Laura Sallade: “You need discipline.”

There was never any doubt in Laura Sallade’s mind about becoming an artist.

Eight years after moving to Philadelphia, she’s renting additional space for the studio she’s had for the past six years, she has representation at Seraphin Gallery in  Philadelphia and MasseyLyuben Gallery in NYC, and she’s about to show 34 pieces.

Sallade creates two-dimensional sculptures, using a combination of glass, silver, epoxy, and watercolor to build complex patterns and layered works that are wall hung. She utilizes her sculpture, chemistry, and printmaking knowledge to explore and experiment.

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Sallade’s pieces consist of glass, silver, epoxy, and watercolor.

The foundation of each piece always consists of glass, and Sallade uses her other materials to explore the glass and create patterns. “I’m drawn to patterns because I find them everywhere in nature,” Sallade explained. “I enjoy the feeling of discovery and pursue it on a daily basis, and as the work evolves, it can go through a process of appearing like many different natural formations.”

The complexity of each piece can require help from others, since quick movements for large pieces can be needed as glass is lifted, chemicals poured and sealing conducted. While her largest piece to date was a sculpture created for a Nantucket home, the largest artwork she created for her upcoming show required the help of two friends.

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Sallade’s largest piece, hung in Nantucket. Photo courtesy of Laura Sallade.

Originally intended as a door for the Comcast Center, the piece is one of the 34 works in Sallade’s show at Massey Lyuben in Chelsea, opening on November 16. “I really wanted to make something this size where I didn’t have anyone else telling me what they wanted,” Sallade explained. “I’m really glad I trusted my gut with this piece.”

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Sallade with her upcoming show’s largest piece.

The holes for a doorknob and hinges are still visible through the transformation that Sallade provided. “I love that it was meant to have this other life and it got miscast,” she said.

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Originally meant as a door, the holes meant for hinges and a doorknob are still visible.

Now, it is what Sallade refers to as a vessel of contemplation. “The purpose of these objects is to make a place for contemplation and people can put their thoughts in,” explained Sallade. “For one person, it might be the joy of becoming a parent, while someone else is grieving the loss of someone dear. Art is this space to contain all of these thoughts. I’m glad I got a door. I was able to take something that otherwise would have been thrown out and give it life.”

Even with the beauty that comes with giving discarded pieces new life, there’s challenge in creating. “The difficulty isn’t in the physical putting together of elements,” Sallade explained. “It’s facing your fear of manifesting an expression of yourself. Doing that takes courage. Putting yourself out there to be criticized is the hard part. I think our battles are more invisible than we realize.”

Sallade has fought her own share of battles, working hard over the years. “I like when people are cautious to own the title of ‘artist’ because it shows they revere it,” Sallade said. “Everyone has creativity and I always strive to encourage that in everyone, but to be a fully committed artist you need discipline. To say everyone is an artist is not letting artists have their own space and category and a lot of artists fight to be in that space. I have definitely sacrificed a lot to be here and that serves as motivation because the stakes are higher due to the sacrifices I’ve made.”

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Sallade’s studio space, with elements that will become part of a sculpture.

Sallade’s own journey started in childhood, growing up in the suburbs of Reading, PA. “I didn’t really ever consider anything else as a career,” she explained. “When it was time to go to school, it was, ‘Okay, this is what I’m going to do.’”

Her parents were supportive, and Sallade found that she really enjoyed building things and working with material. She uses colors, lines, and composition as part of her process, but not the goal. “I make things that look like paintings,” Sallade said. “Everything I make has sculptural content to it. I like the challenge of 2D because it’s figuring out how well I can investigate on a two-dimensional surface. There’s so much much more that goes into my process than applying paint to a surface, so describing these works simply as paintings doesn’t feel quite accurate.”

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She went to Pennsylvania Academy of the Fine Arts in Center City, earning a Certification in Sculpture, and stayed in Philadelphia when her career began even before graduation. Needing a second studio for a large commission, she found her current space with an affordable rent, and recently expanded to a larger studio in the same building. Conveniently near New York City, where most of her sales occur, Sallade has found herself in a good location while building her career and even traveling for inspiration.

She was able to travel throughout Europe for two months on a travel grant and spent time in the south of France earlier this year. “The change that happens is internal and indirect,” Sallade explained. “You go and travel and realize what things fall away and what things remain when out of the context of your normal life.”

While in France, she spent time exploring nature, examining the light. “It’s a really wild spacial experience,” Sallade said. “The mountains are right up against the ocean and it’s really beautiful.”

She decided to paint in nature, bringing her watercolor supplies, where were easy to bring along. When she lost her large brush, she only had a small one to recreate the patterns she found, and she discovered new inspiration in the process. “You walk a couple of meters and everything changes,” Sallade shared. “Five watercolors came out of that experience of what it felt like to be on the mountain.”

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Sallade incorporates patterns into her work, using nature as inspiration.

These days, as her commissions became more consistent, Sallade moved from bartending to driving for supplemental income. She drives for Lyft a few hours in the morning before working a full day at the studio. She usually creates more than 40 hours a week, and having the ability to pick up hours when she needs gives her the freedom to work on her pieces without interruptions. “It’s a little bit of stability and if I need to drop it, no one is harassing me,” she shared.

She’s also able to focus on experimenting more and has found that imagery becomes more beautiful when she gives up control. The pieces that look the most organic are the ones where Sallade allows the work to flow. She can engineer the process to get a certain look, using gestures to build complementary patterns. “If there’s too much control, it’ll look contrived,” Sallade added. “I’ll always try to tweak it a bit. I pay attention. You have to be willing to sacrifice your own plans. You have to make plans. Then you have to let go of them.”

Sallade often shows behind-the-scenes video of her work in the studio on her Instagram, and her website holds more information about her process and representation.

Phil Roberts: “There is no shortcut.”

Phil Roberts likes a challenge. As he’s developing his second wood-based company in five years and his third company in eight years, he’s realized he has selected a big one.

Roberts grew up in Southampton as one of five kids, with a creatively-minded mother, Carol, and an engineering-orientated father, Sid. Spending a lot of time with his grandfathers, a farmer and a carpenter, provided more exposure to skill-based careers. Sid, a software/electrical engineer, encouraged Roberts to pursue engineering. “So I got an art degree,” said Roberts. “It wasn’t a direct rebellion — maybe subconsciously. His work seemed really interesting but also boring. Sitting at a computer didn’t seem like a good option.”

Roberts earned his B.S. Digital Media Arts with an emphasis on cinematography from John Brown University in NW Arkansas. After graduation, he started work as a freelance photographer and videographer. While the travel was fun, the unpredictability of the work took its toll. “I would spend two weeks in St. Louis and then have three weeks with no job,” Roberts said.

