I wanted to interview my wonderful friend, Michelle Young-Wilson, as my next artist interview but because she has kept me inspired by how she leads a creative lifestyle. Also I wanted to offer this celebration of my lovely friend this week as this is the week of her birthday which works out perfectly! Michelle isn’t a practicing artist but her way of living, her daily activities, our exciting adventures together, how she cooks, her recipes, and her creative projects have kept me smiling and bright inside for several years already!
Michelle is one of the few friends who I can be silly with or have spontaneous adventures that seem outrageous but so much fun; or create imaginary worlds with just sticks and leaves! I have such fond memories of so many types of adventures we’ve already had and its rather exciting to think of the adventures yet to come!
So today is an interview with a creative in the way she lives her life and perhaps some moments into our adventures together!
Franceska: Do you have a morning routine before you start your day?
Michelle: Yes. Because I have a dog, I do.
Otherwise, I’ve never had much of a routine and I have trouble doing anything consistently. I rather invite change and transformation…I think I like the stimulus.
My morning routine, at the moment, is all about my dog, Hawkeye. He wakes me up at dawn and we go for a walk and I have come to love our walks together. I really get to observe the seasons change. I see the first flower buds and leaves on the trees in spring and get to watch the leaves explode into color in the autumn. Hawkeye is always living in the present moment and he is constantly reminding me to return my focus to the present. I love him for that.
After our walk, it’s time to make breakfast for him and myself and sometimes, my husband, Bob. Breakfast has become its own sort of meditation. I think I love cooking because it keeps my focus and attention from start to finish and since breakfast comes together quickly, it is almost a fluid dance. Just think about it: biscuits in the oven, bacon frying, tea kettle whistling, eggs scrambling and you are working for it to all be completed at the same time hot and delicious! With the right perspective even something as mundane as making breakfast can be artful. After breakfast and cleaning up, my day is entirely random. I get my work done as early as I can because that’s when I have the most energy and focus. I am always wanting to add yoga to my morning routine, but it just hasn’t fit in, yet.
Franceska: When you were young, how did you use your imagination in play?
Michelle: I remember playing alone a lot in my room. I liked setting up scenes with my dolls. I would make sofas from Kleenex boxes and little cakes from York peppermint patties. I made a circus trapeze once for a Barbie doll out of straws, string and scotch tape. Then when she fell from the trapeze, I made her crutches from straws and a cast from toilet paper and scotch tape. Something funny I remember, is that I set the scene as if to take a picture of them, I never was good at coming up with any dialogue. When I was playing with my older brothers, I was just trying to keep up and be tough. We did things like set firecrackers off under our GI Joe’s. It seems like the boys were always playing at war or car racing and I was always wanting to make something pretty.
Franceska: When you cook, do you have a plan or do you prefer to experiment? What have been the best experiments?
Michelle: It depends on who I am cooking for. If it’s just me, it’s an experiment. I may use a recipe for inspiration but I change it to use the ingredients I have on hand. But if I’m cooking for someone else’s pleasure, I take it much more seriously and strive for perfection. I recently made Christina Tosi’s (of Momofuku’s Milk Bar fame) Strawberry Lemon Cake for a friend’s 70th birthday. It is the most complex cake I have ever made. It has 6 elements that you must make separately and then you assemble it and freeze it for 12 hours to set. It was worth it! Absolutely delicious and everyone who had a slice agreed. If I ever make it again, however, I’ll do it as a trifle and not freeze it at all.
Franceska: In your work, how were you able to use your own creativity and was it often a challenge?
Michelle: I worked in the Art department in the Film and Television Industry for 14 years. I am truly grateful to have been able to use my creativity everyday in my career. When I interviewed a new potential employee I would tell them that being a creative problem solver was one of the most important qualities for any film-maker. And even though, I have moved on from that industry, I still use my creativity daily. Creativity can be utilized in all things. A mechanic can be creative about the way he repairs an engine. I think challenge breeds creativity. Isn’t all work a challenge?
