WHERE Women Create - Spring 2024

INSPIRING WORK SPACES OF EXTRAORDINARY WOMEN

Spring 2024 Display Until May 1, 2024

KELLY VENTURA, P. 8

How To Contact Us

INSPIRING WORK SPACES OF EXTRAORDINARY WOMEN®

CUSTOMER SERVICE & SUBSCRIPTION INQUIRIES WHERE WOMEN CREATE—Fulco Inc. PO Box 3000, Denville, NJ 07834-3000 844-263-3472 WomenCreateCustService@FulcoInc.com ADVERTISING INQUIRIES Advertise@WomenCreate.com SUBMISSION INQUIRIES Submissions@WomenCreate.com WHERE WOMEN CREATE® SPRING ISSUE 26 PUBLISHED 4 TIMES PER YEAR BY: WRSL, LLC 65 Redding Road, Box 985 Georgetown, CT 06829 WomenCreate.com

POSTMASTER Send address changes to: WHERE WOMEN CREATE—Fulco Inc. PO Box 3000, Denville, NJ 07834-3000 Changes of address must be submitted in writing.

Where Women Create (USPS #000-310) is published quarterly by WRSL, LLC, 65 Redding Road, Box 985, Georgetown, CT 06829. Periodicals postage paid at Dover, NJ and at additional mailing offices.

Printed in Canada

From a woman’s soul, through a woman’s eyes, by a woman’s hands.® Design & Editorial EDITOR IN CHIEF Jennifer Blot

COPY EDITOR Kelly Walters

MANAGING EDITOR Susan Harold

MARKETING MANAGER Sammi Thomas

GRAPHIC DESIGN Wendy Dunning

CURATORS Lori Siebert, Sandy Rabourne, J. Beckett

CIRCULATION/PRODUCTION Weekly Retail Service Thomas Smith Smith@WeeklyRetailService.com

Where Women Create® is a registered trademark of WRSL LLC and may not be used without permission.

No part of this publication may be reproduced without written permission from the publisher or WRSL LLC. The information contained in this magazine is provided AS IS. Neither WRSL LLC, nor the publisher, make any representation or warranty with respect to this magazine or the contents thereof and do hereby disclaim all express and implied warranties to the fullest extent permitted by law. WRSL LLC and the publisher do not endorse any individuals, companies, products, services, or views featured or advertised in this magazine. ©2024 WRSL LLC, all rights reserved. No part of this publication may be reproduced without written permission from the copyright owner.

Statement of Ownership, Management and Circulation 1. Title of Publication: Where Women Create 2. ISSN No. 21593973 3. Filing Date: November 6, 2023 4.

Issue Frequency: Quarterly 5. No. of issues published annually: 4 6. Annual Subscription Price: $50.97 7. Complete Mailing Address of Known Office of Publication: 94 Cooper Road, Ridgefield, CT 06877 Contact: Thomas Smith, Telephone: (203) 207-1008 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: 94 Cooper Road, Ridgefield, CT 06877; 9. Full Names and Complete Mailing Addresses of Publisher, Editor and Managing Editor: Publisher, Thomas Smith, 94 Cooper Road, Ridgefield, CT 06877; Editor, Jennifer Blot, 94 Cooper Road, Ridgefield, CT 06877; Managing Editor, Susan Harold, 94 Cooper Road, Ridgefield, CT 06877. 10. Owner: WRSL, LLC 11. Known Bondholders, Mortgagees and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages or Other Securities: None 12. Does not apply 13. Publication Name: Where Women Create 14. Issue Date for Circulation Data Below: 10/10/2023 15. Extent and Nature of Circulation: A. Total no. copies (net press run): Average no. copies each issue during preceding 12 months: 41,200; Actual No. Copies Single Issue published nearest to filing date: 41,200; B. Paid and/or Requested Circulation: 1. Paid/requested outside-county mail subscriptions stated on form 3541: Average no. copies each issue during preceding 12 months: 2,772; Actual no. copies single issue published nearest to filing date: 2,772; 2. Paid in-county subscriptions: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0 3. Sales through dealers and carriers, street vendors and counter sales: Average no. copies each issue during preceding 12 months: 11,491; Actual no. copies single issue published nearest to filing date: 11,491 4. Other classes mailed through the USPS: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; C. Total Paid and/or Requested Circulation: Average no. copies each issue during preceding 12 months: 14,263; Actual no. copies single issue published nearest to filing date: 14,263; D. Free distribution or Nominal Rate Distribution (By Mail and Outside the Mail): 1. Outside-county as stated on form 3541: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0 2. In-county as stated on form 3541: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0 3. Other classes mailed through the USPS: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; 4. Free Distribution Outside the Mail: Average no. copies each issue during preceding 12 months: 23; Actual no. copies single issue published nearest to filing date: 23; E. Total Free or Nominal Rate Distribution: Average no. copies each issue during preceding 12 months: 23; Actual no. copies single issue published nearest to filing date: 23; F. Total Distribution: Average no. copies each issue during preceding 12 months: 14,286; Actual no. copies single issue published nearest to filing date: 14,286; G. Copies not distributed: Average no. copies each issue during preceding 12 months: 26,914; Actual no. copies each issue published nearest to filing date: 26,914; H. Total: Average no. copies each issue during preceding 12 months: 41,200; Actual no. copies single issue published nearest to filing date: 41,200; I. Percent Paid and/or Requested Circulation: Average no. copies each issue during preceding 12 months: 99.84%; Actual no. copies single issue published nearest to filing date: 99.84%. 16. Electronic Copy Circulation; A. Paid Electronic Copies: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; B. Total Paid Print Copies + Paid Electronic Copies: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; C. Total Print Distribution + Paid Electronic Copies: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; D. Percent Paid (Both Print & Electronic Copies): Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0 17. This Statement of Ownership will be printed in the Spring issue of this publication. 18. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including multiple damages and civil penalties). (signed) Thomas Smith, Publisher, December 19, 2023.