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Photo courtesy of Phil Roberts

Looking for a hobby, Roberts began to build custom farm tables in 2012. “I would sell a table, then spend money to buy more equipment, and make another table. It was a slow process,” Roberts shared.

But it was a process that worked. Using sustainably sourced wood to make customizable tables at a good price, Roberts was able to build the business from a one-man show to a ten-man team. He also brought his wife, Melinda, on staff in 2015. “Marketing was easy because it was a product I would want to buy,” explained Roberts. “We built a really good product, sold one table and asked the customer to tell one friend. It was a snowball.”

His digital media experience was also a huge benefit when building the business. “If you have to hire someone for every single process, it’s impossible,” Roberts said. “I grew that company until I realized I wasn’t the best person for the job anymore. I wanted to be designing, not building the company. … Once I realized I was just the email guy, I realized someone else could do this better than me. Someone with business, marketing experience.”

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Photo courtesy of Phil Roberts

He and Melinda decided to take a step back. In June 2016, they sold most of Emmor Works. A few months later, they traveled across the United States in an old VW van they called Benjy, documenting their journey through their Instagram account, @tires2fires. During their trip, with a stop in Boulder, Colorado, the couple ran into an old friend at a public library makerspace. They toured the location, which included a laser cutter that caught Roberts’ eye. After a brief discussion, they moved on.

They didn’t know when they were getting home or what they would do when they did, and the stress of needing to pay bills was starting to build. Melinda had always wanted to return to library science, the field she had left temporarily to join Emmor Works. “She was really good at her job, but she’s great wherever she goes,” Roberts explained. “It was great to have her at Emmor Works.”

When they got home, Melinda found a job as the school librarian at the Maple Shades High School, while Roberts intended to return to Emmor Works, where he planned on designing and building furniture without having to run the team or manage the business side of the company. “In my fantasy land of my mind, I wanted to separate from Emmor Works while designing products for them,” he shared. “That seemed like the best of both worlds. Hopefully, it’s still possible.”

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Photo courtesy of Phil Roberts

But there were creative differences and mismatched expectations. After several months, Roberts decided instead to combine his love of technical woodworking and design ability into an entirely new company, Art by Philip Roberts. He remembered that laser cutter and the brief conversation they’d had in Colorado, and he decided to invest in his own machine. “I knew I wanted to be in a design-orientated business,” explained Roberts. “and what attracted me to this was the technical and creative aspect. I still get to work with wood.”

Roberts designs his pieces digitally, converts the files into a format the laser can process, and then allows the laser to cut out the pieces. Each art piece consists of 12 layers built from mahogany, and the laser can take up to 9.5 hours to complete all of the layers. The design work itself can take countless hours to plan and execute. And it took some months to figure out. “You hope when it’s all done and you spent hours doing it that it looks okay,” said Roberts.

Roberts sold his first piece in July 2017. “I’d forgotten how much work it took to build a company from scratch,” Roberts shared. “You remember it’s exciting and difficult, but the amount of work is crazy.”

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Photo courtesy of Phil Roberts

Even before marketing, Roberts invested the time in building his process for building the pieces. “It took a couple months alone to master the actual construction of these complicated pieces,” Roberts explained. “Obviously the designs are essential to the art but if the physical piece in your hands doesn’t feel right, it ruins the experience. Emmor Works was the opposite. I believe we created a great product but it came at the cost of sleepless nights and unmanageable hours. The shop was peddle-to-metal at all times to keep up with orders. If we had slowed down to improve our production design, we could have produced just as much with so much less stress.”

Then there was the difficulty of building trust with his customers. “There is no shortcut,” Roberts said, “and the only way to build a strong reputation is putting in the work to prove that trust and reliability. However, it is amazing what customers will do once that trust is established.”

The beginning of October brought a wave of orders, and the reviews and feedback have been positive. “This was an opportunity to jump in and make it work because I have no choice but to make it work,” Roberts said. “That stress and anxiety is a good motivator.”

Even as the business continues to build, Roberts is hesitant to call himself an artist. To build tables was to make a functional piece of furniture, and now, he is making something completely different. He explained, “It’s a very weird thing to be like, ‘I make art.’ It’s so pretentious, and not something I aspired to do. I’m more comfortable saying I produce home decor.”

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Photo courtesy of Phil Roberts

It’s the respect for the craft that makes Roberts hesitant to define himself as an artist. “I went to school with talented artists,” Roberts added. “I know what talent looks like. I would never put myself in the same caliber as those guys.”

That discomfort is also a draw for Roberts. “You should be doing something uncomfortable every day,” he said. “I enjoy doing it. And I think there’s a place for it. When you’re selling art, you’re selling yourself. If I could sell all day and not tell anyone I’m doing it, that would be great.”

And of course, there’s the challenge. “If you pick a really big challenge, it will entertain you for a long time,” Roberts shared. “I can’t escape now. I’m too far in now. I either have to make it work or bail. The challenge is I’m attracted to challenge. It’s satisfying — you had an idea and now it’s real life. Taking it from your head to real life is really cool. It’s difficult, too. It’s not like I have cold feet, but if I were to look for a ‘real’ job now, I don’t think I’d be an attractive candidate to HR. How does starting three different weird companies convert to finding some desk job? I have no idea so, yeah, we have to make this work.”

As the word gets out and Roberts continues to design, he just wants to improve. “I hope that three months from now I look at what I’m doing now and think it’s terrible,” Roberts said. “As soon as you stop progressing, what’s the point? Why keep doing stuff if you’re not getting better? I feel the things I made that I love the most were things I never sold. It would be great to sell something someday that I absolutely think is the best. I need to develop a style. Seeing other people doing amazing stuff is inspiring but also frightening. Again, good motivation to keep going.”

Visit Phil’s website, Instagram, and Facebook to see what else he is working on and to nab one of his pieces.

Mark S. Doss: Performing Opera, the Culmination of All the Arts

Mark S. Doss grew up next to a church rectory and was able to observe the kindness of the priests who lived there firsthand. He combined his childhood love of baseball with his desire to enter the ministry, and settled on being a baseball-playing priest.

But another interest crept into view when he was young–he watched a movie that featured an operatic feat of breaking a glass singing a high note. He asked his chorus teacher, Mrs. Hilton, how he could find the music the baritone was singing. She directed him to the library, and then arranged an opportunity for Doss to have a non-singing part in Aida, a Metropolitan Opera touring production.

That day in April 1976 was Doss’s first exposure to a live opera performance.