That’s why we have this love/hate relationship with work. We want the stimulus but we resist the challenges. I believe we need challenges to grow and advance and become. Using creativity to overcome challenges is part of human nature. My dad, really inspires me in this respect. He is a creative problem solver, I learned so much from just being around him. If we had dropped something down a drain, for example, and couldn’t get to it, he would craft some device out of whatever was around to retrieve it for us and he loved doing it. He instilled in me a sort of confidence, that no matter what, we can figure this out.
Franceska: Are there any books you read growing up that you feel made an impact on who you are today?
Michelle: Absolutely, yes! There are so many books that I read in junior high school specifically that I believe shaped my moral character. Julie of the Wolves, Island of the Blue Dolphins, The Witch of Blackbird Pond and Roll of Thunder, Hear My Cry are the first that come to mind, though I am sure that there are more.
Franceska: Do you have any creative projects you have done in the past that you really enjoyed?
Michelle: I’ll be like Jesus and answer your question with a question: Are there any creative projects I have done in the past that I didn’t enjoy?
Even the hardest creative projects I have worked on, the ones that felt like a huge pain in the ass when I was working on them…looking back it all seems like great fun.
Franceska: What inspires you right now in your life?
Michelle: My focus for the last few years has been on the spiritual and mystical realm. I light up when pondering our infinite and essential nature. There is so much to explore and nothing is concrete, which delights me to no end. In a more tangible respect, I find a lot of inspiration in cooking. I am at home in the kitchen. The process of creating with food pleases me because I always finish (unlike many of my paintings and drawings) and once it’s eaten it’s gone….clean slate for tomorrow.
Franceska: What is your favourite colour and has it changed over the years?
Michelle: I love them all and I can’t pick just one and why should anyone ever have to? I am intrigued by birds because they have more color cones in there retina and can see a range of colors that humans can’t see. Isn’t that exciting. The idea of new never-before-seen colors!
Franceska: Do you have a favourite dessert and if so has this changed over the years?
Michelle: Oh, Franceska! I’m really not good at picking favorites. I struggle to think of a dessert I don’t like. If I have something sweet, I want it to be well worth the calories. I would choose buttery breakfast pastry over a cupcake. I don’t like things that are sickly sweet, I often go for something that has a hit of tartness to balance sweetness which is why I enjoy fruit in my desserts. But then there’s chocolate and who could pass up a good slice of chocolate cake? Not me. The choice is impossible. Absolutely impossible!
Franceska: What are your hopes for your future?
Michelle: I am a person who works hard at being present, but I do think that daydreaming and visualizing is a good tool to use when creating the future you want. I recently made a vision board for not only my current human existence, but also, for my next transformation. For my next life, I would like to be a Beautiful Bridge Builder who makes breathtaking bridges between planets and galaxies with her wand that works much like a 3D printer. (and I can fly effortlessly) How’s that for hopes for the future?!
Franceska: Oh my goodness! I've read through your answers with wonder, agreement, laughter and lots of lots of smiling! I know I completely relate to all and so love that you let me interview you during your birthday week about your life! That was lots of fun! Thank you Michelle for sharing!
- Please note that any highlighted words in this interview will send you to the items they are talking about.
- The images selected above.....
top left - "Candy Cobbler & Window Cobbler" sketch by Michelle Young-Wilson for a potential window display;
top right - set from the "Dallas" series created by Michelle Young-Wilson with her words about it, "It shows a huge piece of artwork that I created from colored torn paper. Of course i also selected and placed everything else in the photo."
bottom left - "Voodoo Bathroom" set from "Queen of the South" TV series with one of the drawings from me, (Franceska McCullough) of Jesus Malverde;
Bottom right - "i thought about the Save the Date pic I sent out for the Bob and Michelle wedding. I had run out of time and wanted to do something a little different so I just arranged flowers and leaves that I found in Costa Rica on my walk that morning….it was just plants I found along the road."
