, um, you know, the town surrounding us that, that work with it. Um, lot of know one other hell artists that does, um, but not as her primary medium. And then I know Tina Watson at a hang on works with Encaustic. Um, but she also works with I think acrylic and, um, I'm trying to think, you know, it's not, I know there are other areas of the state that have more, more of a, more
Speaker 2 00:19:47 Of a, well I think sometimes that happens with like, you know, like, cuz pastels are big because they, some of the teachers are, you know, like, oh maybe. Right. You know, so like they're
Speaker 4 00:19:56 The more
Speaker 2 00:19:57 Personal Yeah. Like big personalities that people want to take those class. But, you know, I didn't know if there was like a group of, uh, enco artists that, not
Speaker 3 00:20:04 That I'm aware of. Although I know that the South Shore Arts Center is hosting Lisa Presman. She's coming in, um, to teach, um, like multimedia with um, pig, the RF pigment sticks, which is what I use with the Encaustics. And she's also, um, a uh, what do they call 'em? Um, like a spokesperson for RF and Caustics and they're outta Kingston, New York. Oh, okay. Um, but she, she does, you know, um, workshops throughout the country. Oh, okay. You know, um, same with like, I know of Lin Vander Shaf, she's up in Portland area. Mm-hmm. <affirmative>. But she has come through the Ur Arts center on occasion and taught a class. That was before she taught before I really, really got into Enco.
Speaker 2 00:20:48 Who was the artist. Do you remember that?
Speaker 3 00:20:50 That you were, you know, I was afraid you were gonna ask me that. Cause I can't remember. I'm gonna have to pull out the magazine, which I didn't get a chance to do before I came in today. But, um,
Speaker 4 00:20:58 Yeah. It's fun though when something like that grabs you and just
Speaker 3 00:21:01 Yeah. It really inspired me. And um, cuz she was using it in a contemporary fashion, I guess I always thought of it more as a traditional medium. Yep. Um, and you know, uh, therefore I never, it wasn't something that I was exposed to either when I was in art school or just, um,
Speaker 2 00:21:19 Yeah. It wasn't like an, there's an Enco class that was like,
Speaker 3 00:21:22 And even when I was working in Cambridge, I worked at Pearl Art and Craft, which is no longer pearl art and craft. It's like BBL art now. Yeah. But um, back then, like there was no really supplies that I recall. Yeah. I worked for
Speaker 4 00:21:34 Craft store for years. I don't ever remember seeing anything like that. Like I sold beeswax and the candle making sets and I showed all the, all the peach cart
Speaker 3 00:21:41 And pieces, you know. Yeah. Know. So it's not something that's very common. I think it has had a resurgence from what I've read about, um, where there's more people working with now since they have that pallet. The heated pallet. Yeah. Yeah. That's become very
Speaker 4 00:21:57 Powerful. The tools and equipment readily available do make it more open for more people to be, to
Speaker 3 00:22:01 Do this kinda thing. And I know a lot of people are interested in it. I'm been interested in taking classes and it, and have, have asked me if I'd be willing to teach class
Speaker 4 00:22:09 In it. It's always a fun question, isn't it? Yeah.
Speaker 3 00:22:11 I, no pressure. I wouldn't, no, I wouldn't mind doing it except that that would, you
Speaker 2 00:22:15 Would require me another job
Speaker 3 00:22:16 That would require me to, you know, um, come up with a plan <laugh>, you
Speaker 4 00:22:21 Know. Yeah. How much would it cost for the class?
Speaker 3 00:22:25 I've to come up with a plan. A lesson plan. Yes. <laugh>, you know, which I'd have to
Speaker 4 00:22:29 Create. Then you also have to make tools readily available for everybody. You to make
Speaker 3 00:22:32 All that. Yeah. I would need a sponsor. There you go. There you go. You need a sponsor. But, um, yeah, so that's,
Speaker 2 00:22:41 But you do, I mean, but the idea of teaching is like you're not, I'm open to not fundamentally opposed to
Speaker 3 00:22:46 Teaching people. No, no, no. I'm opposed to it.
Speaker 4 00:22:49 Small classes are good. That way you can,
Speaker 3 00:22:52 I'm into like an intimate, you know, amount of people, you know, like eight or less. I would think that's a good size. Good size that I could manage
Speaker 2 00:23:00 Lecture hall.
Speaker 3 00:23:01 No, no, no,
Speaker 2 00:23:02 No.
Speaker 3 00:23:03 I'll never say never. But not right now. You know. Um,
Speaker 4 00:23:06 Yeah. I mean some of the things are easily, you know, some of the sculpting tools and the heat gun I live above the pallet. I'm having a feeling would probably be a little harder to make a Yeah. Like you said, we might have,
Speaker 3 00:23:15 But you know what? People, pancake makers, what I used to, right. When I the started the starter set, the inexpensive way to do it is to go, you can even go to your locate local. Like I've gotten a lot of tools that have like Salvation Army. Mm-hmm. <affirmative>. Oh. Or consignment stores. Um,
Speaker 4 00:23:32 You never know what's gonna be a tool. Sometimes
Speaker 3 00:23:34 You find so fun, you know, cause sometimes you just need a hot plate. Mm-hmm. <affirmative>, you know, um, which you can find rarely. Usually at a secondhand store. Thrift store, um, hot plate and a pan to melt, you know, your medium in. Sure. And then a couple of colors or you know, you can start out with primaries and then you can mix from there. Yeah. Um, and a heat gun which you can get at the hardware store. Yeah. You know, so it's pretty simple.