He then took drama and chorus classes in high school, and performed in Godspell. That led to a city-sponsored arts training program, where Doss performed in The Wiz That Is as Daniel Galein. After that, he acted in The Man of La Mancha.

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Photo from www.marksdoss.com.

Finishing a summer of performing, he entered the seminary program at Saint Joseph’s College in Rensselaer, IN, still intent on the priesthood. He ended up ministering through a different means. “My goal was to become a priest, and declaring my minor to be music was certainly a way (I thought) to continue my study of voice and to use that to the best of my ability in my ministry,” said Doss. “The comments I received early on did give me something to consider, but ultimately I knew that I wanted to use my singing to inspire others in a way that I, myself, am inspired, knowing that when one sings one does indeed pray twice. Certainly when I sing the words of Zaccaria in Nabucco, Jochanaan (John the Baptist) in Salome, or even Méphiso in Faust–the devil was once an angel–I am celebrating the gifts I have been given from God, and I am presenting back to God the fruits of those gifts, borne out through my hard work and dedication.”

At age 21, he won the second competition he had ever entered, mere months after the first competition, where he tried to sing after coming down with a cold. He placed in the District Competition of the Metropolitan Opera held at Valparaiso University in Indiana.

Still, Doss took his GRE exams in sociology and not music. Then things began to shift. “I auditioned at the University of Illinois and I was offered a full scholarship, and then I auditioned at Indiana University’s School of Music and received extremely enthusiastic responses from the faculty that heard me,” shared Doss. “I expected to be told I should just line up behind the other one hundred nice voices they had heard that day, but that did not happen.  Something just seemed to ‘click’ when I would sing, and this came to me profoundly at one of St. Joe’s glee club concerts, when I found myself feeling extremely ‘at home’ while on stage singing ‘Sunrise, Sunset’ from Fiddler on the Roof.”

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Photo from www.marksdoss.com.

Doss left seminary after his second year, graduating with a Bachelor’s of Arts from Saint Joseph’s. He earned his Master degree at Indiana University, during which he sang in his first opera role as Khan Konchak in Borodin’s Prince Igor. This is also where he first performed his signature role, as Méphistophélès in Faust.

As much as the world of opera pulled Doss in, it has not been without its struggles. Without a large amount of musical training, Doss has had to be creative. “I have worked to develop many different techniques to compensate for what I consider a musical handicap,” said Doss. “My brain seems to initially put words and music on two different tracks, so I am constantly trying analyze each of them separately and then to bring them back together.”

In the years since he experienced his first live opera, Doss has performed all over the world in over 120 roles with more than 60 major opera companies, singing in 10 languages. He refers to opera as a “culmination of all the arts”, and has found that the art form fits his desire to have a hand in everything. “The word ‘opus’ means work,” explained Doss, “and the plural of that word is ‘opera’ (works). You have singing, acting, languages, dancing (ballet), scenery, makeup, wardrobe, the orchestra, and a number of other visual arts that are now incorporated into what we call opera. If you just want to sing, then you can do that with a piano or even a cappella, but it’s not opera because you are always going to be missing five or six elements of the art form that can only happen when you bring all of them together. ‘It takes a village.’ When you bring so many people together and have them working together on a single operatic project it can be a thing of great beauty!”

Doss won a Grammy in 1993, on the Deutsche Grammophon recording of Handel’s Semele, conducted by John Nelson. He was also honored with the Entertainment Award from Planet Africa for his artistic achievements while being a positive role model. He presents a Role Preparation Masterclass and continues to fundraise through Opera Susquehanna and the Bozeman Symphony. “Through my Role Preparation Masterclass I have presented as many elements of opera as I possibly can,” explained Doss who splits his time between Erie, PA and Toronto, ON when not performing. “I offer them a smorgasbord of what opera encompasses, and so I encourage people to study every aspect of history, culture, literature, music, languages that let them be encouraged to let the art more choose them, if they have the gifts that should be showcased for the world to see.”

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Photo from www.marksdoss.com.

Doss also willingly and eagerly provides advice to those who ask. “Whenever I am asked to offer suggestions on singing, starting a career or my thoughts on a certain character, I am very enthusiastic,” Doss said. “Some of the conversations after performances have been very enlightening, when I get a chance to hear people telling me how many times they’ve seen me perform in other operas, or how many performances they’ve attended of the opera I am doing at the time. Some fans don’t like certain productions, and I often share their feelings or I try to explain the director’s concept in a way that might help them become more comfortable with different ideas. Primarily I want them to know that I am always more interested in playing a character on stage, than just being Mark S. Doss singing a few lines of music.”

The efforts Doss puts into fundraising are to not only raise awareness and encourage attendance, but also reach those who don’t have easy access to the art form. “I think there should always be private funding for opera, but also a balance of public funding because it really does allow so many people to be involved and employed, giving them a sense of worth and high self esteem,” shared Doss. “I think the funding issues are difficult, but not impossible to overcome with more innovative ideas. When the economic times are difficult, I think it’s very hard for people to attend performances of any type. My fundraising efforts have been to primarily help that situation and to constantly reach out to those in communities who might not be exposed to opera, inspiring them to see the possibilities the art form can offer them in its need to have a village to keep it going. Through the HD performances of opera, people have gone to theaters to enjoy the art form, when getting to the actual Opera House might be more difficult. This could be taking some people out of the seats, but it can also be inspiring more people to get their chance in the Opera House for the first time, and many times afterwards.”

Mark Doss performed as Méphistophélès at the The Coade Theatre during the Dorset Opera Festival until July 29, and graciously took the time to answer my questions between staging and videotaping sessions. His next performance, starting on October 7, will be as a soloist at the Wyoming Symphony in Casper, Wyoming. Doss will also perform as a soloist October 28 & 29 in Bozeman, Montana at the Bozeman Symphony.

Learn more about Doss, see what he’s performed previously and learn what’s upcoming at his website or Facebook page.

This is the third and final article about appreciating, studying, and performing opera.

Danielle Perrault: Studying Opera, That Stunningly Gorgeous Musical Expression

Danielle Perrault planned to be a psychologist.

In 2007, she finished her undergrad degree in psychology at Simpson University in Redding, CA, while maintaining a connection to music. “I had a lot of friends in the music department and I sang in the choirs,” said Perrault. “I was very interested in classical music even back then. There were times I considered switching my major to music, but at the time, I didn’t think I was good enough. I was afraid I would fail at it, so I never switched while I was at Simpson. I still really loved studying psychology, so I finished that. It wasn’t until I almost graduated that I realized I didn’t want to be a psychologist.”

