Stall Three Studio

I am a journaler. Whether it’s a diary, a prayer, or a travel journal, I love putting my experiences and thoughts on paper. I’ve decided to compile my ongoing reflections related to my art and share them once a quarter. This will not only provide updates on new collections but also offer intimate insights and experiences that shape my work. While I do this partly to keep a record of my thoughts as I move forward in my art career, I also hope to shed light on the inner thoughts of an artist for anyone interested in following along.

 

A Very London June

 

On June 1, my husband Brawley and I headed to London, where we stayed in Kew Gardens for four weeks. Brawley’s company has an office in London, so we seized the opportunity to immerse ourselves in this London suburb and experience life across the pond for a month. Our days were mostly spent working from our small flat or a local café, networking, and visiting museums. I think I missed the opportunity to sketch in the parks, but I’ve learned that you can’t do it all, and it leaves room for a ‘next time.’

 

From London to Madrid, to Munich, to Barcelona, and Mallorca, we took full advantage of Europe’s ease of transport. Cultures fascinate me; with each language and customs, cuisine, markets, fashion, and trends, there’s always something new to experience around every corner. But what I love most about travel is the people you meet and the often quick formation of relationships. You realize the short amount of time you have, and you want to make the very most of it, so you skip the small talk and dive right into meaningful connections, often bonding over the shared love for travel and adventure.

 

What I learned most from this experience is how much I yearned to paint, though I didn’t fully realize it until I returned home. Back to routine, back to the studio, and back to the fumes of oil paints and the limitless opportunities for creativity.

 

Learning from French artist, Rosa Bonheur 

 

In December 2021, I had been pursuing a career as an artist for less than two months. I was eager and confident, though my portfolio was still quite small. I was visiting Paris with Brawley before the holidays, and out of the dozens of galleries I approached via email weeks before our trip, a small contemporary art gallery in the 8th arrondissement agreed to a meeting.

 

After a croissant and espresso, with my portfolio under my arm and nerves in check, I entered the gallery. The assistant there claimed they were unaware of the meeting, so the director wasn’t present, but reluctantly, he allowed me to sit and discuss my work.

 

When he realized I was new to the industry and didn’t have a degree in the arts, he stopped asking the typical questions about my work, such as: What is the message I want to convey through my art? Who is my favorite contemporary and historical artist? And what is my favorite art movement? These were all questions I was ill-prepared for. Instead, he shifted into a more supportive role, offering constructive criticism and suggesting artists he saw reflected in my work. One of these artists was Rosa Bonheur, who was being featured at the nearby Musée d’Orsay. With only a day left in Paris, I dragged Brawley to the museum to study what would soon become a great source of inspiration.

 

Rosa Bonheur, the strong-willed, pants-wearing French artist of the 19th century, was not only the most famous female wildlife artist of her time but also one of the most renowned wildlife artists to this day, period.

 

Since returning from London, I’ve decided to go back to basics. I’m taking time to refresh my skills, study Bonheur’s work, and learn animal anatomy—all in preparation for my next collection. (See images at the bottom of the page).