Speaker 4 00:23:57 Yeah. I mean I started off as a watercolor artist, so now I've moved on to Yeah. Doing acrylic pores because one, I can set those paints up ahead of time. Yeah. And then when I have the time to do it, I can go ahead and paint them when I have five minutes to myself. Yeah. Like you said, it's not always easy. Watercolor takes too long for me. Right. And I can't come back to it once it's, you have to kind of go along with it. If you take too long away, you forgot what steps you were on, where you were off and you have to start the whole project all over. Oh yeah. But like you said, having to MacGyver stuff together and make stuff. Even now I've been doing it for five or six years. I just bought the parts to make a spinning table. Ah. Because a spinning table I find readily available at any of the local stores. Yeah. They're all made of plastic. They're lightweight, they're cheap, they're, they don't hold the weight. Yeah. And if you wanna order a professional one, it's like $120 to $150. Right. For something that I may only use occasionally.
Speaker 3 00:24:42 Yeah. And you're not sure. Some people just aren't sure. Yeah. Like I wasn't when I started with this, whether or not I'd pursue it. Um, it just so happens that like I'm crazy about it. So that's all I wanna work in now. No,
Speaker 4 00:24:54 It shows cuz like said the amount of pieces you, you have come out of it, I'm sure it must be.
Speaker 3 00:24:58 Yeah. It's very inspiring.
Speaker 4 00:25:00 And do you tend to work like a size that you like to work better? Like you like smaller
Speaker 3 00:25:03 One of people? I'm like all over the map. Okay. You know, like I go big, I go small, I go tiny, you know, whatever. It's pretty much whatever I have, you know, available to paint them at the time.
Speaker 4 00:25:13 I've got these three colors
Speaker 3 00:25:14 Left in this one. Yeah. I mean, um, there is, I do like square, like for some reason that's my latest thing is like probably cuz they're available now, you can just get a square. So I like
Speaker 4 00:25:23 More unusual size than the traditional rectangular.
Speaker 3 00:25:27 I like two by two. I've decided I really like the two by two and I like the 12 by 12, which is I have right now as a sample of a piece I'm working on mm-hmm. <affirmative> propped up there. Um, I don't know for whatever reason. Um, I do like that. And then of course the landscape over there too. Yep. Yeah. That's a 12 by 12 right there, that piece. Mm-hmm. <affirmative>. Yeah. Um, and, and that is a square too. Mm-hmm. <affirmative> that the monotype I did over there.
Speaker 4 00:25:52 They seem, they feel more interesting. I find when people look at them, even our photographs lately, a lot of photographs are being done in the square format just because it's the unusual thing to the eye. It's the thing that, it's what a lot of formats are shot in lately. Yeah.
Speaker 3 00:26:04 Maybe that's it. Maybe's Instagram. Instagram, Instagram is to blame.
Speaker 4 00:26:07 It's been a huge influence on that. Cause we were talking to Sean Goon our first couple of interviews and he said the same thing that has changed the formulaic equation for standard printing now mm-hmm. <affirmative> so that it makes it more readily available for squares. Even our, even our frames that we carry up here in our ready made, we have a variety from
Speaker 3 00:26:23 Which I've bought a few in the past, you know, but that's just, it. Be bring your bring up a good point because when I am going to post something on social media, which I only got into because of Covid to be honest with you, but it's been a great thing.
Speaker 4 00:26:36 Oh, it's, I mean, I think for artists
Speaker 3 00:26:38 I think it's unfair. You know, that was my only a lot of people. Yeah. Um, but when I would go to paint something, a landscape format, it would cut it off. Yeah.
Speaker 4 00:26:46 Or you'd have two bars of
Speaker 3 00:26:48 Like, or like, it would look really small, you know, if I had to reduce it to fit in their frame. Yep. Um, so maybe that's another reason that subconsciously I've gone to the square format more so, but I do still do landscape format. Oh sure. Yeah. In commissions. I do a lot of landscape. Um, I do have pieces in my show at the library, at the class library that are landscape format plus. I mean, my inspiration is usually based off of the land in some way. Mm-hmm. <affirmative>. Yep. Um, you know, that's, that's where I go. That's where I go to be mindful. And uh, that's what I bring back with me and to my studio when I think about what I'm painting or get lost again in those same imagery mm-hmm. <affirmative> when I'm painting, when I'm
Speaker 4 00:27:27 Back studio saying nature provides the best blended, you know, color palette there
Speaker 3 00:27:30 Is. It's, yeah. It's calming. So it's, it's like, it's calming when I'm out there walking and it's calming when I'm thinking about it in my studio and, and and putting down imagery about it, you know. Yeah.
Speaker 4 00:27:41 I'm sure it gives you great ideas for it. Yeah.
