Speaker 1 (00:00):
Uh, don't compare yourself. Um, don't worry about what people say about your work, 'cuz it's, it's always a work in progress.
Speaker 2 (00:07):
This is the Bold Artist podcast, where we talk about being brave and finding creative freedom. You wanna get those beautiful things inside of your head out onto canvas? We're gonna talk to real-life artists and learn the skills and the courage it takes to do just that. I'm your host, Marijanel, a multiform artist and creativity mentor joined often by my co-host, Charla Maarschalk, painter of colorful portraits and founder of Bold School -- an online space to learn bold color painting. Welcome, and let's get started with today's episode. Adam Young, welcome to the Bold Artist podcast. We're so happy to have you here today. Can we start out by hearing a little bit about your life there as an artist in Newfoundland?
Speaker 1 (00:57):
Yeah. So, thanks so much for having me. Um, it's pretty exciting. Uh, yeah, I've, uh, I've been an artist now for a while, a full-time artist for approximately three years. So, before that I was a teacher. So, I used to teach art full-time for a number of different schools around. So, uh, yeah, it was, it was a bit of a, a daunting jump to, to hop into being a full-time artist and consider myself a professional artist. Uh, but yeah, I'm happy that I, I made the leap. So, uh, yeah, I mean, I live on, uh, I live on Fogo Island, Newfoundland with my family. Uh, we've been here for around 12 years now, and uh, yeah, we love it here. And um, I kind of credit Fogo Island and Newfoundland for, for steering me in this, this direction, this career that I'm into right now.
Speaker 1 (01:54):
Uh, I mean, I did do a fine arts degree, uh, back in my, like back in the early two thousands. Um, but then I, I didn't really think that art was a, was a viable lifestyle and a viable career path for me. So I, I do what most, uh, students of art do after they get their fine arts degree is try to figure out what to do next and, uh, that was teaching. So yeah, I mean, uh, not to ramble on too much. But, yeah. That's uh, my story and a, in a, a little bit of a nutshell.
Speaker 2 (02:27):
So, what made you make the jump, Adam, when you went from teaching to full-time art? What, what did that look like in the, in between and making that decision?
Speaker 1 (02:37):
Um, yeah, it, it was a struggle for me. Uh, I wanted to do it for a long time, and I went back and forth with it. It was more of an internal struggle in my own mind as to can I financially kind of, uh, support my family. I've got two little girls, my wife, uh, we've got a house. I mean, everyone, all those same kinds of, of things that you think about. Like, am I gonna be able to, what, how am I gonna be able to do it? Like I need, I need to be able to physically paint enough, and then is it going to make us need to move? I don't know. Like, it felt like a selfish decision for me. So, when I was teaching -- and I do love teaching and I've always in my heart of hearts I am still a teacher. Um, I loved doing the teaching part, but what I did was I, I kind of, I rode both horses for awhile. And once I found that art was kind of, it was starting to take over, uh, the amount of time that I was able to give to it. Um, I had to make a decision and say, you know what, I'm gonna go for it. I'm gonna try it and see where it goes. I can always go back to teaching or doing something else, but if I don't do it now, I'll never do it. So, that was the, really the main catalyst for me making the move.
Speaker 2 (03:53):
That's that's remarkable. And I know there's a lot of listeners who are doing what you said, riding both horse.
Speaker 1 (04:00):
Speaker 2 (04:00):
They've got their foot in both. And so hearing your story I know will be very inspirational. And so what part did Fogo Island play in you making that decision?
Speaker 1 (04:11):
Well, okay. So I gotta go back a little bit for that. Um, when I finished my Fine Arts degree, I went out into the main workforce, and I was, I was, uh, doing all the odd jobs that I guess people do when you're that young and you're trying to make enough money. Um, I then, uh, I then applied to become a, like go to, uh, my, get my education degree, sorry. And that's where I met my wife. And my wife is from Fogo island. So, uh, she brought me here in the summer time, and I really fell in love with the landscape with the people. Uh, with, it was also a little bit of a, a retreat for me because where I was from, I was always surrounded by, um, my friends and, and things to a lot of things to do, to, to kind of eat up my time. So, I was heavily involved in sports and coaching and, and really, I never had a second to myself. So, when I came here, I remember that first summer I came here. It really was a time for me to reflect and to start to take some kind of personal time. And it was a meditative thing for me. I started to go out, and I started to draw. I started it to, uh, be inspired by the, the process of creating again. And it just built from there.