*If you enjoyed this interview then please follow this blog every Friday 9am UK time for more artist/creatives interviews!
Following last Friday's interview with my artist mother, Juliette McCullough please find below the 2nd part of the interview which I think is even more fascinating than last week! Having grown up with my mothers artwork all my life and heard so many accounts of her life as a young artist, I thought I'd learned it all but in taking time to further delve into her work and life as an artist it has given me so much more which is so very inspiring indeed!
I would encourage you to check out Juliette McCullough's website (listed below) and also follow her regular Instagram updates. She will inspire you guaranteed!
Here is part 2 of the interview. Enjoy:
Franceska: After finishing your studies, were you able to set up an art practice? What were your challenges at that time as a newly qualified artist?
Juliette: It was so very challenging to find myself facing only myself without any controlling incoming influences. It was terrifying, especially because I wanted to paint human beings, but had no models. That was when I first started pulling images out of my boots so to speak.
Because I had worked so much from life I was really surprised to find that I could create from memory which opened up so many possibilities. Suddenly moving (painting or drawing) across an empty surface became a journey in which the image came through me, in spite of me. It was, and still, when I am lucky, continues to be like dreaming while awake (a lot like the ‘Active Imagination’ practiced by Jungians. I had to submit to what the image wanted, and so each attempt became a sort of dialogue, a real push/pull between me and the surface. While the process itself was a deep experience, the resulting outcomes never satisfied me at that time. I don’t think I had any real identity until I faced and came through that difficult lonely struggle.
It was all intensified because I changed countries at the same time, so I left behind everything and everyone who knew me, everyone whom I could relate to artistically. I became an unrecognizable stranger in a new land, and a foreign culture. This was before the internet and everything that connects us globally today.
I read a lot, and looked to artists I admired for some inkling of how I could develop. I remember coming to the shocking realization that artists in previous generations had had a mythology to live by, even Picasso was born into a time when I think ‘myth’ and an imaginal world was still alive. I found myself struggling to give form to my most nonverbal ideas in the dead years of the end of the 20th century. I was hit by our collective loss of meaning through our reduction of ‘myth’ to mere fairy tale insignificance. Nietzsche’s idea of ‘the death of god’ seemed right on to me. It was only then that I was able to come to the conclusion that a ‘death’ would precede a ‘birth’, that the death of an old order was in fact the beginning of a new one! So, as a young artist I decided that my only hope was to follow my own nose and my own instincts in spite of the fashions of the day; to find my own personal mythology.
This was before I came upon the works of Carl Jung and his idea of ‘archetypes’. I have been learning from him and his ideas for many years now, and the journey still helps me understand my personal struggles in relation to the collective, and it all relates to my artistic journey.
Franceska: How does your art practice now differ from your early years after your education?
Juliette: I haven’t had time to practice properly since I was in art school. Working to keep a roof over my head (especially as an immigrant).
This is why young artists today go for ‘fame’ when they are at the beginning of their journeys, because they hope to make enough money to buy the time to be able to practice their craft uninterrupted. I have had to learn to carve time out of my life to get in the studio, and it does affect my output, and my rhythms of working.
Having said that, I now have a confidence and better awareness when I do get concentrated time to work.
Franceska: What artists had the biggest influence on you as an artist?
Juliette: So many really, but some that come to mind immediately are Rembrandt, Picasso and Willem de Kooning
Franceska: What is the best studio space you’ve ever had and how did you use the space?
Juliette: The one I have now - but then any space I have used has always been the best! I like to stretch my canvases straight on the wall. I like to be able to bash away on a solid surface so that I can push and pull the paint and scrape off too. Then, if an image ever gets to the state that it is ready to go out in the world, I do have the pain of having to stretch it after it’s painted. I have often enjoyed painting on the floor too. I found it necessary to get away from the typical canvas on the easel situation.