Speaker 2 00:27:43 Yeah. And is that, no, the show is called Restorative Places and Is, you know,
Speaker 3 00:27:48 Yes. I thought that was fitting. Yeah.
Speaker 2 00:27:50 <laugh>, you know, there, there are, it's all, all landscapes,
Speaker 3 00:27:54 Landscape based. Um, there are, there are some, you know, um, some abstract, some more, um, representational work in that show. But all based off of imagery in my head about landscapes, places I've been my favorite places to go. Mm-hmm. <affirmative>, that type of thing. My mood, you know, the mood of the air at the time usually is how the abstracts come about because it's just, you know, I'm capturing more the atmosphere or the feeling I felt versus what I saw. Mm-hmm.
Speaker 2 00:28:24 <affirmative>, twin, twin boys full-time job. You know, you probably need to get to a restorative place. I
Speaker 3 00:28:29 Do as much as I can, you
Speaker 2 00:28:31 Know, in a quiet place to restore. I think we all need that.
Speaker 3 00:28:35 Yeah. I know it's a great place to unplug, you know, to just, just unplug, you know, we're constantly being inundated or at least I feel constantly inundated, um, by just, you know, all different, um, stimulus nowadays. Yeah. And it's a good place. I just find that it's an immediate release of anxiety and stress for me when I go outside
Speaker 4 00:28:57 A d head space
Speaker 3 00:28:58 To think right away, you know, uh, feeling the air and hearing the waves or listening to
Speaker 4 00:29:05 The trees. The seasons definitely haven't affected to the pieces that you
Speaker 3 00:29:08 I'm sure. Absolutely. Especially color palette and
Speaker 2 00:29:11 Probably tricky, tricky to work on locations with ICOs.
Speaker 3 00:29:14 Yeah. No. So when I do wind up working on location, I'll bring out like my acrylics. Yep. Um, and or when I'm traveling, you know, I'll bring, you know, pan and in and acrylic and you know, some watercolor paper or something, you
Speaker 2 00:29:28 Know. Yeah. Start
Speaker 3 00:29:29 To and just do like more sketches and, and uh, yeah. Stuff like that.
Speaker 2 00:29:34 So. And you said, um, you know, we were mentioning how Instagram's kind of, you know, maybe behind, uh, changing your into a Square format, some of your, your works, um, where people can find you on Instagram, you have a,
Speaker 3 00:29:50 Uh, yeah. So handle A handle, I guess that's what you call it. My handle on Instagram is at Lara Williams. Fine Art.
Speaker 2 00:29:57 And have you found that that's been a, that's been a helpful tool as far as showing people you work
Speaker 3 00:30:02 And like Yeah, and, and it's been in, it's been reciprocal because I mean, I've been able to show my art even when we couldn't show it in person. Mm-hmm. <affirmative>. And I've also met like a whole community speaking of community of Enco artists. I've met a lot of people from around the world Yep. That are inco artists. Sure. Um, as well as other artists. So it's kind of something I look forward to like every morning or every night when I look at my phone and go to Instagram as like a gallery
Speaker 4 00:30:29 Of just people's
Speaker 3 00:30:30 Works and other people's works that I might not ever get to see otherwise pretty,
Speaker 4 00:30:34 It also can be inspirational and help you with, you know, finding ideas and color and different design elements.
Speaker 3 00:30:39 So it's like a little community of artists. Mm-hmm. <affirmative> out there that are at my fingertips, you know, so that's the one good thing about technology, I guess
Speaker 4 00:30:47 You'd say. But those are a good group too, to introduce. Cause then a lot of people will go to those things for looking at different people's pieces, even if they're not artists themselves. I know I started like in same thing, I, I do paintings and I put 'em up in, you know, a few friends here and there. They comment on it, but they don't really know about art. So it's not like, you know. Right. But then I put it on a site that is, you know, everybody pours and that's that. And it's like every, you know, yeah. You get a right. Why did I get 200 likes all of a sudden? It's like, because it's in a group of everybody looking for that same
Speaker 3 00:31:15 Likeminded,
Speaker 4 00:31:16 Likeminded individuals. Yeah. So I'm sure that really helps too. Help to, it does broaden your content. It does broaden your ideas and make, like you said, contact all over the world.
Speaker 3 00:31:24 Yeah. It's a good Right. And it's a good place too for people that have purchased from me to check in. Yeah. You know, I've sold some work actually just going on Instagram, which is kind of unusual, you know, not being able to see it in person. But um, you know, they usually it's to people that have work of mine, you know, already. So they're familiar with what they'll, what they expect to see when they arrive in person. I guess.
Speaker 4 00:31:47 They know your quality is. Yeah. Right. So
Speaker 2 00:31:49 Hopefully, yeah. No, I think a lot of people, I mean, you know, I think that there's a lot of sales being made on, uh, social media, you know, and
Speaker 3 00:31:58 It's a good outlet
Speaker 4 00:31:59 These last few years. It's a good, we're a big art year. I know anything that had to do with the home or re refurnishing or changing or building how you want your home to finally, cuz everybody was stuck inside.
Speaker 3 00:32:08 Was stuck inside. I'm gonna
Speaker 4 00:32:10 Be stuck their inside. I'm gonna look at something I wanna look at. I know. And it was really big for a lot of artists and a lot of
Speaker 3 00:32:14 Blossom. Well that must been good for your business too, right?
