Jamie Mackrill 23/2/21 Jamie Mackrill 23/2/21

Australian Based Realistic Acrylic Wildlife Artist Carla Grace - Art, Career Growth And Motherhood

Carla Grace is a South African born, Australian based wildlife artist. After going full-time in 2016, Carla has won many awards for her realistic acrylic paintings and has been featured in art exhibitions worldwide.

In her interview with us, Carla shares her beliefs and methodology on everything from pricing her art throughout her career to painting techniques and creating online workshop tutorials. Carla also talks about her experience and perspective as a full-time artist raising her very inquisitive and playful young daughter, Emily - Carla has a way of making everything work out with her positive attitude and professionalism!

Carla Grace with Emily and ‘A Mother’s Crown’

“There are so many artists out there doing great things that if you don’t market yourself, no one will. Emotionally distancing yourself from the work you create when you want to put it out there in the world is a way of protecting yourself and remaining professional no matter what feedback you get.”

Hello Carla, thank you so much for doing this interview with us! Could you tell our readers a little bit about yourself and give a summary of your history as an artist? How do you personally describe your artistic style?

My name is Carla Grace; I am a wildlife artist based in Adelaide, South Australia. I was born in South Africa and spent the first 23 years of my life moving between Zimbabwe, New Zealand, Zambia and Australia. I started pursuing art as a career in 2016 and am blessed to be able to do it full time. My artistic style would be realistic acrylic painting, focusing on bringing each subject I paint to life on the canvas.

Before we delve deeper into the artistic side of your life, I'd love to talk a little bit about your adorable daughter, Emily. She accompanies you in so many of your social media posts and YouTube videos. How old is Emily currently, and how does your average workday with her in your art studio look? Does she get to spend much time in there with you?

Emily is 17 months old. She loves being part of everything I do in the studio, especially the videos. She also loves being the one operating the camera gear, which can be scary at times and has resulted in a broken filter already. For the first 12 months, she was with me full time, but as she has an incredibly extroverted personality and craves being around lots of people, she goes to daycare four days a week now. She still demands painting time in the studio every day when she gets home though, no matter how tired she is.

You have uploaded videos of Emily painting and playing around in your art studio. Does it take much encouragement from you to get her to play around with paint and her surroundings, or is she a naturally inquisitive toddler? Do you think that there will be advantages for her growing up around art and creativity and being exposed to the wonders of creativity and artistic expression from such an early age?

I have to bribe her to stop painting! Since she watched me paint for so long before she was physically able to do it herself, she is like a kid in a candy store. She chooses the colours, and I have to open the tubs as that part is a bit challenging for her at the moment. I think if her physical abilities matched her passion and imagination, she would be painting all the time. For now, though, I still have a little control over how far the paint is spread throughout the house. I think its incredibly important for her to be set free in the studio. I don’t stop her from painting (unless she is trying to paint the carpet or furniture) and do my best to keep my personal ideas to myself. If she really wants to paint black over the green that she has just smeared all over the canvas, I enable her to do it. It’s like seeing pure and innocent creativity set free. I will not drive her to a life in art if she isn’t going that way naturally. Still, I think there is a lot to be said about the incredible learning, and developmental opportunities painting creates for children.

Running your own successful business as a creative is a commendable feat in itself. Doing it all whilst raising a young daughter is remarkable and a testament to your character! I'm sure there would be so many people struggling to find the right formula when trying to attain a healthy balance between their family life and professional life. What do you believe have been the most important factors in your situation in allowing you to get to the stage you are in regarding your career and family commitments? Is trying to find the right balance with your time management and attention the right way to look at it? Does the support of your friends and family play a big role in allowing you to continue doing what you love?

I think having a supportive network of friends and family is incredibly important. The first 12 months were obviously the hardest for me as Emily was with me full-time. So I can speak from that experience here, and it is with great reluctance that I say ‘balance’ is a mirage that keeps shifting and changing the closer you get to it. It’s something I keep trying to achieve, but as soon as I thought I was getting some form of balance in my life, things would change. The days and weeks in the life of a baby are constantly changing as they grow and develop. As a result, what was working last week, won’t be working this week. I worked as much as I could during Emily’s naps, I worked with her awake and playing in the studio, and I worked when she went to sleep for the night. I believe it is important that children know they are loved but not the centre of their parents’ world. So working while Emily was awake and playing in the studio by herself is something I enforced as much as I could. She just loved being around me, watching me, and being part of my day. This also depends very much on the baby and the family's situation, but the way I saw it was that if I was able to do anything in the studio, no matter how small, it was an accomplishment. It was also important that I was kind to myself and knew when I had to stop pushing myself and sleep.