Franceska: As an artist, have you ever felt the need to react to the political climate? How did you react and how was it received?
Juliette: Yes, of course, how can I not be affected by what is going on around me! But, I have never considered myself a political painter. Mostly, those images will come out so strong that I don’t attempt to show them, or doubt that I would find a suitable venue for them. However, I started a series of images in 2016 which became my way of handling the stress of the political situation we were living through, and I was delighted when I got to show one of them in the inaugural exhibition at the Center for Contemporary Political Art in Washington DC just opened by Charles Krause. https://www.politicsartus.org/
Franceska: How did you manage to raise a family and maintain your art practice? How did you keep your focus?
Juliette: With difficulty, but I consider painting as a way of living, rather than separate from living.
Every experience I have in my life informs my images as it grows my consciousness. Nothing has been easy, but as long as there is a burning need to make images, somehow they will come out.
Franceska: If you could go back and give advice to yourself when you were just beginning your art education, what would you say?
Juliette: Trust my instincts.
Franceska: How do you arrange your palette? Can you describe how your palette has changed throughout the years?
Juliette: I think the changes have been small. I used to use a very limited palette using only primaries and a white, and that was a great discipline because I had to really learn to mix. Maurice de Sausmarez who ran the Byam Shaw School taught me how to sensitize my eyes to colour nuance, based on the studies of Johannes Itten and Hans Hoffman at the Bauhaus. I owe everything to Maurice’s intense education in experiencing colour.
I added to my palette very slowly and methodically - I remember the exciting day I bought my first tube of cobalt violet! Then learning about the incredible differences between cobalt and ultramarine blue, and cerulean - they are such very different visual energies, and after years of practice my brush (or whatever tool I use) knows exactly where to find the energies I need on the palette.
Franceska: Do you have a favourite colour and has this changed over the years?
Juliette: Now I just love yellows, paint as much of my house yellow as I can, but that doesn’t mean that this is going to have a huge effect on my painting
Franceska: How do you feel about how artists now have to exist in a world of constant online imagery? If you could change anything about how we as artists get our work out there, what would it be?
Juliette: Having felt totally isolated in my studio for years, I actually find that the online world can connect me to other painters in a way that has never happened before ! I love to see the work of young and not so young artists in Europe and Asia etc.
Seeing the real thing is always far more exciting and revealing, but I will take the world of digital imagery over the poverty of abject isolation, which is often the lot of the pioneering spirits who cannot afford to live in any of the major cities.
Even then, so much that is showcased in our cities is more about the response to ‘art as commodity’ which is dominated by a false market driven by the collections of millionaires. I believe this has very little to do with the real creative folk who are speaking with authentic voices and possibly really affecting our world. If we can only manage connection on line, at least we have that!
Franceska: Thank you so much for taking the time these last two weeks to answer my questions and letting me dig even further into your life as an artist! I found myself relating to everything and smiling a lot especially at your love of yellows (being that I helped paint your kitchen yellow a few years ago!) I know that other artists of all ages will find inspiration in these interviews!
To learn more about the work of Juliette McCullough please go to her website:
To follow Juliette McCullough on Instagram please go to: @Juliette_McCullough
To follow Juliette McCullough on Facebook please go to: @PainterOnTheEdgeOfMystery
If you have any questions for Juliette McCullough please do comment on this post and we both will try to answer the best way possible.
*If you really enjoy these very inspiring artist interviews then please do follow this blog for artist interviews every Friday at 9am UK time.
This week I'm introducing you to my mother, Juliette McCullough, who happens to have a long history as an artist and is an enormous influence on who I am as an artist too. I've grown up with her artwork and relate to a great many of her works which are as familiar to me as a loved family member so it is for me very interesting to interview my own mother because her own artistic practice helps ground my practice in more than just imagery but also in music, words, people and places. It is her teaching practices, techniques and shared knowledge that I find my own footing as an artist in this world.