Speaker 4 00:32:16 We did not stop.
Speaker 2 00:32:19 It's
Speaker 4 00:32:19 Awesome. Awesome. But we also got a lot of new people that we have that come in here now because of it. You know, people never would've thought to do anything like that before.
Speaker 3 00:32:26 Yeah. And I think they're hooked a little bit too. Yeah. Like, I've had people buy original art that said they've never bought original art in their lives. Yep. And now like, they're looking forward to getting their next piece.
Speaker 2 00:32:36 I think that's great. Yeah. I mean, one of the reasons why, you know, the, I mean, I don't know, the podcast I think originated just cause I wanted to, you know, carry on and talk maybe. But I think that like, one of the, the ways we've kind of like spit off is I kind of trying to educate people about buying art, buying original art and like, you know, making that message out there, getting to talk to artists like yourself and, you know, kind of expose them to, you know, the like the community of, you know, of in like I think when people buy original art and like you put a piece of original art next to like, some thing for home goods. I mean, there is no cont you know, no, no, no,
Speaker 3 00:33:16 No comparison. No.
Speaker 2 00:33:17 And, and there's like a, you know, and there's a story behind it too. Yeah. And like, I think people hearing like the story, like seeing one of your pieces and then like, you know, understanding what goes into it. I think that that's like, it makes it more meaningful to, you know, to the person makes it, it makes it gives it the piece depth in a sense. Yeah.
Speaker 3 00:33:37 It's, it's always nice to know. I, in fact, I like to know who's buying my artwork too, because it's just nice to know like to meet the person. Yep. See, you know, um, see
Speaker 2 00:33:47 Where one of your babies so ahead.
Speaker 3 00:33:49 Right, right. See where my babies one nice to know too. Like, you know, when you meet all these wonder nice people, you know, it's nice to know that it's going into a nice home, so to speak. Yeah. Um, but it's just nice. Yeah. It's, it's just great cuz you get, you get the social aspect and you get to know who's appreciating your work and it kind of gives you a push to keep going and it's all good.
Speaker 2 00:34:10 Well, having that connection with somebody too that you sell your work to. I mean, I think of it all the time with the frames. Like that's almost like a billboard in a sense, you know? Yeah. One of our, you know, like a frame, we frame something and it ends up in somebody's house and it looks really sharp and it's, it's a statement of the work we do. So, you know, like, and then, you know, oh my God, that looks great. Um, you know, where'd you get that? Yeah. Where'd you get it done. Mm-hmm. <affirmative>, you know, I mean in a lot of cases, you know, where like a finishing touch or something, but you know, oh that's, you know, so and so's piece and you know, I gotta, you know. Yeah. They, you know, Dave framed it at the Frame Center or you know, Scott, you know, helped me pick something out. And that kind of, you know, it, it builds, you know, and you know, everything keeps on growing off of that. And then, you know, somebody that maybe didn't come in here that saw it in somebody's house now, you know, now knows of us. You know. And I imagine the same is probably true with, um, you know, people that are collecting art. You know, someone comes into their house, they see one of your big pieces on their wall and it's like, wow, that's, you know, that's
Speaker 3 00:35:16 Striking. Who did that? Who did that?
Speaker 2 00:35:17 Yeah. Yeah. And it's, oh, LA did it and you know, this is our, this is our handle on Instagram.
Speaker 3 00:35:23 Check it out. Exactly. I've sold a, actually I've had a lot of clients come to me that way because they know someone that has a piece and then, you know, that it turned them on to even look me up. And then, you know, they come out to maybe my open studios or they reach out to me for a gallery visit mm-hmm. <affirmative>. And um, and it goes from there. It's like a little network Yeah. Of, of you know, people.
Speaker 4 00:35:44 And when people trust you, they're gonna ask you your opinion on certain things too. So like, say you sold a piece and it wasn't framed and they just bought it as is. Yeah. You know, where would you go to frame it? Or same thing. Absolutely. Somebody buys looking for a piece of artwork. Yeah. We say the same thing. Like, oh, you linked photographs for landscapes. Call this person. You need this for the, we have the whole, and we have the whole board downstairs of everyone's cards and things like that. So we can recommend Yeah. That, you know, cuz people do come in looking for it all the
Speaker 3 00:36:10 Time. Yeah. It's a great resource. In fact, I think I was turned on to you all by another artist when I first started needing to reframe work again. You know? So that's how I found
Speaker 4 00:36:20 Without going to a corporate, you know
Speaker 3 00:36:21 Yeah. Right. Place without, you know, without saying names, you know, <laugh>, it's not the same service and, and you know, customer service and warmth, you don't get the same warmth. Yeah. I've
Speaker 4 00:36:31 Worked for that. I wish I'd gotten those years back and worked here. Those, that whole time would've been a whole different experience.
Speaker 3 00:36:36 Yeah. So it's just a nice place. Um, you get to know the person that's helping you. Um, you know, and every time you come back you see the same people.