Born in Queens, NY, but raised in San Diego, CA, Perrault returned to San Diego to be with her family while she figured out what to do next. “We’ve lived in the same house since we moved here when I was five,” shared Perrault, who has one younger sister named Kelsey. “After I graduated I thought I wanted to be a nurse. I moved back home and went to a community college to take prerequisites for nursing school, but the classes that I needed kept filling up. I ended up taking a music class to keep my schedule at full time.”

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Credit: Matt Haney

Then a class assignment required her to perform. “That was the first time I sang a solo by myself in front of people,” Perrault explained. “That was the beginning of my catching the performing bug. I started studying music about a year later and never went back to nursing.”

Perrault completed her degree in music and moved to Kansas in 2015 to study opera performance at the University of Kansas. She graduated this spring with her master’s degree. “I actually started out thinking I was going to go into musical theater,” admitted Perrault. “The two have a lot of similarities. Musical theater borrows a lot from opera, and it just kind of went off on its own track. But as I kept studying and taking voice lessons, my teacher and I both realized that my voice was well suited for classical singing. I still love musical theater and I’ve recently been honing my skills in that genre so that I can incorporate it into my career at some point. I went with opera as my primary focus because that’s where my voice was going and I ended up falling in love with it.”

Perrault sang in performances at the school and for the Chorus of the Lyric Opera of Kansas City. “I’ve loved working there,” said Perrault. “The people are amazing. It’s always a fun experience with high production value. It’s a great place to sing.”

She also has had several opportunities to travel abroad. Currently in Italy for the month of July, Perrault also completed a choir tour in Spain while an undergrad and traveled to Germany after being selected by a panel to sing during the Eutin Summer Opera Festival in Eutin. “That was actually a tough experience for me,” admitted Perrault. “There were a lot of great things about it. Every time you get to go overseas and spend any amount of time in another culture is amazing, but it was also really interesting working in another country and experiencing a different work climate, a different work structure. It ended up being quite challenging. But I did get a lot of good things out of it as well, like cultural insights and learning how to deal with adversity.”

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Credit: Lauren di Matteo Images

Perrault is no stranger to tackling difficult roles and embracing learning experiences. “I think I’d have to say my favorite role so far has been Hansel in Hansel and Gretel,” Perrault shared. “I did that while I was in my undergrad. We had a music director at the time who was very demanding and gruff, and the rehearsal process was often a bit scary. But as a result, I learned a lot and I grew so much. … I got a better sense of what it actually takes to be well prepared for a role. And the role itself was such a blast. I was playing a pre-teen boy. I’m a mezzo-soprano, one of the lower female voice types, and we frequently get cast in the roles of young boys or young men. When I was first starting my vocal studies and found out about that, I was kind of upset. I had all these stereotypical ideas about playing tragic, romantic heroines. Why would I want to play a little boy? But I actually really love it. It’s intriguing to play someone who is completely different from myself. I love digging into the psyche and physicality of a boy and having a blast with it. I hope I can do that role again many times.”

Ultimately, Perrault would like to be accepted into a young artist program, which, she explained, is an apprenticeship for opera singers. Typically, aspiring opera singers apply to programs at opera houses around the country. “They’ll typically hire four singers or so, one per voice part,” Perrault added. “They’ll use those singers for outreach events and sometimes they get cast in small roles or cover (understudy) lead roles for the company’s main stage operas. They’re all a little bit different, but ideally, that’s a possible next step I’d like to take. It’s one of the few ways young singers have some stability. It’s typically a two-year contract with a regular paycheck, which doesn’t happen very often in this industry. It’s not much and it’s not for long, but it’s steady. And it’s a great training ground to learn from professionals who are further down the path than you are, and to focus on your craft without the distractions of worrying about your ‘day job,’ or where your next gig will be. There are a lot of ways to become a successful opera singer, and a young artist program is not a requirement, but that’s an experience I think I would enjoy and benefit from.”

She’s aware of the personal challenges that the career holds. “I’m under no delusions that this isn’t a tough industry, and at the beginning, it’s especially hard,” Perrault said. “You have to do a lot of start up work yourself on the audition circuit. It’s a costly process in terms of time, money, and energy. Some people go the competition route, and if you’re good at that and win a lot, it can help with your many expenses. Application fees, recordings, accompanist fees, coaching, lessons, travel expenses… It adds up quickly. It’s really helpful if you can get management to represent you and open some of those doors for you. But the work never really stops. An opera career is still a business, and you still have to maintain relationships and connections and stay on the radar of producers, conductors, and company managers. I’m not quite there yet. They say you have to have something to manage before you can get a manager, and I’m still working on the ‘something’.”

Then there are difficulties with societal perceptions. “It seems like every few months, someone publishes a new article about how opera is dying,” said Perrault. “I can see how people come to that conclusion, especially with the culture we live in now. Everything is instantaneous. Opera is hard. It’s a difficult art form to consume. Even for people in it, it is challenging. For one, it often takes a lot longer to say things when they are sung. You have to be patient. The story takes a little longer to unfold. If you don’t know the language the opera is being sung in, or even if you do, you have to rely on translations projected above the stage. It takes a little more work than sitting in front of the TV. But because of all of that, it’s rewarding. Because things take longer to say and because the story takes longer to unfold, it builds a greater sense of dramatic tension, and the payoff is greater. You get to experience stunningly gorgeous musical expressions of human emotion that words alone can’t convey. I think opera has a lot to offer and I think it’s presented in a way that any human can identify with because it goes right to your soul. I don’t think the problem is that opera is irrelevant, I think people are reluctant to consume it because of the effort that it takes.”

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Credit: Villa Medicea di Lilliano Wine Estate

Perrault has noticed that opera houses are trying different series and offering music in different venues, like libraries, museums, and restaurants. “I think the new performance trends are helping people realize that opera doesn’t have to be stuffy and boring like they thought,” she said. “Is it for everyone? No. Nothing is, really. But I think it’s for a lot more people than those who realize it. Opera is fighting against culture notions of what opera is, but I think it can thrive. … I have a lot of hope for the future of opera. People can help by just trying it out. Companies are doing what they can to make it more accessible to more people. A lot of them are active on social media, so you can get regular updates on what they’re up to. Just find something that looks even slightly interesting and go! Worst case scenario, you don’t like it; there are worse things in life than not liking something. It’s no big loss. But then again, you might be surprised and enjoy yourself.”

Full opera performances are available on Spotify or Youtube, Perrault explained. “You don’t even have to leave your house. There are so many ways to learn about opera these days. Operas are even broadcast in movie theaters now, so you don’t even have to dress up. It’s best live though, so check out what your local opera house is doing and go support it. It’s such a beautiful art form that expresses humanity in such a beautiful way. I think it’s something that needs to stay, and it can if people are willing to take a second look at it.”

