Speaker 1 (00:00):
When I think about creating something, I just want to be able to have the viewer create a story.
Speaker 2 (00:08):
This is the Bold Artist's Podcast.
Speaker 3 (00:13):
You have answers, and you're expressing them in your art. Your art is important, and it needs to be seen.
Speaker 2 (00:22):
Welcome. And let's get started with today's episode.
Speaker 2 (00:30):
We're here at Episode Two of the Bold Artist's Podcast. We have a guest artist on the show today that you are going to love. But first, we need to have a moment of celebration because our show took off with a blast. Our launch has been so successful before we could even prime the distribution channels and get our show sent everywhere onto apps, you all were already downloading, listening and leaving reviews. And so on behalf of my co-host, Charla Marschalk and I, we just want to thank you so much for how you've shown your love and support on the pilot of the Bold Artist Podcast. If you haven't had time to listen to that, I encourage you to zip back in our podcast shows and have a listen to the pilot. Charla and I shared our hopes and our visions for this show. And in that show, we said that we're here because we believe in artists. And it was an incredibly rewarding feeling to sense that you believe in us, too.
Speaker 2 (01:34):
And by downloading, listening and reviewing the show so early here in the podcast, it gave us that incredible sense of being loved and off to a good start. So thank you so much. I really am going to introduce you to our guest artists, but first I need to put on my news anchor hat for a moment and give to you a little bit of Bold School news. We have the announcement that coming up, we have new painting courses in Bold School, and you're going to want to know about this, especially if you're a portrait or wildlife painter. Charla Maarschalk and Corey Moortgat, instructors within Bold School, are hosting some courses on painting hair. That's right. Cory Moortgat has a long hair painting class coming out. And Charla Maarschalk has a How To Paint a Beard class. And so if you've ever struggled with painting hair -- and I know I have -- these will be the classes for you to check out a bold school.com.
Speaker 2 (02:39):
Funny story -- many years ago, as a novice painter, I painted a lion and a lamb. And no joke, I took a fine, tiny paintbrush and painted about 2000 strands of hair on the lion's mane because I didn't know any better. I wish I had had this course way back then. And that painting's hanging somewhere in Australia. And every time I think about it, I just want to cringe because that line is having such a bad hair day. There really is a technique to painting hair and beards, and you will want to find that out on bold school.com. So, now I'd like to introduce you to today's guest. Luzdy is a portrait and figurative artists located in Massachusetts, USA. Luzdy's story is one about pursuing freedom to paint how and what she wants to paint, not just what everyone else expects. We here at the Bold Artist's Podcast have felt strongly like artists are really going to connect with Luzdy's story and relate to what she shares. Luzdy shares about her journey to freedom in subject matter, how she approaches her color palette with both a mix of planning and intuition. And she points out that one of her biggest breakthroughs comes from understanding value through Bold Color Bootcamp, a link to that is in the show notes. So, let's go over and meet Luzdy.
Speaker 2 (04:11):
Luzdy Rivera! We are so happy to have you on the show today. Welcome to the Bold Artist's Podcast. We are both on YouTube and in audio on all the podcast apps. And today we're so excited to hear more about you. So, do you mind just sharing a little bit more about yourself?
Speaker 1 (04:30):
Yes. And thank you for me is a real pleasure to be here with, with you, Marijanel, and you know, as part of the podcast for Bold School. So, thank you for the invitation -- is so nice.
Speaker 2 (04:44):
You're so welcome. It's our pleasure.
Speaker 1 (04:47):
So, yeah. So, I'm Ludzy Rivera. I have been a painting for, I say that since I have knowledge I've been painting, but mostly I've been doing that since 2014. When I said to myself, I really want to, um, start doing this more in like a consistent way. Um, I am also a musician and a photographer. Um, so I did a lot of that prior to painting. Um, I was born and raised in Puerto Rico, so I'm Latina and recently moved to Massachusetts when I'm located right now.
Speaker 2 (05:23):
Wonderful. I love it. That you just have creativity flowing through you being I'm also a musician and photographer. So, we're on the same page. Yes. So then how did you come into your painting practice?
Speaker 1 (05:38):
So I, there was a moment that I, I thought that I wanted to do something different than photography, um, which I think they are very much related. And, so I remember wanting to do some research about, you know, probably I started searching for old masters. What were they like? What was that like? What were the movements? I, I, and I was very attracted to Fauvism and Impressionism and Expressionism. Um, and it was, I noticed that it was the use of color that attracted me the most. And then I try to look, uh, for contemporary artists and found some that I think, uh, people who really like bold color know them, like VOCA, for example, he does amazing like celebrity large-scale, um, uh, paintings that are just really good. Um, there's another artist like Peter Terrin. I really like his mark making. And then there was Charla.