Speaker 4 00:36:45 Yeah, we do. And we get know everybody by their first names. They sometimes know their kids. We knows like, oh, you know, we said, you know, how'd you, how, how'd the football game go the other night? You know, things like that. Things along those lines. Yeah. Yeah. Um, which I think is a little bit better than
Speaker 2 00:36:58 Any. Yeah. I think that's what we're trying to do here is provide, you know, like it's an experience like, you know, like, I mean that's, you know, more, more so than you know, you know, coming in and just put slapping a rectangle around something, you know, it's, it's, uh, an experience and it should be enjoyable. It shouldn't be like, you know, sorry
Speaker 3 00:37:17 To interrupting. Don't worry. I'm really, I'm really loving your whole gallery space upstairs now. Yeah. And when I first saw this podcast, I was like, oh, what a great idea. You know, because I know I love like tapping in, like, I'm usually searching for like, you know, people talking artists talks. There's another gallery up in Portland that I've been following that does, um, a similar thing interviewing artists and so forth. And it's very interesting as an artist to hear what other artists have to say and know you're not alone in a lot of ways. You know what I mean?
Speaker 2 00:37:49 I think it's fascinating too. Like for me, um, you know, there's a ton of artists that like growing up in the South shore growing up in this business. Like I've known artists, you know, and some of 'em, I, you know, I don't even think of 'em as artists. I just think of 'em as, you know, that's, you know, you
Speaker 3 00:38:06 Know them for people, right?
Speaker 2 00:38:07 Yeah. And I think that that them like artists being exposed like this, you know, interesting things about people like my friend Michael, uh, coin and he is like, you know, see his paintings, but you know, he'd like, I know I met him first from playing hockey with him and then, you know, like, there's just like interesting stories behind people. Right. And I think that that maybe that helps with connections to some people finding artists. Yeah. Especially people that maybe don't, you know, aren't big into like, like art community or collecting art, you know, oh, that's my friend, you know, he's a painter and like, I want, you know, or you know, that's, you know,
Speaker 4 00:38:42 A lot of people don't know how to find a, find an artist. They, you know, that they're looking for like, they're so used to buying stuff in a store or online
Speaker 3 00:38:48 That, or they think of artists as only existing in museums or there's like this whole thing like, like almost like it's untouchable in
Speaker 4 00:38:56 A sense. Right, exactly.
Speaker 3 00:38:57 They don't think of'em as regular people Exactly. Doing everyday things as well as painting or drawing or
Speaker 4 00:39:03 Same thing for stopping in here. They don't think that maybe their thing is worth framing that way. It's only a small family photo. It's like, it doesn't matter if it matters to you, it should look good and be on the wall the way you want it to be. That's,
Speaker 2 00:39:15 We're trying to make artists feel like regular people. That's why we drag all back <laugh> make or shoot hockey puck in the Yeah.
Speaker 4 00:39:22 <laugh> get on the ice.
Speaker 2 00:39:23 Yeah. But yeah, I think that that's a big, uh, you know, a big part of it. I think that, uh, from like to put the art and like the framing together too, like I think a lot of times people are intimidated to come into a frame, like into a frame store. Yep. Um, you know, they don't know what they're gonna get themselves into. You know, they don't know what to expect. Right. I mean that's why one of the reasons we have done the shows upstairs with, uh, like the schools for years, um, you know, get people in the door and then it, like it's, you know, it's a positive experience
Speaker 4 00:39:55 At
Speaker 2 00:39:55 The kids too. And then they come, you know, and then they come back and you know, it's not intimidating. Right. So the experience thing I think is key. And, you know, making sure, trying to make sure that everybody has a good one. I mean,
Speaker 4 00:40:08 How often people
Speaker 3 00:40:09 Yeah. It's comfortable, comfortable environment. You
Speaker 2 00:40:11 Know, the space up here has been great. I think, you know, very
Speaker 4 00:40:14 Well received
Speaker 2 00:40:14 To me. Um, you know, I want to like, I want to be like a big part of the art community Yeah. Of, you know, of the community in general. Yeah. And uh, you know, trying to like, have our website turn into something where people, they want to like, explore a little bit about artists and this and that and like see, you know, see people like, uh, a sample of people's work before like clicking through to their website. Yeah. Um, you know, gives, it's
Speaker 4 00:40:39 A great idea. An art bio page with everybody's, some pieces that have been up in the gallery, all
Speaker 3 00:40:43 Of your artists, um, that you frame for
Speaker 2 00:40:47 Yep. Oh
Speaker 3 00:40:48 Yeah. With, you know, some of their work and like you said, a link to whatever.
Speaker 4 00:40:52 Yeah. This way they can see what was on display and then with a link thing. Like, check out what they're working on now. Yeah. At, you know, and keep everybody up to up to date. Yeah. I
Speaker 3 00:41:00 Got a lot of crazy ideas. I, I think art shouldn't be standoffish, you know, I'm one of those people. It's, you know, I, I think everyone has a creative side in them. Like, and I feel like it's one of those things that we're not necessarily taught in our society here in the United States to do. Like, it's, I nothing in sports. I've played sports. Mm-hmm. I love sports. My kids play sports, but it's definitely, there's more of an emphasis on that in schools versus being the creative.