Here is part 1 of a 2 part interview with Juliette McCullough.
Enjoy & stay tuned next Friday for part 2:
Franceska: When did you know for sure that this was your life’s journey?
Juliette: From my earliest memories I was driven by this passion to dance and draw, and it was when I was rejected by the Royal Academy of Dance at the grand old age of 10 years old, (the only way into a dancing career at that time), that I had the first inkling that the visual arts was going to be my life.
The real decision came at the age of 19 when I found out that the experience of making marks was more important to me than my success or failure at it. This was a real coming to terms with the limitations of what seemed to be my artistic potential at that time, and, the realization that the process of visual discovery and expression was more important to me than anyone else’s opinion of what I produced. I think I came into this power only when I was at my most unsuccessful in producing or showing my images
Franceska: Where did you study, who were your teachers?
Juliette: I studied at Camberwell School of Arts and Crafts, the Byam Shaw School of Drawing & Painting, and the Royal Academy of Arts in London, England as well as one year at
der Akademie der bildenden künste in Munich, Germany.
The teachers I really appreciated at Camberwell were Joe Dixon and Theo Mendez who both taught fabric printing. My earliest experience of design and drawing came through those teachers and they were great. Also at Camberwell, Anthony Eyton, Raphael Maklouf, Henry Inlander, Euan Uglow, Anthony Fry and for art history the inspiring, Michael Podro. They were all important in my development.
However, I consider the Byam Shaw School to have been the place where I leaned the most. It was then run by Maurice de Sausmarez and his brilliant team of teachers; they were the ones who really taught me to ‘see’. At the Royal Academy my most influential tutors were Roderic Barrett and Peter Greenham.
I was so fortunate in that my whole adult education was free. I had to win scholarships which I had to work very hard for; I was the recipient of two Major County Awards and other smaller scholarships, so I benefited from opportunities that no students have today.
All the teachers I’ve listed here were committed to offering the best in art education that was possible at that time. They were paramount in preparing me for the life I have today.
I also could have studied with Frank Auerbach but I was so conscious of my own undeveloped artistic self and his already considerable fame that I somehow thought I would be overwhelmed by the experience; a decision that I sometimes now regret.
However, the culture in the first two years of Camberwell today would give the #MeToo movement a heyday. My respected professors did not fall into that group fortunately.
Franceska: What was it like being a young woman studying art in London in the 60’s and 70’s?
Juliette: Some of my male contemporaries were happy to tell us that women could never succeed in art because art history proved to us that there were no women artists (it is only recently that women have begun to be included). The whole idea that a woman could succeed in the arts was thought impossible. One of my teachers told me, “Why don’t you go home and bake cakes.” It was such experiences that fired my determination to succeed against all odds.
For the first two years we enjoyed one day a week working in the London galleries and museums. Art history lectures were often given in front of the actual images, and teachers would sometimes just remove the class to the British Museum for example. In those days the museums were often almost empty….there were far fewer tourists, and we felt that the art world was there just for us! The vestiges of the second world war were still in evidence around the city, and I remember drawing on a bomb site. Architectural studies were often conducted sitting on cold London pavements looking up at ancient facades. We got to know and draw all the oldest churches. At that time they all seemed to be very quiet uninhabited places steeped in history, with Southwark Cathedral being one of my favourites.
Franceska: Compared to today’s young artists, what opportunities were there for you to get into the public eye?
Juliette: Luckily I don’t think we had to seek celebrity in the same way that young artists do today. For right or wrong it was accepted that life was going to be hard and that success in one’s craft was not the same as commercial success. There was a belief that early commercial success was detrimental to the development of the young artist. Opportunities to exhibit came through our schools, but being in the heart of London, even those exhibitions were open to large informed audiences. Of course there was no internet, or Facebook, Twitter or Instagram. Reputation was built through word of mouth.