Speaker 2 (06:40):
And then there was Charla.
Speaker 1 (06:45):
Charla for me was kind of like the in-between between VOCA and Peter Terrin, because she had the use of amazing bold colors, but a softness, um, you know, kind of like just a, a neutral kind of way to seek colors that I just really loved. Um, so I followed charla since 2014, um, to, to the point that I remember her doing like half of a, she had a photograph that was half painting and half a self portrait that she did. Um, and I remember doing something similar to that because I've found it so, so beautiful and so amazing. So, I was really surprised and glad when I saw that she had, um, recently when I saw that she had the class, see how, how crazy life is. You never know.
Speaker 2 (07:37):
It sounds like you knew Charla long before she founded Bold School. You followed her, followed her.
Speaker 1 (07:43):
I did.
Speaker 2 (07:43):
That's. That's amazing. So, were you one of the first Bold School students that signed up in, in her community?
Speaker 1 (07:50):
Yeah, I believe so. Um, I mean, she has mentioned that I was kind of like part of the group that were kind of the founders of Bold School -- uh, Bold Color bootcamp. Um, and it has been a beautiful, great experience.
Speaker 2 (08:07):
I'm just so curious... what is one thing that was a big takeaway for you from doing Bold Color Bootcamp with Charla?
Speaker 1 (08:15):
Uh, I would say to this day, the most precious thing that I learned from Bold Color Bootcamp, which is understanding values. So, when I started again, I was attracted to folk wisdom and the use of bold colors, but I didn't really know kind of like... match, let's say the gray scale of the, you know, with the colors. What did that meant in terms of the values and learning a little bit more about that was what I think changed, like the depth of my paintings and, and the way that my style has evolved has a lot to do with, with that key, um, learning experience that I had.
Speaker 2 (08:58):
I love that, and I have the same similarity. I was actually just telling Charla yesterday, learning about values changed me. And so we shared that experience. So Luzdy can you give our audio listeners a visual picture of what your artwork looks like?
Speaker 1 (09:17):
Sure thing. I would say, it's bold color. It's vibrancy. It's feeling emotions through colors. So, when you try to imagine, um, you know, what a painting of mine could look like, you definitely are going to see a vibrancy and multicolor. I usually use, um, a minimum of four to five. That would be the minimum of colors that I would use in my paintings. Although when you look from a distance, um, maybe you see less colors, but you, as you get closer to, to the painting, you can really see like the rainbow that's underneath there, which is, um, what I really love about, about my style.
Speaker 2 (10:01):
Yeah. And let's, let's share a bit about your subject matter as well, 'cause I'm not sure we revealed that yet to the audio listeners.
Speaker 1 (10:09):
Yes. Uh, so usually I would do, I just love painting people, um, humans, right. That could be from babies to, you know, women, men. Um, I just love painting humans. I do animals as well, but my passion is, um, you know, my subject is just figures and portraits. That's what I, what I really love to, to do.
Speaker 2 (10:33):
And you are excellent at it. Excellent work. I have enjoyed perusing your website and learning more about you as an artist, but also just seeing the variety that you have in your portraiture and figurative work. And one thing that really stood out to me when I was looking on your site was the diverse emotions that your work evokes -- everything from serious and perhaps a little sad or thought provoking. And then there's a little humor, too. And I see happy emotions and cheerful qualities in your work, especially in the vibrancy of the color. And, uh, could you share with us how you evoke such emotion for the viewers of your artwork?
Speaker 1 (11:27):
Yes. So I think that's, it's key for me when I think about creating something, I just want to be able to have the viewer create a story, creating a narrative, just, um, it's more than just seeing something is, is having that thought provoking image. Is having to think and then feeling -- or feeling even before, before you're thinking about it. Um, so when I choose my subjects, I usually try to, um, I do have my own story, right? I do have what I'm thinking, what I think it means for me, but I'm also thinking about the different meanings that it could have. Um, four the others. And in color is key to that because when you think about, if you wanted to pick a certain emotion, um, maybe it will be different if you choose oranges and yellows and, um, that kind of warm side, um, you can use blue for both, right? But choosing those colors to help create the narrative of emotion, that's something that really excites me. And it's part of my, my process in my paintings.