Speaker 2 (05:31):
Yes. And your work shows it. There is something very special. Like you have a very special connection to the environment around you. And, and it, it's so clear that at Newfoundland and Fogo Island impressed something upon you in order to create the body of work that you're making now. And I took some time last night and was Googling images of your island and surroundings. And it is so picturesque. I wanna go there so, so much more than I ever did now that I've seen. And, and also, now that I've seen the work of your art in reflection to what's around you. And so I do wanna encourage our watchers and listeners to take some time and Google and look at the images is of, uh, Adam Young's, you know, world around him, Fogo island Newfoundland. And take some time to look at the photographs online, but then you can see why and how his work is, what it is. It's just so special. And I can see why the Islanders have embraced you, but what has that been like, Adam, to be what is called a mainlander move there and become an artist, which is such a, like artists are a reflection of, of what's around them and their experiences. And so you weren't native to the island, and yet you reflect it as if you are. What is that like?
Speaker 1 (06:56):
Yeah, it was, uh, um, my wife, uh, she always said that, like when I came here, I was, I was seeing the island through a new set of eyes for her. She was so familiar with the island. She she's seen it, she grew up with it, but for me it was all brand new. So, through my interpretation of, of what I was seeing, it was brand new to her again. And she started to appreciate it a bit more and, and understand like, wow, anyone who's not used to seeing this all the time would totally fall in love with this place. So yes,
Speaker 2 (07:32):
That is a really neat way to look at it, actually that sometimes it takes a new set of eyes to see the things that we take for granted. And, and it often takes an artist to do that. So, yeah. Uh, can you tell us a little bit about the evolution of your work. From the time that you took the big leap, has there been a big change and shift in your style, and how did you get to where you are now? And actually, I wanna hear that, but let's give a description of your work now for those who are listening on audio.
Speaker 1 (08:03):
Yeah. So, um, my work is very, uh, colorful, bold. Uh, I really, uh, play a lot with like the elements and, uh, principles of design. So, that really is my center stage. I don't think of the landscape first. I always think of, um, the piece is going to be more representative of, of line in shape this time, or it could be more representative of, of pattern and repetition. And then with those thoughts in mind, I'll create the piece from there. Um, so that's usually how I approach my work, and then the landscape is kind of the secondary measure to getting there. Um, but yeah, I mean from start, uh, I, I did a fine arts degree. Um, I kind of, uh, follow in a lot of, uh, people's footsteps in the sense of when you start to learn about art or create art and draw, you're trying to, uh, create something that looks lifelike or realistic.
Speaker 1 (09:04):
Um, so I went through that and I really kind of struggled a lot and it never really felt, um, it never really felt like my own identity when I was creating it. I felt like I was always never happy with what I was creating and, um, I struggled a lot, and it was frustrating. So, the evolution of my, my work, um, started in more of a realistic style, but then evolved into a more natural style of, um, I, if I were to, a lot of people will ask me what, what style would mine be? And I, I really don't know exactly. It's kind of a mixture of a lot of different, uh, styles and people who've inspired me throughout the years. But the Fauvists, uh, were probably my favorite, um, style of artists because they just, they just weren't afraid to use color, and they weren afraid to blur the boundaries of, of what, um, there, there, they weren't so much, they were on the verge between abstract and, uh, realistic.
Speaker 1 (10:05):
And there was a comfort in that with me. Um, and I'm, I'm a huge lover of color. Uh, I love using bold straight out of the tube, straight on the canvas. Um, that's why I use acrylics because as I create, I'm usually, uh, it's usually a trial and error process for me, and I don't know exactly where I'm going to end up at the end of it. And that's the exciting part of creating. So, acrylics allow me to make mistakes, uh, paint over them, make more mistakes, paint over them, and then hopefully get to a point where I'm happy with what I've created. So, yeah, it's been, it's an evolution. And even to this day, like year to year, I'm finding myself, uh, breaking down those elements and principle of art, even more in, in the, the work that I create. I'm starting to get a little bit more abstract and being comfortable with that. Um, not needing to polish it so much, uh, yeah. Being okay with the painterly qualities of, uh, in the rough edges. So yeah, that's where I'm kind of at now.