Perrault continued, “Another hindrance is a general lack of appreciation of opera as an art form and the people who do it. There’s a lot of sacrifice that goes into it. I’m not trying to tell a sob story. It’s just a reality that many people don’t know about. One of the biggest critiques I hear is that it’s too expensive and that’s why people don’t go. For one, that’s becoming less true. Yes, if you want orchestra seats you’re going to pay a lot. But a lot of opera houses now offer special rates for students and young professionals. And most of the time, balcony tickets are very reasonably priced.”

Finding the right venue for the right price can help. Sometimes, opera houses will offer tickets between $15 and $20 for great seats. “It’s financially accessible for a lot of people in different income brackets,” shared Perrault.

Perrault also explained the prices. “Opera is very expensive to produce. A lot of people are involved. You have the singers themselves, and you also have a whole orchestra of anywhere from 20 to 100 people. You have the people in the costume, wig, and scene shops, the stage managers and stagehands, the lighting technicians, everyone working in the main office, etc. It takes a huge village to put on a opera, and all of those people need to be compensated for their time and expertise. We don’t make a ton of money. Maybe international super stars make a good living, but most opera singers don’t. You may get a nice big check for a six-week performance and rehearsal run, but then you have to make that for last several months until your next gig.”

Perrault added, “When you think about supporting opera, it’s helpful to think about the people behind it. It’s not paying into some elitist thing that executives are using to line their pockets. It’s helping to support people who really love this, want to keep it around, and are already making a lot of sacrifices to do so.”

Follow Danielle’s adventures online at her website or on Instagram. She’s currently performing in Italy.

This is the second of three articles about appreciating, studying, and performing opera.

Christine Sacchi: Writing about Opera in a Way that’s Interesting to the Aficionado, Accessible to the Curious

Artistic talent and music appreciation runs in Christine Chase Sacchi’s family, but opera unexpectedly captured her heart a few years ago.

In 2009, when Sacchi’s daughter traveled to Italy as part of her art education, Sacchi, a homeschooling mother of seven, wanted to hear music that evoked the experience of being in Italy. She found Ildebrando D’Arcangelo, an Italian bass-baritone opera singer, on Youtube, and got hooked. “I looked up everything I could on Youtube and starting buying CDs,” Sacchi said. “He sings a lot in Europe and not as much here.”

She started to watch for a chance to hear him on stage, and was eventually able to see D’Arcangelo on the stage in Los Angeles, and continued to pursue her appreciation of opera in other ways. “I started being more interested in opera in general through being his fan,” Sacchi shared. “I would get so full of words every time I would go to something. I would write and put it on Facebook. My girlfriends who were opera fans that I met through Facebook groups had an endless appetite for everything I wrote. They said, ‘You gotta write a blog.’ A girlfriend from Russia said, ‘I read all the opera blogs, and I like yours better than theirs.’ After a year, I got around to it.”

Sacchi launched her blog on January 1, 2014, and now, over three years later, has hundreds of daily visitors reading her posts. “I’m having so much fun with it,” Sacchi said. “I’m having people tell me on Facebook that they saw me at the opera.”

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Sacchi started adding interviews to her blog, in addition to her reviews. She interviewed two composers, Robert W. Butts and Marco Frisina, as well as bass baritone Mark S. Doss. Doss sings in twelve different languages, and flies around the world singing in many prominent opera houses. When Sacchi first reached out to Doss, he was singing in Italy. Doss is tall and strikingly handsome, and Sacchi was a bit nervous at first. “I thought, ‘Oh my goodness, I’m kind of afraid, but my readers just love interviews,’ said Sacchi, who was able to complete the interview in writing and eventually met Doss in New York. “This interview was perfect for my readers, since my blog is focused on basses and baritones.”

While the opera blogosphere is full of good writing, Sacchi wants her niche to be writing for those who may not be musical experts or even opera fans.  She wants to discuss things in a way that’s interesting to the aficionado while accessible to the curious. “I’d like to be a bridge between normal people and the world of opera,” Sacchi shared. “I want to appeal to the avid fan as well as the first time opera goer.”

As she’s attended more performances, Sacchi has been able to verbalize what she finds particularly appealing about opera. “I have distilled for myself why the art form is very special to me and why I’d like to see it perpetuate instead of dying out,” shared Sacchi. “The human voice without amplification is a very beautiful instrument. The experience of it hitting not just your eardrums but your body can’t be reproduced outside a live performance. To be in the room with the music is an experience of the whole body, mind, and soul.”

Of course there’s a place for microphones and recordings, Sacchi agrees.  But hopefully through writing about opera she can reach people with the idea that live singing is a tradition well worth preserving in an electronic age.

In her quest to introduce more newcomers to opera, Sacchi admits encountering some familiar preconceived expectations. She responded, “Some people literally expect to see a large lady in Viking garb, horned helmet and all.”

This raises the question of body image and the pressure on singers today to not only sound great but conform to standards of beauty driven by film and television. As to whether a large frame is necessary to sing well–it’s not. “I’ve seen a lady five feet tall and slender fill an opera house with her voice,” said Sacchi. “It’s pretty amazing what they can do with professional training. It doesn’t necessarily have to do with size at all. In the meantime, they’re now dealing with being judged on how well they look, as well as how they sing. This modern standard of physical beauty is putting a lot of pressure on the opera world. The singers think, ‘If I’m overweight, I won’t get the role. And if I get the role, but I’m not someone’s idea of slim enough,  what will the critics say?’ The critics can be vicious.  Fans like me get nervous because I don’t want people to get hired just because they’re thin. I want them to be good singers.  If the balance tips too far toward movie star looks, we could end up hearing lesser voices.”

In addition to old stereotypes, technology has influenced how a potential audience views opera. “We can all hear the world’s best at the touch of a button,” Sacchi said. “What does this mean for audiences attending local shows? Will we become unrealistically demanding?”

When considering new material for her website, Sacchi looks for performances that revolve around a featured singer, a new opera, or a particular composer, especially if she’s featured a certain person on her blog. “Because I’m interested in new music in helping opera not die out,” explained Sacchi. “We need new opera. The old opera is very beautiful but I don’t think we were meant to watch the same shows over and over. There’s something stale there. Culture needs something of our own time.”

She is also aware of how music continues to evolve. “In the 20th century, some modern music got very hard to understand, very intellectual and technical,” Sacchi said. “Audiences became wary of new compositions. I think we’re finding our way forward now to music that’s very beautiful and relevant. Opera is just drama and music put together–people singing about their feelings and about life.”