Speaker 2 (12:39):
That's wonderful. I should also mention when I was sharing how, um, I was admiring the diversity of your work, I also admire the diversity of the people that you show in your work. There isn't one particular kind of person, or shape of person, or tone of a person. You, you show humanity, and it's beautiful, and very emotion evoking. And that's something that I think everyone will just really appreciate learning more about you, your work, and getting to know you, Luzdy. In our current season of Bold Artist Podcast, we are talking about bold color and bold moves. You did already touch a little bit on the color here. Let's talk about bold moves. What is the boldest move or risk you feel like you've taken as an artist?
Speaker 1 (13:32):
Yes. When I think of bold moves, I actually think of some pretty good bold moves that I have dancing, but we're talking about painting.
Speaker 2 (13:45):
Oh, you can talk about dancing, too.
Speaker 1 (13:45):
I think also music and dancing helps with, um, with, you know, creating that too. Um, but something definitely that I feel like it was a bold move for me, was creating the things and the stories and the narrative and, you know, just creating the art that came from my heart, and that I wanted to do. Um, there was something when I started, I, I did portraits of celebrities, and I did things that people would usually, or that we think that sell the most, right? And people will tell me like, "oh, you know, you should paint the Mona Lisa, or you should paint a Picasso Freva." Um, and I did at the beginning, and it was, I liked it, but it, I was missing something.
Speaker 1 (14:33):
And it was because that wasn't really what I wanted to do. I was missing giving the message to the viewer. I wanted to do art that had something more than just an initial recognition of, oh, you know, I know who this person is. And then 'cause usually you would, they would feel like, I know there's the likeness there. And then they talk about the technical aspect of the painting. Um, and then maybe about the feeling. But I wanted to do quite the opposite of that. I wanted to create that feeling and that question and have someone have to stop, not because they recognize the person, but because it makes them feel something. It makes, you know, it amazes them -- again through color or just the pose or, or the image -- so doing, and that took risk, right? And that takes courage, as well. Um, because when you have to do something that you feel like others may not, you know, really want, or like, or maybe I'm not going to sell this, all of those thoughts I had initially, but I felt, um, freedom actually, when I started doing that. And the response that I got from the audience was amazing. It was even more and even better, um, because, and I honestly think it's because it was coming from my heart, from what I want to do. Um, and that shows, as well. So for definitely that's, that's the biggest bold move for me
Speaker 2 (16:04):
Right here in, in what you just shared with us, the boldness of breaking away from people pleasing. And that is a fear that all of us creatives have of just like, how do I, how do I pursue my creative arts and please the audience? And we have to come to this place of creating to create what's in us because that's like, that's our, like you were, you use the word freedom, that's our freedom. And our right as artists is to express what's in here and bring out what's in here. And I love hearing the story of you coming into that kind of freedom. And, and by you sharing the story here on the Bold Artist Podcast, I feel it will also help others to step into that freedom. Where do, do you happen to remember a specific time or an instance where you, you really made a deliberate choice to move away from people pleasing? Was there a certain piece of artwork or a certain show? Does anything come to your mind?
Speaker 1 (17:13):
Um, I think there's, there's one piece that comes to mind. I did want it to portray kind of like my roots kind of where I came from. I used to, I remember, and I still do, by the way, sometimes I struggle with a subject that I'm going to choose, um, to present, right. That, that I, that I want to do. And, but now it's mostly about, you know, is this the message that I want to, to, you know, send, to give to the world, versus is this going to sell, you know, are people going to like it it's, it's more than that. Um, and so, so when I started painting that, it was just kind of like my first thought was, I'm just doing this for me. Right? Let me try this. It was kind of like a test, let me try this. But, it was so fulfilling.
Speaker 1 (18:04):
Um, and, and I, I have the support of my family. I have to say that they, you know, when I talked to them about that initially in the past as well, they would be like, you just do, you. You, you just do what you want to do and the right people who, who need to have that and who need to see that will be there. Right. Um, so again, it took that courage for me to do that, but that just taking the risk and trying and doing it was necessary to, to, you know, to break from that kind of jail that I had in my mind. Um, and, and have the freedom that I, that we were just talking about.
Speaker 2 (18:43):
I love that. Thank you so much for sharing about that and that whole people pleasing subject. It's really relevant. And now to backtrack a little bit... We had touched down on the subject of bold color. Can you, can we go back to that and you expand a little bit on your approach to color, your relationship with color, and even perhaps how you plan out a palette?