Speaker 2 (11:06):
Yes. Where you're at now, to me speaks of even there's an illustrative quality. Your, your pieces seem to tell a story, and there's a whimsy and curiosity to the piece as I was looking earlier today, at one where the chimneys of the houses that you had there, the, the smoke coming out, the chimneys were little hearts. And yeah, I was like, how did he even think of that? Yeah. You know, and, and you, you must have a lot of imagination as you're, as you're painting and exploring. Your imagination just must be, you know, what, what's going on in there, Adam? What's your imagination doing while you're, you're painting these curious pieces?
Speaker 1 (11:48):
Those like, um, for me, I was always like back going back again. I, I love doing figurative pieces. Um, I, I find that I'm drawn to a figurative piece even to this day, uh, a face or, or something recognizable in that way. So, the buildings around here became my figures. And so within those buildings, um, I like to characterize them and make them their own little type, their own little personalities within that. So, that's kind of what directs me as I'm creating. Um, and yeah, usually I like, like I said, I don't, I don't normally work from an actual photo most of the time. Sometimes I'll use reference pieces. But I, I find it more comfortable for me to, uh, envision, uh, an idea or a memory of a place and then try to, uh, create that again. Um, and that's where, uh, the struggle comes, I guess, in trying to exactly try to remember what, what I'm doing, um, just using my own mind and sketches and stuff like that. But it also is, uh, the reason I, I can, I can, uh, kind of break outside the box and, and think up those little fun, little things as I'm creating.
Speaker 2 (13:02):
So Adam, it really fascinates me that you don't necessarily work from a reference image. And I know that a lot of the artists that I interview and students of Bold School work quite closely with their reference images. So, to find someone who isn't necessarily painting from reference, but storing images in their mind and creating as you go is something I'd love to hear more about. How do you do that?
Speaker 1 (13:29):
Yeah, so, um, it was actually, uh, when I first came here, um, and, uh, we, I spent my first summer on Fogo Island. I hadn't brought any, uh, art supplies. So, I was kind of at the mercy of what they had here at the local store. So I went down and I got some black, uh, cardboard paper and, uh, scrounged up some pencil crayons. And I started to, uh, draw at night. So, while everyone was asleep, I'd go down to the basement, and I'd start to draw. So, I started to try to envision those, those, uh, areas that I like visited during the day, um, fresh outta my mind at that time. And I, I was trying to, uh, use the light sources to create the sh like the actual shape of them. So, um, I started with night scenes. So night scenes, uh, allow for different, multiple areas of, of light and how that light will shape objects and the reflection of the light off the water.
Speaker 1 (14:26):
Um, and so I just started to investigate those, uh, elements and, and play around with them. And then I started to find it became easier and easier for me. So, whenever I sat down to a, uh, a, a painting, um, it was always more comfortable for me to sketch it out. Um, just like you would in a sketchbook I'll, I'll sketch it on canvas. And then, um, I'll usually paint, I'll, I'll usually paint over it a bit. Um, and then I'll continue to sketch back into it. So, the majority of my paintings are actual drawings. Um, I do use paint markers a lot, so I do, I go back and forth between using the traditional brush, um, paint markers, and then I'll go and I'll, I have airbrush too. So I'll airbrush in, uh, tones to dim colors down or to highlight areas, as well. So yes, it's, it's been a, from the way that I approach things now, that was that that's my process and how I usually, how I usually go. And it always, um, I feel more comfortable, uh, doing it that way. I almost feel like I have handcuffs, handcuffs on when I'm creating, trying to recreate a picture into a painting. I, I don't, it doesn't feel natural to me. I feel like I'm, I, I don't enjoy the process at all. Um, and that's why I, I ver, I very rarely will take on commission pieces when people...
Speaker 2 (15:43):
I was just, I was just gonna ask that. Yeah,
Speaker 1 (15:47):
Yeah. It's, it's not in, it's not overly enjoyable for me. I, I sit down with it and I'm, I'm always disappointed with how it looks, because I always feel like, oh, I wish I would've, I wish I didn't have this, this say, if it's a landscape, I wish this part of the landscape wasn't there because then the flow of the picture would be so much better. And I think that that's our magical, like, that's our special power as, uh, as artists, um, that create that paint and, and, um, aren't subject to what it, what what's exactly out there. We can change it, we can manipulate it, we can make it look the way we want it to look. And, um, I think when you do that, I think whoever is viewing your work appreciates that.