I also find it quite interesting that you are a self-taught artist. What have been some of the most valuable aspects of your learning curve from beginner to professional over the years, and what resources have you utilised in the learning process? Have you had any mentors or inspirations along the way?

I have had many inspirations along the way, no real mentors, though. I’d say the most valuable thing I have learned would be emotionally distancing myself from my work when it comes to selling it. The most helpful resources I have used along the way would have to be Google and Youtube.

How long does the average painting take you to complete? What are your favourite aspects of the journey from conception and design to sending your art off to an enthusiastic buyer?

On average, my paintings take me 6 weeks to complete since I am not in the studio as freely as I could be before Emily came along. An animal portrait used only to take me 2 weeks to finish! I think the best part of the process is the sale, not because of the financial reward, but because someone out there has loved what I have created enough to invest their hard-earned money into it. That is incredibly humbling, and I never take it for granted.

Valuing one’s art can be a daunting process, especially in the beginning, when you are trying to turn a passion into a sustainable career. What is your take on art valuations? How do you land at a price point at which you feel is fair for both yourself and your prospective buyers?

Pricing art is such a tricky thing because it not only depends on the type of art but also how it is presented, the quality and then ultimately, what a buyer is willing to spend on it. In the beginning, being able to charge minimum wage per hour, taxes, and material cost of the artwork is great. When the artist's brand starts to get somebody behind it, and a reputation starts to form, the artist can add value to their brand in a variety of different ways to increase the overall value of their art. Valuations, as done by art consultants in galleries and museums, rely on the artist's academic and recorded history, such as their exhibits, awards, education, and gallery representation. Sometimes notable collectors form part of an artists resume too, which adds value to their work. Ultimately, the buying market will determine the value because people will only pay what they believe the artwork is worth.

You have also chosen to diversify your income portfolio by offering tutorials in the form of e-books and video tutorials, which can be purchased via your website. Could you summarise what you are currently offering in these tutorials and what your aim was when creating them for your artistic clients? Your customers' feedback has been overwhelmingly positive, so you must be doing a fantastic job with the tutorials!

I currently have three tutorials available that teach artists how I paint realistic fur, feathers and expressive eyes with acrylic paint. When I create these tutorials, I think about everything I have learned along the way that I wish I had been able to find in one lesson when I was starting out. I don’t want to teach people how to copy what I do - that seems limiting. The whole purpose of these tutorials is to teach artists the thinking and principles behind my process so that they can take what they learn in the tutorial and apply it in every area of their practice. That is why I am not doing tutorials on how to paint a specific animal; rather, how to paint a certain aspect of an animal, like fur or feathers. So far, the tutorials have been really well received, and I am thrilled because I have no experience in teaching at all!

A close-up of ‘An Invitation’ by Carla Grace

Another part of your success has come from getting noticed in the upper echelons of the art world. This has partly come through being featured in art exhibitions and various articles and magazines, winning awards and accepting commission work from galleries and art collectors, which we have previously touched on briefly.

In light of this success, could I bring up three points and ask for you to offer your thoughts on each briefly? The first is regarding the importance of putting yourself and your work out there and reaching out to people?

This is one of the most confronting things artists have to face at some stage in their career because it confronts the fear of rejection. It’s safe behind closed doors, hoping that someone will discover and represent you someday, but the reality is that it never happens anymore. There are so many artists out there doing great things that if you don’t market yourself, no one will. Emotionally distancing yourself from the work you create when you want to put it out there in the world is a way of protecting yourself and remaining professional no matter what feedback you get.

The second is remaining confident in yourself and your ability to succeed and consistently do your best. Has self-doubt or a lack of motivation ever hindered you on your journey? If so - how was that overcome?

Whenever I face doubt or a lack of motivation, I look at my statistics. I look at where I started and where I am now. I also usually just make myself work. Since this is the only job I have, I am fully aware that nothing will happen if I don’t sit down and do it. In the past 12 months, the market has changed a lot, and it is constantly changing. Being able to adapt along with the way the world is changing is incredibly important, so being open to experimenting with different business ideas helps a lot. This also means I need to be willing to let something go that isn’t working or that is taking away from the core of who I am as an artist. Sometimes I find myself saying that perhaps I should go get a part-time job just to take the pressure off myself, and my husband always replies with the same answer “Are you crazy? You’re too good at what you do to give up, it might be quiet now, but remember the last time this happened?”. The business of being an artist is an ever-changing, fluctuating cycle that is unpredictable and devastating. But it is also the best job I have ever had in my life, and I wouldn’t give it up for the world. If I have to change what I’m doing to tap into another market, then I am willing to do that.

The third and final point I would love for you to address is your professionalism. From communication to packaging, what’s your outlook on customer experience and presenting both yourself and your work to prospective buyers and aspiring artists?