Speaker 1 (19:07):
Sure. Um, what's one of my favorite topics by the way. Oh yeah. Color, definitely. So, so here's the thing, the first thing that I do, um, because people do ask me that question a lot, like how, you know, how do you choose your color palette? Like, how do you make sure that this is going to work? And so I use my imagination, the first thing. Like, once I know the subject, what I try to do is kind of picture it in a few colors. So, I try to imagine and see the outcome without even starting. Um, you know, to, to, to do the mixing our, or choose the colors. Once I have that, then I have, uh, kind of an idea of the predominant colors that I think that the image will, will be good. And I usually go to the color, we will say, I create my own based on the paintings that the colors that I have.
Speaker 1 (20:04):
And one thing I noticed is that I tend to do a lot of complimentary color schemes. I, I didn't really realize that until I look at my paintings and started like, kind of, um, analyzing that. And I noticed, oh, I use a lot of, you know, blues with oranges or, you know, I, I use a lot of purples with a yellow. So, kind of I noticed that. Um, initially it wasn't intentional, but one thing that happens with me is I may choose, let's say complimentary analogous, uh, color palette, but that's just the beginning, because then I just flow through intuition. Like, I may feel like this needs something different, and I start adding different colors as I feel that the painting needs to have. So, I may even do start with a certain color palette, but then as I am painting, I may add some different colors or even not use some of the ones that I've, uh, chosen. So, so it's kind of a mixed of planning and intuition. When I,
Speaker 2 (21:19):
I love that. I love that. I love meshing that the planning and the intuition. You mentioned a couple of things. You mentioned using your imagination to plan the colors. Do you only dream about this in your head, or do you ever sit down like at some form of technology Photoshop or Procreate and plan out some colors that way?
Speaker 1 (21:41):
I do both. Um, sometimes I just use my imagination, so I, I, it's not like I dream it, but I'm thinking about it. Right. Um, and then sometimes I use a, I use pastel. Soft pastels. Um, it was one of the first mediums or actually that I tried. Um, I love how easy they are to use. And maybe if you do something you can just, you know, use your hand and remove it easily. So I do two things with soft pastels, which is I test the colors that I have in my mind. Um, and then, you know, I, with that, I just can play with it and then ultimately have an idea of, of how that could look like. But in honor or the truth, it's more that I use my imagination and just go for it. Um, then actually sketching and, or, you know, drawing something initially. But I do use that as well. I don't, I don't use, um, uh, technology like the iPads with, uh, procreate. I love seeing that and I'm very interested in exploring it. Um, but sometimes when I want to paint, I just want to go straight to the canvas.
Speaker 2 (22:57):
I understand. Yeah. You also touched on the idea that you created your own color wheel out of the colors that you have. So can you tell me a little bit about that process? Do you make yourself a little charts of color and color mixes or create the wheel? Yeah. Tell me more.
Speaker 1 (23:15):
The wheel. Um, I wish I actually have it like right behind the computer, my color wheel. Um, so what I do what I did was, so I have, I have two color wheels. One is just, let's say by brand. So I, if I have golden brand, for example, or Matisse, or Liquid X, whatever the brand is. I usually just do the color wheel to see, you know, the colors for the brand. But the one that I really use the most is I created a color wheel with all of the paint tubes that I have with all the brands. Um, so I have all my reds. It doesn't matter the brand, um, you know, in the reds and I have, um, yellows and blues and green and all of that. So I created that with my painting, so I know exactly how the colors will look. And so it's easy for me to look at it and choose the colors immediately by not, not having to look at the tube or just do the test, but just I'm looking directly. Um, yeah, that
Speaker 2 (24:23):
Is maybe I can set
Speaker 1 (24:25):
A picture or, um, you know, for that you can use if you, if you want to share, you know, with, with the audience. But I think it's a great exercise to just have your color wheel from every single tube of paint that you have.
Speaker 2 (24:39):
Do you have a favorite tube of paint right now. One that you were just like, oh, excited for and what brand and pink color is that?
Speaker 1 (24:51):
Oh my God. I do have one. Um, I'm obsessed with Design Cyan by Matisse. Um, it's a, it's a, let's say a phthalo with an, I dunno if I pronounce phthalo, low,
Speaker 2 (25:08):
I say phthalo
Speaker 1 (25:10):
Phthalo blue, um, with a touch of green, um, that's the, the Designed Cyan. And so we created just this beautiful greenish kind of blue that mixes beautifully with other colors. Um, and it was like, um, yeah, I was like, oh, I'm going to use this Cyan now. I'm just, uh, from this brand. And since I started, since I use it the first time I been like, yeah, I've had to buy probably three or four the first time that I use the brand. And yeah, I almost use that in all of my paintings
Speaker 2 (25:51):
For the listener. How do you spell the name of, of that color?