Speaker 2 (16:31):
Yeah. Yeah. I had wondered that at out commissions, because as soon as you said and shared your process and how out of the box you like to be with creating the landscape, how you want, and you imagine, I thought, I bet you would be hard if someone brought you a photo of, of a house or a landscape and said, please paint this for me. You, you feel that way. And so I, I can definitely relate. So Adam, if someone's listening today, and they are very inspired by your process and feel like they wanna be the kind of artist to break out of realism, paint from their imagination, more, what kind of advice would you give to an artist looking to go that path?
Speaker 1 (17:12):
Um, it's, it's tricky because you need to, you need to flip the switch in your mind. And I think the biggest thing is to like, for any new artist who's out there who's creating, um, it, it's, it's a tough process 'cuz it's a tough world. And especially if you compare yourself to other people, it's, it's, it's way more, um, frustrating. And it's, you're very easy to, to lose your own passion by doing that. Um, so like, like Jennifer always says, she says comparison is the, the thief of joy. So, what I normally, like, what I try to do is, uh, for anyone who is, I guess, coming into the art world, uh, don't compare yourself. Um, don't worry about what people say about your work, cuz it's, it's always a work in progress and uh, I mean yours doesn't have to look exactly like someone else's for it to be good. It's yours. And, and eventually you're, you'll start to recognize that yourself. And you'll start to appreciate your own work in that way -- that it is different. I mean, if we all painted the same, if we're, if all of our work looked the same, then it would be boring.
Speaker 2 (18:23):
Exactly. And I found that when students are learning, they often emulate the who they're learning from and it's, it begins to look same, same for a while until they discover that unique piece within themselves and then take the skills they've learned, but translate it through themselves and make their own creations and own work. And, and that's something that is always so exciting to observe when an artist really comes into their own. Did you have a moment? Do you remember a critical moment that you felt like with a certain piece or a certain body of work that you said, oh wow, Adam, I've come into myself. Like this is really, this is really my work now.
Speaker 1 (19:04):
Yeah. Um, that realization actually has only happened in the last couple years for me. Um, before I, I mean you start out and then you, when you start out, usually you feel like an imposter for a while. Uh, until you start to gain confidence in what you're doing. Um, I know a lot of artists have a hard time. Once you've got the, the skills and the techniques down, then, then it comes to, okay, what am I going to paint? What, what inspires me? What, what's the, like, why am I sitting down, and am I, why am I doing this? Because once you get really good at drawing and really good at painting and you practice, and practice, and practice, um, and you're, and you're technically sound, you still need a reason to sit down and do something. Um, so my, my real reason for sitting down and painting is, um, the love of just color and the love of, of creating the process of it.
Speaker 1 (19:59):
Um, and I'm starting to break down those, those elements and principles of, of art more. As I, every time I sit down to a new piece. Um, I'll, I'll think about, I I'll think about the pattern and repetition. I'll think about, uh, the, the actual layout, the balance of, of my piece. What is this piece gonna be more about, uh, asymmetrical balance and then I'll go from there. Or, this is going to be a piece that's going to be complimentary, and, uh, I really want to emphasize the color red in this piece. So, how do you approach a piece when you have that in, like in your mind? Um, so those are the, those are the things that really kind of inspire me to create. Um, it's never, it's never like a picture or anything like that that never inspires me. It needs to be an essence. It needs to be a, a real feeling for me to want to sit down and, and do something.
Speaker 2 (20:56):
So you, you shared in the beginning, how you made the big leap from teaching to full-time artist, and that there was that meantime where you really questioned, especially just you, you know, can I support my family doing this? Um, was there something specific in your art business, the, the business side of your art, that was something that you just really worked for you, Adam? Was it the selling of originals, the selling of prints, or going to shows or... What was just sort of the, the bread and butter for you as a full-time artist that you discovered?
Speaker 1 (21:31):
Um, it would have to be everything that you said there, a mixture of all of that, right? It wasn't just one thing. Now, when I first started out, uh, I always, I, I initially thought, I need to go and get signed by a gallery. And once I get signed by a gallery, then legitimate. Then everyone will see me as a true artist. Uh, and in that process, I was, I was discouraged because I did reach out to a few places early on in my career. And, uh, I wasn't getting any bites. I wasn't really getting anywhere. And it was just making me feel bad about myself. And I, and so what I decided to do was I was lucky enough to be born at, at this time in the world where I can display my own work and, and create my own community and, uh, display and actually have my own online gallery, which then turns into my own gallery.