Speaker 4 00:41:23 Yeah. Things that fun. The
Speaker 3 00:41:24 Schools, you know, music unfortunately, unfortunately don't get as funded as much
Speaker 2 00:41:28 As, I mean I, you know, I have a sports background too. I give kids to play sports and I think there's a lot, a lot of important lessons to be learned from that. Oh sure. But there's, but it does seem like that gets all the funding cuz it's like, maybe it's the entertainment aspect, but like art seems to be the one that gets cut. Yeah. And there's so many important like, creativity, you know, not being like
Speaker 3 00:41:49 Independent thinking. Yeah. Mm-hmm. <affirmative>, like there's the whole sports are great for the whole team work and, you know, working with people and social aspect and all that. But, um, it would be nice if, if everything could get funded fully. Yeah.
Speaker 4 00:42:02 You know? Yeah. Everything in its own turn.
Speaker 3 00:42:05 Economics all the way. Yeah, exactly. If there was just more money to
Speaker 4 00:42:08 Go around if only. Yeah. If
Speaker 3 00:42:10 Only in a perfect world <laugh>. Right.
Speaker 4 00:42:13 So
Speaker 2 00:42:13 Well maybe we get there someday. Oh, you know,
Speaker 3 00:42:16 Well, starting here at the Frame center. Exactly.
Speaker 4 00:42:19 All it takes is that power ball <laugh>,
Speaker 2 00:42:22 The podcast gets big, then we start funding. It's
Speaker 4 00:42:25 Actually true. You know, it wouldn't be a terrible
Speaker 3 00:42:27 No, but you'll have great ideas and, you know,
Speaker 4 00:42:29 Sponsors and scholarships and things along those lines would be nice. Yep.
Speaker 2 00:42:33 Yeah. Um, yeah, we got, we got high expectations. High, high.
Speaker 3 00:42:37 I'm sorry. Not that for
Speaker 4 00:42:38 Size
Speaker 3 00:42:38 You do, you just gotta do it. You gotta try it and see what sticks and, and see what works and uh, you just keep going. Keep
Speaker 2 00:42:45 Going. Now do you, um, we always ask people too, when they're in, um, about the works that they have at their, at, at home mm-hmm. <affirmative> now, do you, what kind of, uh, do you strictly en caustics? Is that all you allow at the house?
Speaker 3 00:42:59 No. No. I have a very eclectic taste, um, when it comes to art and I have a lot of art by other artists, um, that I know or not don't know, but mostly people I do know.
Speaker 2 00:43:10 So you so you're not intimidated to buying
Speaker 3 00:43:12 Art? No, I loved, I actually, it's part of my mission sort of so to speak, is when I, um, sell a piece, I put aside some money to be able to buy a piece. Oh, I like that. That's a great, I like that a lot. It adds to my collection. I enjoy supporting other artists
Speaker 4 00:43:29 Or aspiration for yourself
Speaker 3 00:43:30 And you can have something nice to look at. So I try and, you know, um, buy art whenever I can from other people and you know, it, it rotates. Like I'm one of those people, and I hear this a lot too, is, oh, I wish, but I had no space on my wall. I'm like, me there, there, you know, but I like, like to rotate stuff around. I'm always constantly rehanging hanging this here, there and the other thing. And um,
Speaker 4 00:43:54 Bag of hooks that can of touch up paint and you can
Speaker 3 00:43:56 Do anything you need around the house, A spec and paint. You're all good
Speaker 2 00:43:59 To go. Start with a small painting. Exactly. Bigger and bigger. Bigger. Just cover the holes up.
Speaker 4 00:44:03 Exactly. It's much easier that way. Yeah.
Speaker 3 00:44:06 My latest, my latest, um, uh, my latest acquisition, I'll call it, um, was at Open Studios in Cohasset this past weekend. I bought a piece by Jocelyn, Dana Thomas. Okay. Um, and I just love it. I fell in love with it, so I had to have it. So I, so I bought it. So, and that was out of my own funding from art
Speaker 2 00:44:27 Sales. I I love that idea. Yeah. You know, like, you know, like taking a portion of the uh, of the proceeds and putting it
Speaker 3 00:44:33 To Yeah. Right. I know. Because otherwise it just goes towards materials. It goes back into the business, the business and back into materials and or to, you know, um, to the tax man, you know, <laugh>,
Speaker 4 00:44:46 You need their 2 cents worth to you. Yeah.
Speaker 2 00:44:49 So, and uh, do you have a favorite piece at home? Or, or do you are
Speaker 4 00:44:54 Oh, Sophie's choice.
Speaker 3 00:44:55 It's usually my favorite piece is usually either the last one I painted or, um, you know, the last piece I acquired <laugh>. So you know, right now my favorite is Jocelyn's because I just got it and it's a fresh. Yep. Um, and the last piece I painted, um, is probably my favorite of my own, you
Speaker 2 00:45:14 Know? Is that one that will be in the show?
Speaker 3 00:45:17 Yes,
Speaker 4 00:45:17 Yes. How many pieces are in this show
Speaker 3 00:45:19 Anyway? Uh, 23 pieces.
