Let’s start from the beginning! Tell us a little about the journey that led you to where you are now.

Art has always been a part of my family’s legacy as I am a fifth-generation artist. Growing up, my father taught me art on Saturday mornings and our house was filled with relatives’ work. My grandmother painted portraits and my great-grandfather and great-great-grandmother painted landscapes. I always dreamed of being an artist, but was too timid to fully pursue it because the “starving artist” cliché kept me away. I majored in business management and thought I could paint on the side to stay fulfilled. It was only after I was a year into sales with a floundering company that I decided to quit my job and attend an art workshop in Scotland, where the passion was reignited. I knew I had found my calling. Shortly after my first trip to Scotland, I was accepted to a full-time Atelier there and moved to Edinburgh to pursue my dreams. This type of school, an atelier (French for workshop), is a classical school based on the Old Masters Methods and is set up like an apprenticeship. Students study under a master for four years before they are proficient in drawing and painting. I started in Scotland and moved back to the United States to finish after 4 years of studying.

How would you describe your artistic style and the philosophy that guides your work?

I define my work as contemporary realism. Most of my paintings are inspired by real life and utilize the north-facing windows in my studio like the Old Masters would have done. I take pride in the craft, and use archival oil paints and natural brush fibers. Realism often gets overlooked as stale or outdated, but I am proud to continue the tradition of translating the beauty of the natural world. I want my art to have a softness that guides the viewer to wonder. There is enough chaos and confusion around us, so my paintings reflect purpose and calmness.

What inspires you? What factors have influenced your style of art?

Interior design greatly inspires me to create pieces that are modern heirlooms, but tie a room together. In the same way a room needs a guided color palette, so does my art. I try to create tones and hues that are harmonious with each other. Curated colors, for my work, are just as important as the subjects I am painting. I have been heavily influenced by the Dutch still life era and the Hague School artists from the 1800s. Still life invites the viewer to ponder quiet subtleties and I try to pair the classical with the modern in my work.

Tell us what a typical day-in-the-life looks like for you.

Each day looks a little different as I have the honor of tutoring students one-on-one and I also teach high school students at a private school once a week. I usually begin in my studio after lunch and will paint for a few hours in the afternoon and before the sun goes down. I take portrait commissions and because of that, I often have long stretches of painting for many hours to complete work for a client. Recently, I have been blessed with a newborn, so my schedule has looked radically different than this, but I am always itching to get back into the studio.

How do you find balance through it all?

I have a wonderful husband who is my biggest cheerleader and is my logistics and shipping coordinator. He lets me thrive in the ways that work for my brain, including not judging me for my not-up-to-date accounting, my messy studio, or my unorganized car. But as an artist, I thrive in that environment and it somehow works!

What is the best piece of advice someone has ever given you as an artist? Or, what advice would you share with others as an artist yourself?

“Make it exist first and then make it work!”

You will work out a lot of kinks in your style, technical skills, and confidence the more that you paint. I often become so paralyzed from perfectionism that I don’t want to make mistakes along the way. In art school, I learned that painting is like a centrifugal circle where the big issues get sorted first and slowly through refinement, the smaller issues get settled until the painting is complete. My advice is to not be afraid of making mistakes as that is where creativity is found.

What’s next for you? How do you hope to see the impact of your work take form?

I’m taking a few months off with my newborn, but plan to make a new body of work for a few exhibits next year. Working with Four Hands has opened my work to a broader audience and I hope my work sparks joy in homes and commercial spaces.

Song or album you’ve had on repeat in the studio?

I actually don’t listen to music when I paint! Since songs are only three to four minutes long, it breaks my concentration each time a new song plays. Therefore, I prefer podcasts and instead of watching, I listen to Bravo shows.

Favorite space in your home?

We just bought a 1920s historic home in the heart of Fort Worth, Texas and it is filled with character. My living room is full of windows and has an arched ceiling with a Batchelder fireplace. The light makes me so happy and my plants thrive.

Most influential artist(s) to date?

Being a still life artist, one of my favorite artists is Emil Carlsen. He paints moody still life pieces with thick, impasto paint. John Singer Sargent is another classic who blends impressionism and realism beautifully in his portraits. Lastly, George Inness is my favorite naturalist landscape painter. His scenes are dramatic, and pretty much everything you’d want in a landscape piece.

Favorite way to relax and unwind?

I love baking, eating really yummy food, going on a walk, and watching my favorite shows. These things make my heart happy!