Franceska: What successes as a young artist did you have?
Juliette: The first time my paintings gained any recognition was from a small prize at the Byam Shaw School. The Royal Academy of Arts gave us many opportunities to compete for exhibition opportunities in the main galleries during that time. Initially I had a lot of rejections until my last year when I won a silver medal for life painting and sold a painting to the artist, Francis Bacon.
Franceska: What was that experience like, selling to a famous artist like Francis Bacon?
Juliette: One of my tutors told me that Francis Bacon had been in the galleries and liked my painting. The following day, he came down to the studios to meet me, unbelievably I was away teaching on that morning “so I missed my chance with one of the Lords of this life”. When I returned, my friends who were in the studio with him, told me about the encounter and relayed to me that he had said, “This girl is a painter”. Apparently Bacon asked what I was like, to which one of my tutors replied, “she is a feminine little thing”. This seemed to me at the time yet another little reminder of how we as women were not taken as seriously as we would have liked to have been.
This was the 1970’s and I was making figurative paintings at a time when it was very unfashionable. I felt as if I was swimming in the dark and didn’t know which way was up, so Francis Bacon’s words gave me hope that I might somehow be on the right track after all. It helped me come to the awareness that the only road for me was to follow my own intuition regardless of the fashions of the day. Apart from this I knew that this experience would not bring me any further opportunity, and indeed it has not. The act of making meaningful images remains the most difficult process I know, regardless of what might be considered successes, it is still always an intense struggle to pull the images out from my boots!
Franceska: Thank you for answering this first series of questions and I look forward to part 2 next Friday in which we will delve further into your life as an artist and learn about your current artistic practice.
Juliette's artist website: www.juliettemccullough.com
Juliette's instagram: @Juliette_McCullough
Juliette's Facebook Page: @PainterOnTheEdgeOfMystery
*To read more artist interviews and to follow up with part 2 of this interview please return here every Friday 9am UK time.
I’d like to introduce you to my wonderfully talented and long time friend, Angielina Grass! We met during our time in the painting department at the Kansas City Art Institute, during the late 1990s. I’ve always loved Angie’s work, for as long as I’ve known her because of the way she uses colour and line to suggest a narrative in her work which always ensures my curiosity for the juicy backstory! Her beadwork is exquisite and compliments her drawings and paintings very well. They are rich in colour and so intricate and I feel so connected to nature and intrigued by her rich heritage when looking at her beadwork. Her regular posts of her work on instagram keeps my inspiration to create flowing. Since beginning the idea of starting a blog, Angie has been my first choice to ask for an interview because I’m so intrigued and inspired by her work and her work ethic!
So luckily Angie agreed to let me interview her about her work and this is the result of a series of questions to delve deeper into her work and her life as an artist and to learn more about her creative process. Enjoy:
Franceska: When did you know you would follow a career in the Arts? How old were you and what inspired you?
Angielina: i was a teenager (17) in high school when i wanted to become an artist professionally. i was constantly drawing and my bedroom wall was covered with my early works. my paternal grandmother was my early influence since her oil paintings hung in our house; she would gift us these paintings, mostly landscapes or still lifes.
Franceska: Where did you study and how has it helped your career now?
Angielina: i studied in college both in Oklahoma (Bacone College) and at the Kansas City Art Institute. they gave me the resources to constantly learn more about both my subject matter, various mediums to learn about and to constantly create something, good or bad. i’ve also learned how to self-promote online over the years since art galleries are not always in areas close to me these days.
Franceska: What are your absolute favourite materials to use in your creative processes?
Angielina: Beads, cell phone cameras, ballpoint pen & paper, and digital paint programs are my basic mediums.
Franceska: Were there any artists who you feel had a big impact on who you are today and how did they impact you and your practice?