Customer experience is everything. The experience starts with what they see online, so the way I photograph and video my work is the first thing that has to be incredible. Then, the one-on-one experience a collector has with me deepens their connection to both the work and my brand. They must have my undivided and genuine attention. They not only get a painting, but they get a friendship. Then the packaging is another thing. Not only does the painting need to be delivered undamaged, but when they open it, they need to see care and diligence in the way their investment is packaged. The extra things like authenticity packages, thank you notes, protective covering, signage and quality of the actual artwork itself all add up. I ship my work framed and ready to hang because I imagine that it would be awesome to open a painting and put it straight on the wall. Basically, I put myself into my collector’s shoes, and I treat them with the utmost respect, regardless of how much they have spent on my work. There is no room for compromise here.

Once again, Carla, thank you so very much for doing this interview with us here at Culture of Creatives! We look forward to following your artistic journey and wish you and your lovely family the very best that life has to offer! Where can people go to find out more about you and your art pieces and tutorials? And of course, where can we all go to follow you and your journey on social media?

Thank you so much! These were really great questions, and I could have spent much longer on each one. You can find everything on my Instagram, Facebook or website.

Instagram: @carla_grace_art

Website: www.carlagraceart.com

Facebook: Carla Grace Art

Youtube: Carla Grace

Emily exploring her surroundings in the art studio

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Jamie Mackrill 9/2/20 Jamie Mackrill 9/2/20

Artist Jono Dry discusses his hyperrealistic graphite drawing technique and shares his inspirational story with us

Jono Dry is a self-taught South African artist based in Cape Town. He uses his art as an antidote to his ADD and as a way to express himself and his emotions in ways that words have always failed him and ultimately fail most people. After over a decade of dedication and hardships trying to make it as an artist Jono is now becoming a respected figure in the art community and has amassed a large following on social media over a number of different platforms where he receives a lot of support from amazed viewers, aspiring artists and dedicated fans from all walks of life.

In this interview, Jono discusses his uniquely adapted and beautifully expressed mental health inspired graphite-based drawing style with us. He talks about where he finds his inspiration, how he conceptualises his projects and explores some of the harder periods of his life and career with us.

Jono Dry is a self-taught South African artist based in Cape Town. He uses his art as an antidote to his ADD and as a way to express himself and his emotions in ways that words have always failed him and ultimately fail most people. After over a decade of dedication and hardships trying to make it as an artist, Jono is now becoming a respected figure in the art community and has amassed a large following on social media over a number of different platforms where he receives a lot of support from amazed viewers, aspiring artists and dedicated fans from all walks of life.

“ I create large-scale drawings in graphite that reflect on mental illness and its metaphors. With these drawings, I explore how one can make the experience of a state of anxiety or depression visible, particularly when those states of being so often seem inexpressible in words.”

Jono, thank you so much for taking the time and agreeing to be interviewed by Culture of Creatives! We would like to give you the chance to introduce yourself: Could you maybe talk a little bit about yourself and try to define the type of artist that you are? How would you describe the style of art that you create? How long have you been drawing for and when did you start taking it more seriously?

Hey! Of course, it’s a pleasure to be featured. I’m a self-taught artist living and working in Cape Town, South Africa. I create large-scale drawings in graphite that reflect on mental illness and its metaphors. With these drawings, I explore how one can make the experience of a state of anxiety or depression visible, particularly when those states of so often seeming inexpressible in words. My drawings are hyperrealistic in style and surreal in content – they appear at once lifelike and dreamlike, being neither real nor imagined. I’ve worked in graphite for over ten years, teaching myself methods and techniques as I go. I have always been serious about art-making and have pursued it full-time for the past decade.

We are absolutely amazed by the intricacies of your work. Could you please talk about the link between self-control and the patience required in your line of work? How do you stay focused and motivated on a piece that you have put hundreds of hours into and spent months into working on?

The irony is that I have ADD – yet I am forever working on drawings that demand time and patience and hours of focus! Learning to work with my limited attention span has been productive and rewarding but also entirely frustrating and demotivating at times. Luckily, I’ve found a way of working and certain habits that help maintain my focus – like regular breaks, good sleep, and exercise. I also listen to audiobooks as I draw to keep my mind from wandering towards distractions and away from the task at hand. That said, I do often grow tired of drawings I’m working on, but there is something in the boredom that accompanies large works which is almost meditative – a particular attention to detail and repetition. It’s part of the challenge, as is patience, and both make the accomplishment of finishing a work all the more rewarding.