Sacchi writes in other forms as well and is working on her first novel, a murder mystery that revolves around a real-life church homicide. Catch the latest in her adventures on her blog.

This is the first of three articles about appreciating, studying, and singing opera.

Jenna Rayesky Floral Studio: “It is possible.”

Building a family trade holds fond memories for Jenna Rayesky, as she and her husband, Steven, grow their event planning and flower arranging business, Jenna Rayesky Floral Studio, in the historic suburbs of Philadelphia.

From an early age, Rayesky worked side-by-side with her mother at her store, Erdon, which began in Medford 25 years ago. “I feel like I learned so much from interacting with adults as a child and being given meaningful work,” said Rayesky.

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Jenna Rayesky putting the finishing touches on an arrangement. Photo credit: Hannah Marie Bruccolleri.

By the time she graduated high school, Rayesky officially joined the staff but was working in the high-end boutique as young as age 11 on the weekends with her mother. One day, her mother left her in charge while she ran across the street to make a bank deposit. She warned Rayesky not to change the window displays. “I was notorious for changing the window displays,” Rayesky explained. “A coat had come in from a designer in Paris. It was made beautifully, and it was the most expensive coat we’d gotten in at the time. It was $1,000 and it was in the window. A little old lady came in. She had her bag of donuts from the bakery next store.”

Rayesky helped her try the coat on, and she loved it and purchased the coat. Rayesky asked her what she was going to do the rest of the day, and the woman said, “I’m just going to go home and wear this coat and eat my donuts.”

When Rayesky’s mother returned, she saw the coat missing and thought Rayesky was joking when she explained she had sold it. “Everyone wanted to be the one that sold this new expensive coat,” Rayesky explained. “My mom really didn’t shy away from giving me meaningful work and letting me be a part of what typically isn’t a kid’s world. Grown women in their 40s were taking my opinion and letting me pick out things for them.”

Those fond memories encouraged Rayesky to include her own two children in the business she officially launched with Steven in spring of 2016. “My husband and I want them to see your work can be meaningful and you can enjoy it,” shared Rayesky. “I don’t feel like they have to do what we do, but I want to help them uncover what they enjoy so they can pursue that.”

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Steven Rayesky in a moment of glee. Photo credit: Hannah Marie Bruccolleri.

After joining the staff at the boutique, Rayesky started working with her own clients, providing personal shopping. Additionally, she utilized the retail space at the store for events that she planned. “It wasn’t totally random that I started doing events,” Rayesky said. “I just love hospitality in general. It’s kind of naturally evolved.”

The seeds for the business began in 2013 when Rayesky and Steven were asked to assist with a friend’s wedding. What started with floral arranging morphed into the other wedding details, and guests noticed. “My husband and I just loved doing the setup and loved working together,” Rayesky shared. “We didn’t think it would go further than that. We just did it for fun.”

Then the phone calls started, either from those who personally attended, or who had heard about the flowers from someone who attended. “‘We were at the wedding and I heard you were the florist. I got your number from the mother of the bride,’” Rayesky said, sharing some of the connections that led to more clients. “I felt like I was underground. People would call and ask, is ‘This the right number?’ Even my voicemail said nothing about the floral studio. We were like, we should probably make this official. Just this year, we launched our website.”

Now with an official website of February, inquiries have been pouring in and the studio is nearly completely booked for the year. “This has been the most insane month of our life,” said Rayesky.

They’ve been working on the business side, streamlining the process as more and more people hear about the studio. Rayesky also appreciates that the business allows her the space to include time for her children. She had stopped working as a stylist in 2013 to stay home with her daughter, and while she and Steven worked on the wedding, their daughter, just a few months old, was with them the entire time. “She was right there along with us in a bouncy seat while we were doing flowers and setting up a table,” shared Rayesky, who now also has a nearly two-year-old son. “I was home with her. We had free time on our hands when our friend asked us if we would help with their wedding. Initially, they asked if we could do the flowers for the wedding and it just morphed into all of the details. Not just the centerpiece but all the other details. I spent so many years dressing people’s wardrobes, picking out their entire wardrobe, that it’s hard for me to not see life through that lens.”

Rayesky found that her work in her mother’s boutique, creating window displays, helped her develop an eye for the details. “It’s hard for me to not see things through a cohesive lens,” she explained. “That’s how it morphed into more than the flowers. I didn’t set out thinking I’ll start working and do this job. It really fit naturally. I was home with our daughter and someone would find me, call me, and I’d be like, ‘Sure I’ll meet you for coffee and talk about your wedding.” We’d take time planning the details and my daughter would be in bed. Then the wedding weekend would come and we’d be super busy. My daughter would hang out with my mom or mother-in-law. My husband would handle the logistics of it. It would be like a date night/date weekend for us. We love working side by side. I love being creative and serving people in that way. All throughout it, my prayer was, I don’t want it to take away from my family. I only wanted to do it if it would add value to my family.”

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Jenna and Steven’s daughter helping before a wedding. Photo credit: Hannah Marie Bruccolleri.

Even the studio itself is close to home since the couple converted their garage into their working space, and wedding weekends have become dates for Rayesky and Steven. They’ve found that their strengths complement each other, and have been able to build a strong business model. With 75% of floral design requiring busy work, Rayesky handles ordering, designing, and creating the color storyboard board for weddings and events. Steven takes care of the logistics of obtaining and processing the flowers, which requires hours of cutting, hydrating and feeding until Rayesky creates the arrangements.

As their business grows, the duo outsources more, hiring assistants to help with the hours of processing and allowing Rayesky and Steven to handle other tasks. Rayesky has found that being creatively minded does not lend itself naturally to the business side, and they took some time figuring out how to make their business viable. “The first dozen weddings we did, the joke was, how big of a wedding gift do we give this couple?” Rayesky explained. “I would put hundreds of dollars more into the wedding because I wanted it to look beautiful. I didn’t want to think about numbers and margins. I still don’t. That’s been the biggest challenge. I have gotten a lot of wisdom from others on that.”

Rayesky realized that when a talent comes naturally, whether floral design, photography or another creative field, there is an intimidation when it comes to setting prices. “I had to overcome that hurdle,” Rayesky explained. “There was a wedding we did two years ago. When all was said and done, we made $3 an hour while working 80 hours. It’s insanity–working on four hours of sleep. We realized that if we’re going to make this a business, the hardest thing is, you don’t want to resent the love of doing something. You want to do something you love, but if the business model doesn’t work for you, then all of a sudden the thing you love becomes something you hate. We had to create a business structure. That part I don’t like. Starting out, I didn’t realize how long I had to sit in front of a computer. No one wanting to get into floral design thinks, ‘I just love crunching numbers.’”