Angielina: Frida Kahlo and Dorothy Sullivan has always influenced my drawings to a certain extent. Frida was always pushing the harsh realities to the surface of her work, which my own early works in college were attempting to do. whereas Dorothy was more about celebrating the Cherokee life of our ancestors through visual storytelling. i try to keep utilizing both of these aspects when creating any kind of artwork.
Franceska: Do you have a favourite colour and has it changed over the years?
Angielina: Purple is still my all time favorite color to work with, both in drawings and beadwork. in beads it’s a hard color to come by, especially when there are so many different shades of purple that often get discontinued by the manufacturer. it’s only varied slightly over the years since i usually compliment it with orange & red.
Franceska: What is a typical studio day like for you?
Angielina: typical studio day: make coffee & breakfast; eat while looking over the previous day’s work, then pick up where i left off if its incomplete or start a new project; check my etsy shop & FB page for sales/inquiries; photograph & upload new completed works to shop & Pages; keep working & drinking coffee until dinner time. if my eyes & hands are still able to keep working i may keep going until midnight. i have fallen asleep with artwork or beadwork in my hands a few times.
Franceska: What are your biggest struggles right now as an artist?
Angielina: my biggest struggles is a steady income through art/beadwork sales. i usually have to work a part time job to support myself as an artist; vendor fees and travel expenses to Native festivals do add up and if you’re lucky you break even on these events. one year i needed new glasses ($120) so my goal was to sell enough beadwork to pay for my glasses; i made $140 at that one event, got my glasses and used the rest for gas to get home from the festival.
Franceska: How do you come up with your ideas?
Angielina: believe it or not my fellow bead-smiths on FB and Pinterest inspire me to create something different than what’s already out there. sometimes i try their patterns to see if i can improve on it in some way. but for the most part i’m creating and designing what isn’t typical. i will draw out my designs either on paper or computer; it's easier and faster to edit the design before beginning the beadwork.
Franceska: Where do you do your work? Do you have a good space to work in?
Angielina: i work from home, both my living room and bedroom are my workspaces. it's very comfortable to work from home, keeps my creativity flowing.
Franceska: How have your ambitions changed since you graduated from university or have they changed?
Angielina: i no longer care about being part of the gallery scene like i did in college; it's too elitist for me now. the culture is very different among tribal festivals and native art shows compared to galleries, which i feel more at home with. it's more akin to folk art but in a different medium and tradition. plus online sites and promotions help me reach a wider audience along with the festivals which are peppered throughout the year.
Franceska: What are your goals for the future of your practice?
Angielina: eventually i would like to create beadwork full-time, including teaching locally to the next generation that wants to learn. that’s still in the developing stages. local bead suppliers are in high demand so i may look into becoming a supplier myself someday. i would also like to publish a book of my works eventually.
Franceska: If you could go back in time to talk to your younger self, when you were first starting your artistic life, what advice would you give, knowing what you know now?
Angielina: i would advise my younger self to practice more on my art; develop that strong work ethic sooner. and to come up with a business plan to market my work more efficiently.
Franceska: Thank you for taking the time, Angie to share your artwork and your artistic lifestyle with me and my followers. I know I’m still inspired and feel that your responses and your work will continue to inspire others especially those young artists just starting out!
Check out Angielina’s drawings here.
Support Angielina’s beadwork by visiting her Etsy Shop here.
Follow Angielina on Instagram here.
*If you would like to be introduced to more interesting artists then follow this blog for regular artist articles every Friday.
My name is Franceska McCullough and I'm the owner and artist of Toothpickmoon. I'm interested in blogging about art materials, art events and conducting artist interviews partly because I wish to help others and partly because I need to create structure in my own life as an artist.
*Disclosure: The links I'm using on this blog will only ever relate to the products I myself use in my own practice. I am actively trying to earn income through Amazon for these links. Any earnings are reported to my Jobcentre as I'm currently living on benefits because I don't have a job. I put in 50 job applications per week as well as working on this blog and my own creative practice.