Speaker 1 (22:21):
And, and then I move from there and I'm not reliant on any, any gallery to showcase my work or any enitity to tell me what I can and can't do. So that right there, like, I, I feel like once I was able to, um, start to build my own online community, uh, and have clients come directly to me and, and tell me how much they like my work and that they're, they're interested. And then it all built out from there. And then I started to sell prints slowly. And then I started to do a few shows, uh, in and around the Maritimes. And I, I, I actually went as far as, as, uh, as, uh, Ottawa. And I went, I had a show in Toronto and, um, I was lucky enough to connect with, uh, the, uh, the Come From Away show in Toronto and they displayed some of my work. So those little, little things like that really builds your confidence and, uh, validates yourself as being okay. Yeah, I can do this. This is something that's I love doing. Um, I'm able to make a living off of it. And I mean, what else, what else would you want?
Speaker 2 (23:28):
Yes. Now you had also met, there was a word that stood out to me when you were first sharing your heart about deciding to take that leap into full-time artist. You, you said you were afraid you were being selfish. And there was something that stood out to me about that, Adam, because I think that right there is a deep down feeling a lot of us artists have, because we love what we do so much that we think, could it be true that I could do this full time? And it's not just a selfish motive. Especially when you're caring for feeding children and paying the bills and you think, could it be true that, that I could actually paint and this could be my living? And so I feel that you touched on something that artists need to hear about and wanna talk about is, is that, is it okay that we enjoy what we do so much and make a living from it? What have you discovered about that, Adam?
Speaker 1 (24:24):
Yeah, that's, that's a, a struggle for sure. I mean, um, especially as a, a creative person, I mean, you can let it take your entire world away. Like I'll, I can sometimes go up and paint for 12, 14 hours straight, uh, completely forget that, that I have any responsibility in the world, and then crawl out of it and, and then come back and, and you feel that guilt of like, oh my goodness, like I could have been doing this. I could have been doing that. But I think it is something that, um, a lot of people have because you shouldn't like doing your job. The job is, is supposed to be something that you hate to do, um, that you struggle through it and you get a, a paycheck for your, uh, for your troubles. And then, and then that's it. So, when you are actually like loving what you're, what you do and you get paid for it as well, you almost feel like you're cheating life somehow. But I mean, it, that's a natural, I think that's a normal, um, feeling for, for people in, in doing anything that you really love.
Speaker 1 (25:26):
Um, but, yeah. You'll like, it's something that you will get over. And, uh, I mean, for me, uh, the, the big thing for me now is to take a breath. Because I, I, I'm very, I become very obsessive with what I'm creating and I don't wanna step away from it. So, anyone who's an artist out there who also has responsibilities and has a family it's, it's good to almost put a timer on, and like have a break from what you're...
Speaker 2 (25:57):
Speaker 1 (25:57):
Yeah. Exactly. Take a breath and go down and check in and, uh, and go back. Uh, but yeah. That's yeah,
Speaker 2 (26:04):
Yeah. Yes. I think all creative people can identify with that, for sure. Getting lost in the world of our imagination and our work. Yeah. And, um, and so now that your art business has taken off, and you're very busy, I know that how busy you are just in nailing down this date for the podcast, it sounds, seems like you have your hands in a lot of different projects and things. And of course you're a busy dad, and husband, and an artist. And so you're so busy, but what does life look like for you right now? And what, what is your, your painting time like, like how do you balance all of it?
Speaker 1 (26:43):
That is, yeah, that's hard to lock down because inspiration is hard to tame. Um, so am I like, even last at the end of last year, I, I made a, a decision I'm like, okay, I've been, I've been creating way too much. I need to just take a step back. I need to spend some time with the girls. Um, I need to start to read a bit more. I gotta do something else. I just need to break away from it. Um, and in that breaking away, I then got into the habit of not creating for a while. So then it was hard to get back into the, the, the pattern of, of creating. So it is it's, I, I have no good answer for that. What I, what I try I to do is, um, I wake up in the morning. I, I do the business part of it. And then once I have the business part of it done, then I go upstairs, and I create until the girls come home from school. And then at that point, I break away from it, and I'm present with them until they're, uh, in bed. And then I usually go up and steal a few hours in the night. So that's, that is my process. And how I try to keep it.