Rayesky discovered that the time and money to make the business run smoothly was worth it. “It’s been hard but it’s so necessary,” she admitted. “We evaluate every few months to see what we can do better–we learn and change what’s draining us.”

She also holds onto the advice she was given when she started the business: outsource as much as possible, and protect your dreams. “This is hard, easier said than done,” said Rayesky. “It was hard for us. It’s so hard. I totally get the shoestring budget for starting your own business.”

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Jenna Rayesky with her handiwork. Photo credit: Hannah Marie Bruccolleri.

When starting a business in a creative industry, and there are no funds to hire people to write the copy or take care of the finances, it seems impossible to outsource. Rayesky turned to networking, bartering and gleaning from those who had already gone through the process.

She also realized she needed to be careful about sharing her dream. “Don’t just share it with everybody,” she encouraged. “There are not as many people who are creative. There are a lot of people who will say you can’t do something you love, that you’ll be a starving artist. I’ve learned I need to guard these seeds of dreams and not just let anybody hear your dreams. There are going to be so many people who aren’t going to get it. They’re going to discourage it. Try to confide those dreams and hopes with people who have already done it. Be wise with who you share it with. It is possible. We tell our kids, you can be anything you want to be, but when it comes down to it, do we believe it? Find the people who can share those dreams and they won’t crush it.”

Jenna shares her designs on Facebook and Instagram. Learn more about the studio by visiting the (recently launched) website.

This is the sixth in a series of articles I’m writing, called “Sustaining Craft”, which focuses on people who make money creating. Contact me to share your story.

Elizabeth Kinahan Paintings: “A Way We Can Share an Experience”

After a stranger noticed her first cattle painting through her apartment window and bought it immediately, Elizabeth Kinahan, a representational oil painter, has built a livelihood around painting livestock.

Originally from Westfield in north central Jersey, Kinahan’s love of art began when she was five years old. “I’ve been interested in painting and drawing since I was very young,” Kinahan said. “My earliest memory is my grandmother giving me an Alice in Wonderland coloring book. Instead of coloring in the book, I had a blank piece of paper, and I was trying to copy the picture. I did this drawing of the Cheshire Cat maybe 10 times before I came up with one I was so happy with. I think I was five. I still have this thing and I think it says 1986 on it. That’s the earliest memory I have of being interested in drawing. That just never stopped. I always knew art could be the class I could take if I wanted to do something relaxing I knew I could be good at and it wouldn’t be stressful for me. I was a straight C student in gym but art I was good at.”

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As a teenager, Kinahan completed portrait commissions. “They were trying to help me and give me a little money and improve my skills,” Kinahan explained of those who asked her to create. “They were all people who believed in me and wanted to help me out. It made all the difference that there were people who believed I could be an artist and I had a skill that was worth exploring and pursuing. I never really started as much as I just kept going with it. I’ve always loved it. It’s been a source of relaxation and joy and peace and pleasure. It’s an outlet. We all need some sort of outlet and if it’s creative, great. I never thought I could be an artist for a living. I didn’t think it was possible when I was young. As I moved along this path, I realized it’s not only possible but necessary. Historically and culturally, art is important, and if that’s what I get to contribute to this world, I’m good with that. I’m happy with that.”

Even with early talent, interest and encouragement, it took Kinahan a little while to find her path. She completed two years of college as a nutrition major, but couldn’t connect to the college or her choice of study. Kinahan left school for a few years and moved back to New Jersey, where she started working for an airline. “My father said, ‘You just need to get a degree in something. I don’t care. What do you think you can get a degree in?’”

Kinahan chose art, and found a small, all-girls Catholic school, the College of Saint Elizabeth. She graduated with a Bachelor of Fine Art degree in 2004. “It was one of the best things that ever happened to me, getting into that school,” Kinahan shared. “There were seven art majors in my class. It was a very small group. Almost all the classes were taught by Sister Anne. She would teach us how to paint flowers and the chapel. There was not a whole lot of variety. She did teach screen and block printing and ceramics. She was an amazing woman and I learned a lot of techniques from her. When I graduated, I kept going.”

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Kinahan decided to move west after witnessing the destruction caused by 9/11. She had her sights on Arizona, but her boyfriend at the time suggested Durango, Colo. “The whole drive out across the country, we were friendly bickering about where we were going to move,” Kinahan said.

They decided to pass through Colorado on their way to Arizona 13 years ago, arriving in Durango the day of the Main Avenue Art Festival, a yearly tradition in the small town. “I get teary thinking about this,” Kinahan shared. “It was magical. It was perfect. It was a beautiful day and the sky was bluer than I’ve ever seen. We parked on Third Avenue and walked down. I remember sitting on the curb and I had a beer in one hand and a tamale in the other hand, and a stranger was sitting next to me. They said some generic kind comment. And I immediately knew I was home. I don’t ever want to leave this place. I have felt that way about Durango ever since. … I love it. I have found such kindness and support and wonderful like-minded people. That’s how I ended up here and I’ve never really looked back.”

The relationship didn’t last, but Kinahan has continued to thrive in Durango. She switched to oil painting from acrylic after realizing her acrylics were drying too quickly in the dry climate. She met a successful photographer when she started working for the Art House downtown, who taught her the value of visual art and how to approach other people about that value. “My responsibility as an artist is to think as creatively and outside the box as possible,” she shared. “That skill of visual art is valuable to other people. That is where I struggled the longest–in seeing there is value in painting pictures. He was powerful in teaching me a lot about that. He would say, ‘Let’s walk around town and go into the shops and see what art they have up. If they don’t have art up, we can say, wouldn’t it be nice if you had art on your walls? We’re artists. We can put some art up. And if it sells, we can give you 10-15% of that piece.’ I said, ‘That’s crazy. We can’t do it.’ He said, ‘Nope, let’s go.’ We got our art up all over the place. I ended up falling in love with him and living with him for six years. He opened my eyes to the vast possibilities of life and I’m very grateful to him for that. If you have a dream or vision or goal, you have to just ask for it. Ask people for help, and for their time and their ideas. And people actually want to help other people.”

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Kinahan began to understand the value behind her art and how it connected people. “I view artists as documenters of the current climate,” Kinahan explained. “Wherever they are, throughout time and geography, they are documenting the way it is there–animals, what people wore, documentation of a culture, people and a time that I don’t know if you’ll get from writing. Writing can be fudged later on down the line. Historians can change facts. But no one can take a painting from the 16th century and change the garments that were depicted and tell us, ‘No, they didn’t wear collars like that. This is what they wore.’ It’s a different way of charting the time. We as humans, part of defines us and separates us from the other living creatures on this planet, is art making. I think that’s pretty neat. I don’t know why we’re drawn to do it, but some of us, or most of us, are artists. That doesn’t mean we paint pictures or sculpt marble. But we make meals and want to arrange it beautifully on a plate. Or buy pretty pillows. It’s all art. It’s aesthetics and beauty and we want to add joy to a world that would be mundane and boring without it. Many more of us are artists than people want to admit. Almost all of us are doing something creative like that in our lives. That’s important just to acknowledge.”