Do you ever start doubting yourself and start negatively amplifying things like slow progress, mistakes and micro flaws in your art? I think that most creatives can be extremely critical of themselves, and while that might—in a healthy dose—help to improve and get better at what we do, it can often also lead to hitting a wall: we lose motivation of even stop believing in ourselves. Is there any reliable remedy for this that works for you personally?

Of course! I’m not particularly concerned with flaws or mistakes – graphite is a largely forgiving medium and any error is easily fixed. But I do experience waves of doubt, particularly when I’m planning new works. There’s a lot of pressure to keep coming up with more ambitious ideas, and I have to resist returning to familiar or easier images. As for a remedy, I’m not sure there is one. Instead, I’ve come to find doubt to be quite useful. It accompanies the novel, the unexpected, the different. If I experience doubt, it is because I am taking a risk, trying something new, pushing myself conceptually and technically.

You often use photography as references for your art: do you do this ritually? How much research, visualisation and conceptualisation goes into an idea before you take it to the stage where you photograph props and models?

Yes, I exclusively work from photographs. The density of the detail in my drawings are such that I don’t think one can simply invent them. The creases in the skin are very particular and individual, as is the texture of a body, its curves and folds. I often use the photographic process as a thinking tool. I’ll have a rough idea of how I want an image to look, but in working with props and a model, new and unanticipated ideas will come into focus. The photographic process is very collaborative and productive. I’m not interested in poses, but in the moments in-between.

How do you go about finding the right models for your art and getting the props that you require?

Over the past few years, I’ve worked with the same handful of models. There is something in the familiarity that is particularly productive: a mutual understanding, a willingness to experiment, an openness to chance. Different personalities and bodies suggest different moods, and these all add layers of meaning to my drawings. While my drawings aren’t portraits exactly, each certainly reveals something of their subject. A way of being, perhaps, or a sensibility.

Do you try and control as much of the positioning and posing as possible or do you encourage the model to express and incorporate their own feelings and responses into the equation as the shoot goes on?

It’s very much a collaborative process. Some models are happy to take the idea I give them and interpret it, others prefer more hands-on directions. But in the end, I only offer suggestions, the resulting pose is as much the model’s as it is mine.

In your personal case, how do your creative processes (internal and external) that are involved in drawing and taking pictures overlap or differ?

To my mind, taking photographs and creating drawings are a part of the same creative process as both leads to only one final image. Photographs are quick, a thinking-through-seeing. Drawings are time-consuming, slow and methodical. When I look for a photograph to draw from among the many I’ll take in a single studio session, I look for the image that is interesting enough, aesthetically and conceptually, to hold my attention for as many weeks as it will take to render in graphite. There is something about these two modes of the process – the fast and the slow, the thinking and the doing, the photo and the pencil – that keeps me engaged in the work.

There are certain themes that carry over from your work such as water, birds and horns. Can you describe why certain things stand out to you, and why you use recurring themes in your art?

The recurring motifs in my work are a part of my personal symbolism. Each is an expression or reflection on the mind or a state of mind. The animal horns appeal to those parts of us that are neither rational nor entirely human, the water to all that is fluid, changeable, and cleansing. Nothing is incidental in my work, everything planned and considered. While the meaning of the symbols is seldom ever transparent, I hope the overall mood of my images communicates their feeling.

Which artists have inspired you the most over the years? Is your personal style influenced by anyone in particular or did it all come from experimentation and self-expression?

The artists that have most inspired me, particularly in the early stages of my career, are M.C. Escher and René Margritte. There is something about their experiments with perception and expectation that has always deeply resonated with me. Of course, there are many other contemporary artists that have made a lasting impression on me, like Jeremy Geddes, Kit King and Miles Johnston. That said, I don’t think my style has been influenced by anyone in particular. The way I now work is very much the result of years of experimentation with my chosen medium, and the images I create are a reflection and extension of my own experiences with mental health issues.

Can you try and summarise the story behind the piece of art that you would eventually become best known for – “Pupil”. Why was this such an important piece of art for you and how did you feel when it received the amount of interest and praise that it did? The title of the picture already hints at the deeper meaning that this project had for your own self-development.

In answer to this question, can I direct you to my YouTube video ‘The Hardest Drawing I’ve Ever Made’? https://youtu.be/rzOl1sjrtW4 It explains in detail the challenges of the drawing, both artistic and financial.

Where can people find out more about you, follow you on your journey, and purchase any art that they may be interested in?

People can follow my work across multiple platforms, from my website to YouTube, Instagram, Facebook and Twitter. Limited edition prints of my work are sold via my Etsy store.

www.jonodryart.com

www.youtube.com/jonodry

www.twitter.com/jonodry

www.instagram.com/jonodry

www.facebook.jonodryart

www.etsy.com/shop/jonodry