Speaker 2 (27:51):
Sounds like a good one. It sounds like it's working, and it looks like it's working. Yeah. So you keep saying, go up. So do you have an upstairs studio or, or describe this to us?
Speaker 1 (28:01):
Yeah. So this, this room here that I'm in right now is my packing room. Um, and attached to this is my, my gallery. I'm not gonna show you my gallery right now because it's in complete slings. It's destroyed. Um, and then up from there is my studio. So that's where I create. So, I'm lucky enough to have it all in my connected to my home and also away from my home, so that I, I spent a good, good, many years painting in the living room and in the kitchen. And there's so many distractions there that it never felt authentic. So, I needed, I needed my own space, but I didn't need to go travel some place, another building for my own space, 'cuz I wanna be able to go create when I'm inspired. And that's, that's how I set up my, uh, my system here.
Speaker 2 (28:46):
And so then tell us a little bit more about Fogo Island and how it has embraced you, and what life looks like being such a well known artist of Fogo Island and the people there, your community what's what's that like, Adam?
Speaker 1 (29:01):
Well it's the community is really, it's a small, it's a small community. I mean, we've got around 2000 people here, uh, uh, on the island and everyone knows everybody. So, really it's, it's it's uh, I mean everyone, I go to the store, and I talk to people, no one, no one sees me as a, an artist or, I mean, no one sees that in you. Everyone around here keeps you humble. And uh, and that's what I love about. It's just a real, um, community based place that you, uh, you feel at home with. And I've always felt at home here. Um, I'm not, I wasn't born here. I was born in, uh, Nova Scotia and lived most of my life in new Brunswick. My mom and dad and my sister and her family are still there in new Brunswick. So I visit, I visit, uh, Moncton a lot, and I go to Halifax a lot. Uh, but really over the, over the last couple years, this place, whenever I'm away from Fogo island, it, it feels like I like I'm away from home now. This is, this is my home and is a place that, but, um, it it's grown on me for sure.
Speaker 2 (30:05):
Yeah. Now, because your work is so reflective of Fogo Island, and it is really what impacted and brought out this body of work from you. Do you ever feel trapped by that? Like you want to explore other landscapes and other express or is there just still so much more for you in that realm?
Speaker 1 (30:26):
Yeah, so, um, definitely I, uh, I, I try to, you don't wanna get pigeonholed. I, for me, I don't wanna get pigeonholed into one particular thing that I have to, that I gotta do over and over and over again. Um, I, I like to experiment even within the realm of like, like if you see back here, the, this right here is, is a newish piece. I did this last year. Uh, but the shed and, and the buildings are always something that I, I come back to because they're my figure. They're the, they're the thing that kind of, um, grounds the piece for me. And, um, it makes it feel finished. Uh, although at the beginning of this year, I did do I'll show you a piece that I did. Um, so just
Speaker 2 (31:12):
For those of you who are for those who are listening on audio and who can't see, let's describe the pieces. So the one that Adam just pointed out is, uh, a little shed that is on, uh, rocks, like a little island of rocks, surrounded by water. You, you describe it, Adam you'll do a better yeah. Better interpretation
Speaker 1 (31:30):
That's, that's exactly what it is. It's, uh, it's a little tiny shed. Um, and, uh, it's just situated on a, a little tiny body of rocks. Which is essentially like a characterization of me and how I live, where I live of on little like. And then the water, uh, is all, it's almost, um, stylized to a point where it's become almost broken down to just circles and, and squares and, and color. Um, and then, uh, the sky also has a, has a, a flow to it, very stylized. And, um, the predominant colors in here are blue. So, this piece here, when I created it, it was more, I wanted the reds and the warm colors just to really kind of punch out. Um, and the only way to do that would be to use cold colors or cool, cool colors to make them stand out more.