Speaker 1 (25:57):
C Y A N. And then the sign is D E S I N G - Design Cyan.
Speaker 2 (26:05):
Okay. Excellent. From Matisse. Well, thank you for that little tip. It sounds exciting. I love to hear what artists are like, just really obsessing about right now.
Speaker 1 (26:18):
And we love those kinds of questions.
Speaker 2 (26:21):
Yes. So, so Ludzy, do you have some words of encouragement for an artist who's out there, perhaps someone who's just beginning, and perhaps they really admire your work, and they feel like they're never going to reach where you're at. Or they just feel like they're behind somehow or, or having a hard time in their art practice. Do you have any words of encouragement to give a beginner like that a boost of morale?
Speaker 1 (26:54):
I do. Um, I would say it's about a few things. Persistence. It's about a high level of interest, and it's self-confidence. Just trying, even if you think you will fail, actually, if you fail, you will learn. So, is the best experience that you would have. It's actually the best class that you can give to yourself is just try it, um, and be persistent. Uh, that's something that I've learned, not only for doing for my paintings, but for anything that I do in life. Sometimes we just get scared, or we may think we're not going to be good enough. Um, but none of that is true. And everyone has their gift and their unique voice that, you know, people need and that they can share with the world and, and people need that. So, you have to think about it and in that way, and not, not give up and discontinue to, to, to search for the ultimate outcome that you want. Which by the way, may not be exactly what you expected at the beginning, but maybe even better, or it may be exactly what, what you need to accomplish. Um, so, you know, just keep trying. Never give up. If you see my early paintings, um, oh my God, you should see it.
Speaker 2 (28:26):
There's a story to tell. Um, I had the courage to share it, to do, do it first of all, and then to share that. Um, and, you know, have people love it, have people not like it. And sometimes I look back, I look at those first paintings, which I keep, um, is a reminder of how people can grow. And so I was like, I don't know how I put that out there to the world, right? That's the way that I see it now. But those are the reminders that everything is possible. And you can improve if you've put your heart to it. Um, you will achieve what, what you, what you want.
Speaker 2 (29:07):
Yes. Thank you. Thank you so much for those word. They hit home, for sure. And I know our listeners, um, that will resonate and encourage them, for sure. So it sounds in what you said that you're very open to surprises and open to letting your journey unfold. I'm wondering Luzdy if there has been a surprise highlight in your art career, that was just like, what this is out of this world. What would that highlight of your career be?
Speaker 1 (29:43):
Well, that's a tough question. I think I've had, I have some moments, um, and some opportunities that I felt like, you know, it felt they felt to me like that. I would say one of the most recent ones was I did create a painting, uh, for Jasmine Camacho-Quinn, which was the gold medal winner for Puerto Rico. Um, you know, she chose to represent Puerto Rico, even though, you know, the, her parents are the ones who, who, you know, who lived there, who were raised there. Um, and I thought that that was so amazing of her. I wanted to do a painting for her. I did it. And then she communicated with me. So I got to her, um, she was so grateful. So by the way, she's very humble, such a great, nice person. And she wanted to have my painting. And that was really like, that was a highlight for me. Definitely. Um, that was, that was not my initial intention, right? Um, but it was really wonderful. Um, cause again, just when you can provoke that and then make someone feel a certain way and, and, and receive that gratitude is just such a satisfaction.
Speaker 2 (31:00):
Yeah. That is definitely a highlight. I love that story. How special. So, Ludzy, thank you so much for being on the Bold Artist Podcast today. We have so enjoyed hearing your heart and a little behind the scenes of your bold color, and bold moves, and bravery and courage. It's taking you to start and become who you are today. So, thank you.
Speaker 1 (31:29):
Thank you. Thank you for the invitation and the, um, uh, again, it's, it's been a pleasure to be here and I hope that we continue to connect.
Speaker 2 (31:39):
Yes. It's been a pleasure to have you.
Speaker 2 (31:41):
Thanks for being here, watching and listening to our interview with Luzdy Rivera. We would love to know what your favorite takeaway from today's show was. If you're on YouTube, leave us a comment, or send us a message on Instagram at Bold Artist Podcast, and tell us what your favorite 'aha' moment was. For me, I love Luzdy's enthusiasm, and I'm going to definitely be making one of those personalized color wheels that she suggested. And her words of encouragement resonated with me. If you fail, you will learn. If you fail, you will learn. We need to not be afraid to try and fail, because that's how we learn. Learning is part of the process. Here at the Bold Artist Podcast, we're giving artists voices. 'Till next time, keep creating.