She added, “It must be important because we’ve never stopped doing it. We’ve always done it. It’s like joining around the table with people you like for a shared meal. It’s important. Why? I’m not sure I can state all the reasons why. It connects people. It’s a way we can share an experience. With an image, you can share an experience with someone you’ve never met. That’s powerful. And exciting to think about. Art is a language of emotion. A visual way to depict feeling through imagery. That all creates this shared bond when you have an impact on someone through an image you’ve created, there’s a connection that has been made. I think this whole human experience is about making connections with other living things. If art helps us do that with other people, there’s got to be healing in that. We’ve always needed that and we will always need that.”

After switching her medium and realizing the value of her art, Kinahan started painting livestock. She had appreciated animals for as long as she could remember, and she loved being able to see cattle and sheep in pastures and get close enough to take pictures. She was living on Main Street above a coffee shop when she decided to paint three cows. “The painting could be seen from across the street,” shared Kinahan. “There was someone in the restaurant looking at me working on the painting. She actually came up the stairs and knocked on my door, and said, ‘This is really weird, but I can see you’re painting cows.’”

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The woman, visiting from Grand Junction, bought the painting. “I really enjoyed the process of painting those three cows,” Kinahan confessed. “As soon as that sold, I decided to do another one. That one sold and it made me realize there might be a market for this. That wasn’t why I started doing this, but it was really encouraging.”

She found more and more people connecting emotionally with her work. “That’s something I’m finding incredibly fulfilling and exciting,” she shared. “I don’t think I’ve ever painted anything that was so personal and something that my entire heart is truly in, and to find another person who shares that passion and that connection is kind of a benefit of the creative process that I never expected. I’m so touched – it just gives me chills every time a person looks at a painting and looks into the great, big eyes of a dairy cow with these big lashes and I’ve seen people truly moved. It’s so interesting to me and I love it. I just feel like this is an area that I have to pursue. I still paint other things. I love to paint. This is definitely where I’m going and what I’m going to be pursuing.”

As her paintings garnered more attention, she started getting invitations to visit herds or to meet an individual animal. When she first started looking for subjects, Kinahan had to learn how to adjust how she encountered the animals. “It was an interesting change in how I learned to actually physically approach an animal in a pasture so they wouldn’t run away,” she shared. “Sometimes they do, but I’m getting better at it. It was this process I didn’t expect, but as I started painting them more and more and displaying them in places, people would seek me out and say, ‘Oh you’re the one who paints the cows. The cattle lady. My neighbor has this exotic breed of cattle and maybe you want to come out and I’m sure she’d be happy to have you.’ I was super excited about those types of opportunities as they came up, and I would travel anywhere to talk to the person who owns the animals and hear the stories and learn what it’s like to raise cattle, how to approach them.”

Kinahan enjoyed hearing the personal stories shared as well. “I’m always surprised but grateful that the owners–the farmers and ranchers–have an understanding of their individual animals,” Kinahan said. “They’re aware of the different types of personalities that each animal possesses, and they’re just as excited to share that as I am to learn about it.”

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One of her most memorable visits was being introduced to a herd of ancient white park cattle, which was a surprise. She had scoped out the ranch for years, driving by and seeing the various animals that lived on the property. She drove by once a week, hoping the animals were close enough to the road for her to snap some photos. Then she started wondering if the owners noticed her visits. She sent them a letter, with a picture of a painting of one of their animals, explaining what she was doing. “Sometimes to a fault, I’m trying to be polite to other people,” Kinahan shared. “I included at the end, if this feels like an infringement, no worries, that’s just me and I’m not harming anyone and I’m just taking photos and that’s it.”

She got a call from the owner of the ranch immediately. “She said she’d love for me to come out,” Kinahan said. “She told me about the different sheep she has – this flock for wool, this for meat, and this is how the mommas behave.”

Then Kinahan got to meet the cattle. “I didn’t even know that was coming,” she said. “I thought it was just sheep there. She told me so much about the breed, and how it’s an English breed and how it came to America and was lost for decades. It was so interesting.”

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These days, Kinahan continues to paint, chase down animals, go on tours of ranches and farms, and donate to rescue organizations. She is also the co-owner of Studio & on Main Street in Durango, which is coming up on its seventh anniversary. Her partner at the time was a founding member, and she couldn’t fathom living and working together. “I tried to stay out of it for as long as possible, and then I finally realized it would be a really good idea for me to join with this team of artists who were doing progressive things in town and filling a void of some type,” admitted Kinahan. “With the outlandish practices we get to procure on Main Street and the uncensored art we can show. It isn’t anything lewd or terrible. I’ve had difficulty showing a nude painting or anything close to be a nude painting in Durango and I was happy to be a part of a place that would welcome that and not shy away from showing something noncommercial or out of the ordinary. There were a number of reasons I was excited to join the studio. It was an opportunity to show my art on Main Street without having to give 50% of my sales to someone who wasn’t working at all for me. To take home 100% or close to 100% of my sales was amazing and was what enabled to keep me being an artist.”

The studio does take 35% of commission currently, which is the bare minimum Studio & can take and still pay bills. “We really want to give artists as much as possible,” explained Kinahan. “For the first two years, we didn’t take any commission. Then we realized we were spiraling downward financially. We were forking out all the money for the rent, and drinks and food and shows and advertising. We had to start thinking about it. We settled on 35% and it’s been a good balance.”

Kinahan also encourages artists to utilize the internet, which makes it possible to connect directly to clients and collectors. “Most of it is free,” she said. “The most powerful tool an artist has is their email list. We can shoot around the side of galleries now. I’m not trying to talk down galleries. They have their place. Artists don’t always want to deal with self promotion. But if you want to keep more of your revenue, then you have the power to do that now. In the ‘80s, it was really difficult to do that. Now, we can do it. It’s a powerful piece for people to wrap their heads around and when they do, it makes things a lot easier.”

Elizabeth posts her work on Facebook and Instagram. Learn more about her by visiting her website. You can see her work at Studio &  in Durango, CO or at Gallery Flux in Ashland, VA.

This is the fifth in a series of articles I’m writing, called “Sustaining Craft”, which focuses on people who make money creating. Contact me to share your story.