Speaker 1 (32:21):
So, um, yeah, so that's a, essentially my, if anyone were to think of and know my work, they would see this as kind of in their mind as what my work looks like. So, um, yes, I started to branch out a bit. So this right here is, uh, a piece that I did this year. Um, I was inspired obviously by, uh, the impression or Monet, and I I'd like to, I always thought I'd like, like now that I'm, I've gotten into this, like breaking elements down into circles, and I was thinking, I'd love to do just a piece with water and water lillies. So, I then started to, uh, I did this piece here, which was basically just playing with light color and how they interact with each other. And so, yeah, that's that's
Speaker 2 (33:03):
And for those listening on audio, the, the piece that Adam just held up was a very colorful, um, piece of water, water, lilies, and lily pads. It's very, it has a lot of stylized circle patterns. And you can, if you're listening on audioo, you can pop onto our Instagram at Bold Artist podcast. And I'm pretty sure that was a piece. Adam, did you send that to me to show there on Instagram? So, people can see that.
Speaker 1 (33:30):
No, but I'll send that to you as well.
Speaker 2 (33:30):
How about you send it over, and we'll show that so that our listeners, our faithful audio listeners, can see what, see what we're talking about as well. And don't forget, everyone, that Adam's links will also be in the show notes. So, wherever you're accessing our podcast today, you can pop into the show notes and find out more about Adam. You can see find his website there, and his Instagram links, as well. So, uh, so that's, you know, just important to check that out so you can see the us amazing work that Adam and I are talking about today. And I love how Adam, you said that the houses are your figures. And do you think if you went and painted the prairies, you'd still have houses as your figures?
Speaker 1 (34:12):
I'd need, I would need something I'd need a, I'd need a little tiny, uh, burn or something, a little house that would just put, put the scale in the size of it all, all in, in, uh, in perspective of, of what I was looking at. So yeah, I definitely would. Yeah.
Speaker 2 (34:28):
Yeah, yeah, yeah. That's, that's amazing. I, I love, I love the characteristics of the houses. And now that you've said how you put so much thought and personality into them, I can see it even more. So, um, I'll be looking through again, I'll be looking through your work and, and admiring the personalities of all the, the little houses and buildings. And so Adam, in closing of the show, is there anything that you'd like to say or encourage other artists in their journey of being bold in their journey of taking brave steps to discover who they are as painters as artists? Is there anything you'd like to share with us today in closing?
Speaker 1 (35:11):
Um, yeah. I, what I would, what I would've wanted to be told when I first started would be to -- and I mentioned it before -- um, just don't compare yourself to anybody. Um, I know a lot of, uh, people now, artists will, they follow people on Instagram and Facebook. And, uh, and I find myself at, at certain points where I'm, I'm looking at work, and I'm thinking, oh, I love that. I wish I knew how to do that. I wish I could do something exactly like that. And it almost becomes discouraging after a while. So, what I would say to anyone is, is unplug every now and then. Just step away from the, the thought of, of comparing yourself to anybody, and just create for the, for the love of it and experiment. And, and even in the frustrating moments, I find like my, my most favorite pieces are the ones that gave me a lot of grief while I was creating them. Um, and when I stepped outta that whole battle I had with them, it, it, it meant so much more. And in that process, I may have picked up a few new techniques and I may have picked up a few new ways of, of, of seeing the painting, uh, where I didn't have it before. So the struggle is good. You should struggle a bit. Yeah. And, uh, and it's a, it's a mixture of, of love and, and pain when you're creating. And that's, that's when you know you're doing it right.
Speaker 2 (36:36):
Yeah. I agree with you. And I know that firsthand that the struggle is good. It brings out the best out of us when we labor for it and, and, uh, try. Keep on trying it until we succeed. And so thank you for those, thank you for those words of encouragement. We so appreciate you making the time for us to be here on the Bold Artist podcast. Thanks for being on the show, Adam. Yeah.
Speaker 1 (37:01):
Thank you for having me. I had a lot of fun.
Speaker 2 (37:03):
Thanks for joining us on the Bold Artist podcast. You can find us on YouTube on the Bold School channel on Instagram at Bold Artist podcast, and on all audio apps, you can search Bold Artist podcast and find and follow us there. We're so thankful to have you hear along our journey, giving artists voices, hearing artist's stories. We'd love your feedback, hop onto Instagram and find us at Bold Artist podcast and share with us any ideas you have for upcoming shows. What you'd love to hear about, and any of your feedback that fuels our podcast forward. Thank you for joining us. And until next time, keep creating.