Speaker 4 00:45:20 23 pieces in the show. Varying sizes and
Speaker 3 00:45:22 Styles. Varying sizes. Um, and some are more representational, others are more abstract. Oh, that's great. And then there's a mix of mixed media paintings, some straight en caustic pieces and um, some monotypes as well
Speaker 4 00:45:36 To show your
Speaker 3 00:45:37 Whole on paper. It's kind of like a range Yeah.
Speaker 2 00:45:40 Of work. Was it challenge to hang or?
Speaker 3 00:45:41 It was a very big challenge to hang and I gotta give a shout out to my husband Donald Williams because without him I probably would in a pool of tears on the ground because um, the hanging system they have there, I'm not used to. I'm used to again, nails, spec and paint. Mm-hmm. <affirmative> and they had a hanging system with wires. Oh yeah. And I wasn't, you know, I'm just not used to hanging on that type of system and he's handy. So he was able to, you know, make it work and I kind of just directed and said, okay, that looks good there and let's try this here. Um, and he was very patient and he, um, helped me hiding the show. Well
Speaker 4 00:46:15 That's good though. Yeah.
Speaker 2 00:46:16 I'll have to shoot us a picture of those, of those pieces, you know, when we, when we cut up the Instagram. Instagram or the stories, you know, so some people can
Speaker 3 00:46:25 Of what? Of the artwork that's at the show. Yeah.
Speaker 2 00:46:28 Some of the pieces from
Speaker 3 00:46:29 The show. Should I include a link as well? Like the link I have to my webpage that gives you
Speaker 2 00:46:34 More information. So just
Speaker 4 00:46:35 Anything you have can the more I have the better off end. Okay. I got that up on the website right now so that people can check the calendar out and find out when the shows are
Speaker 3 00:46:43 Next Sunday, Sunday the 20th. Uh, two 30
Speaker 4 00:46:46 Flying by here
Speaker 3 00:46:47 They are going. They are. And now I'm like, I wanted to get a piece into your show coming up here. Like the art off the wall you're doing right? Oh, yep. Mm-hmm. <affirmative>. Um, and then the DPO show is coming up. Um, and then the art center just announced in the show coming up, <laugh> and anyway, I'll be back
Speaker 2 00:47:05 Soon. They all seem
Speaker 3 00:47:06 That's what's gonna
Speaker 2 00:47:07 Happen. They seemed to all fall around the same time
Speaker 3 00:47:09 They do. It's like
Speaker 2 00:47:10 Have this conversation with a few people. And I had one earlier today with someone. It'd be almost nice to have some sort of like advisory board or like a representative from each, you know, each group. But I think there's just too many and there's not enough days are
Speaker 3 00:47:26 Yeah. Well that's part of the problem is like all these groups are volunteer for the most part, um, with some exception, but there's so much planning that they're doing for their own groups like to cross pollinate and plan for all the others. Um, it would be nice. I love that idea. Yeah. Yeah. Um, I just don't know how to make it happen.
Speaker 4 00:47:44 And our, our calendar will be the thing that allows people <laugh>. Yeah.
Speaker 2 00:47:47 <laugh>.
Speaker 4 00:47:47 Yeah. Yeah. Um, we cover 'em all,
Speaker 3 00:47:50 So. Right. So I guess, you know, other than there's usually not much going on in the winter, like January, February, March, maybe some people can just start doing more shows
Speaker 4 00:48:00 Then. Well, I think when the spring shows start up again, a lot of people have had those couple of months where they're stuck in doors. So things like that, that they've been creating and making stuff as long as weather permits it for, especially
Speaker 2 00:48:09 For what you, people have been saving up money too, right. Cause everyone spends three
Speaker 4 00:48:12 Right after the holidays
Speaker 2 00:48:13 In
Speaker 3 00:48:14 January's the worst month. Halloween,
Speaker 4 00:48:16 <laugh> Halloween is the start paying their bills the last day. Halloween boom. The months are just, the weeks are just gonna fly by for the next, the next couple makes really true trouble get so true. Set up and done. Yeah.
Speaker 2 00:48:26 So back to buying artwork, um, you know, just cause I always try. And now where, where do you go to look for artwork? Because I wonder, you know, as we're talking about this, some things are flashing through my head and, you know, maybe that's another thing that holds people back from buying artwork. Not knowing. Yeah. Not knowing where they go to, you know, to look for it. Um, you know, you said there was an open studio in ssa.
Speaker 3 00:48:48 Yeah. So I like to go to visit other art associations and other, uh, community open studio events when I can make it. Sure. Yeah. I schedule And that's always nice because like you had brought up before, it's always nice to know the artist or meet them Yeah. In person. Um, and there it, it, you know, it gives you that provenance of knowing the person that painted it and knowing where it came from kind of thing. Um, so, you know, it always makes the artwork a little more special when you buy from someone you've met. Mm-hmm. <affirmative>. Um, so that's a good place to go. Um, galleries are always a great place to go. Um,
Speaker 2 00:49:27 The art associations, I think are
Speaker 3 00:49:29 Art association shows, you know, those are always great. You know, I've bought, um, a couple pieces that way.
Speaker 4 00:49:37 Um, you've always said the barn sale is a great way to start off the, uh,
Speaker 3 00:49:40 The North River has that great sale mm-hmm. <affirmative> every year. Um, you know, I usually, I had a bin in it this year, you know. Um, that was fun. Um,
Speaker 2 00:49:50 How'd that, how'd you do there?
Speaker 3 00:49:51 Good. I brought in like 20 pieces. I kept them, you know, priced like really reasonably mm-hmm. <affirmative>. Mm-hmm. <affirmative>. And I think I sold 18 outta 20 or something like that. So I think I did good. Selling
Speaker 4 00:50:01 90% of the pieces is not too sha yet.
Speaker 3 00:50:03 Yeah, yeah. Yeah. I did well, but I kept it really like inexpensive. But
Speaker 4 00:50:07 The good thing about that is it exposes you to a whole bunch new group of people at that point, which then later on they may need other pieces
Speaker 3 00:50:12 Down the road. Right, right. I made some good connections that way too, because someone might have bought a piece for me that way and then they reach out and, um, sometimes fellow artists do it that way. I mean, you know, it's a good way to, that's not a good place to buy art. Um, the gallery has been a great thing in hell. The Cooperative Gallery, gallery Anast has been a great thing. I'm a part of that. So I show my work there all the time. Mm-hmm. <affirmative>, I'm there year round, so I'm constantly popping new work in and out of there and selling out of there. And then I also get to see all the artwork from all the other artists. Mm-hmm. <affirmative>. Cause there's about 25, um, artists at all times that are, and we change over this show quarterly. Yeah. So it's constantly, constantly changing. Um, and you get to see all the other artists artwork coming in. So I've bought work through there. Yeah. Um, and it's another good place for people to go because it's very low key. Um, and it's open year round, you know? Yeah. So,
Speaker 4 00:51:03 And t task, it's a big draw area too, so I'm sure it's a lot of exposure that way.
Speaker 3 00:51:07 Yeah. Um, yeah, it's definitely gaining in popularity that place, you know, it's kind
Speaker 4 00:51:12 Of, it had a lull for a little while and hope that things were taken down and now things are new things are
Speaker 3 00:51:17 Going in, so hopefully that'll hopefully, you know, um, it keeps improving.
Speaker 4 00:51:22 Carousel still going strong down there, isn't it? Absolutely.
Speaker 3 00:51:25 Yeah. Oh yeah. That's
Speaker 4 00:51:26 Like, it's a focal point down there.
Speaker 3 00:51:28 It Isation point. Yep. And the arcade for now is still there. Oh,
Speaker 4 00:51:32 The arcade's still there. Oh, geez. I
Speaker 3 00:51:33 That arcade for, and then there's a lot of beer gardens now and so forth, you know, and the hotel is great. We show a lot at the hotel. Um, at least the whole artist group and so forth just show us down at the hotel.
Speaker 4 00:51:44 Notifications are there all the time.
Speaker 3 00:51:46 So, um, but there's, there's a lot of places, which is great about having all these different art associations.
Speaker 4 00:51:51 Yeah. You guys just had an open studios down there not too long ago, didn't you?
Speaker 3 00:51:54 Yeah, we did one in July. In September this
Speaker 4 00:51:56 Year. Yeah.
Speaker 3 00:51:57 Yeah, it was, and then class did one, I think in August, and they just had one in November. Um, and I'm not sure who else, south Shore South Coast did one, but I didn't make it. And that was somewhere between the two, between both of those,
Speaker 4 00:52:12 Yeah. Fourth floor artists.
Speaker 3 00:52:14 Fourth floors coming up. Yeah. Next weekend I think. Yeah, next weekend. Yeah.
Speaker 4 00:52:18 So, yeah.
Speaker 2 00:52:19 Well, thank you for coming. You're
Speaker 3 00:52:22 Welcome. My
Speaker 4 00:52:22 Pleasure. The visual aids, this really does help kind of explain. It says we'll take some think
Speaker 2 00:52:27 You have a football game to get to. I do. Oh
Speaker 3 00:52:29 Geez. I do. I gotta make it to kick off.
Speaker 2 00:52:31 Girl Trump. I, pirates
Speaker 3 00:52:32 Show pirates, you know, it's a big game and they're undefeated this year. Let's hope that they make it to the Super Bowl. Awesome.
Speaker 4 00:52:39 That'd be
Speaker 3 00:52:40 Great. Yeah.
Speaker 2 00:52:40 So I luck. I would encourage people to check out your show and I would, Scott will put some stuff in the, uh, in the, the throw the
Speaker 4 00:52:48 Jakes to the bottom of keywords and a whole bunch of other things in there for people assertion for it. So,
Speaker 3 00:52:52 Great. I appreciate
Speaker 2 00:52:53 It. You know, at, at laura
Speaker 3 00:52:57 At Lara Williams Fine Art
Speaker 2 00:53:00 And, uh,
Speaker 3 00:53:01 Website. And website is simple. Same thing. La Williams fine art.com.
Speaker 2 00:53:06 Excellent. Well, yeah, check it out. Yeah.
Speaker 3 00:53:08 Thanks for having me. Appreciate
Speaker 4 00:53:10 It. Welcome. Oh, no. And thank you everybody for listening to us today, and we'll catch you next time.
Speaker 2 00:53:15 All right. See ya.