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CONTENTS

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FEATURES

8 24 Geninne D Zlatkis 42 Holly Capelle 72 Rachna Garodia 86 Carla Giesbrecht-Wat 98 Cara Fox 114 Sharra Frank 126 Sandy King 140 Erin Bolger Welsh

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DEPARTMENTS 98 56

6 WHERE It Begins 8 Art of Business Kelly Ventura

56 An Artist Lives Here: Inspiration Everywhere with Lori Siebert Wendy Conklin, Chair Whimsy

150 Pet Tales

Ozzie and Delight Rogers

COVER: Geninne D Zlatkis

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ON THE COVER

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WHEREIt Begins

SANDY RABOURNE

GENINNE D ZLATKIS, P24

I LIKE TO CALL OUR SPRING ISSUE OF

WHERE Women Create the “I get by with a little help from my friends” issue. It’s an issue that makes my heart swell because it represents not only the artists featured, and the work of our small and passionate Women Create team, but also our extended family of Women Create curators who helped choose a few artists whose work and studios resonated with them.

In each issue of WHERE, we are honored to have Lori Siebert select an artist whose home is an ever-changing canvas, each room a work of art that reflects the artist’s style and vision. This issue, that artist is Wendy Conklin LORI SIEBERT of Chair Whimsy, who lives in a bright and beautiful home filled with incredible touches, from wallpaper and cherished paintings by women artists she knows and admires (including her daughter!) to examples of her own craft: reimagining and reupholstering chairs, transforming them into functional works of art.

J. BECKETT

In this issue, we also feature artist stories curated by Sandy Rabourne, who lives in San Diego, California, and works in the nonprofit world as a grant writer and consultant. Curator J. Beckett, who lives in Redlands, California, is a writer, editor and maker who is constantly seeking inspiration for her own creations and introduced us to cover artist Geninne D Zlatkis, whose spectacular, light-filled home and studio in New Mexico was custom-built by her husband, Manolo.

WENDY CONKLIN, P56

ERIN BOLGER WELSH, P140 RACHNA GARODIA, P72 CARLA GIESBRECHT-WAT, P86

Jennifer Blot, Editor in Chief

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And while she’s not technically a featured curator, we also want to give a shout-out to Sylvia Rushing, who sent an incredibly persuasive email earlier this year imploring us to check out the work of Pennsylvania-based mosaic artist and teacher Erin Bolger Welsh. Like many of the artists we feature, Erin’s work is not contained to her indoor studio: Her mosaics are the first thing a person sees as they approach the front door of her home.

SANDY KING, P126 Speaking of home, a theme that runs through many of the stories in this issue is how a home or studio move can disrupt — and invigorate — our creativity.

Artist Sandy King details the many moves she’s made over the years, landing in new states

and neighborhoods that ultimately resulted in serendipitous and inspirational friendships. Her most recent move to Madison, Indiana, may have been the toughest … and brightest. She shares: “After my temper tantrum I submitted, and boy was I blown away by what was to come.”

Textile artist and author Rachna Garodia, who has had four studios in West London in the past six years, notes that each move “causes immense heartache,” but also empowers her.

Carla Giesbrecht-Wat of The InkPAD Shop in Manitoba, Canada, details her years going back and forth between working at off-site studios and a home studio — finally settling on where she is today.

Wherever you are today, whether it feels temporary or like a forever studio or home, we are grateful you have joined us for this issue filled with the invaluable insight of inspirational, creative women.

ART OF BUSINESS

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CURATED BY J. BECKET T PHOTOGRAPHY BY JENNIFER CASHIN

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Kelly Ventura

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Kelly Ventura is a Michigan-based watercolor artist who brings her love of nature into the home with the expressive strokes of her paintbrush. With natural motifs and keen color sensibilities, the artist’s watercolor images translate beautifully to stationery, gifts, fabrics and wallpapers for the home. In her spare time, Kelly paints, thrifts, collects chairs and enjoys spending time with her husband and three young boys.

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y creative journey has been a long one, full of big risks, successes, failures, steady growth and all the stuff that happens in between. This journey has been one of trusting the process, exploring the unknowns and being OK with failure, as it often leads and guides you into new, beautiful things. It’s something that I am proud of and love being able to share with an audience around the world from the comforts of my small-town Michigan studio.

I was always a creative kid and am told that my entrepreneurial career started at the ripe age of 6. I was mass-producing rainbow drawings in crayon by the dozen, selling each one on the sidewalk in front of my house for a nickel. My love of drawing, making and crafting continued through high school and into college, where I took a wide range of courses — from paper making to figurative studies, bookmaking to textiles and scientific illustration. I wasn’t great at everything, but there was something so intriguing about the process of creating: the mistakes, happy accidents and small successes.

I brought this exploratory energy with me post-college graduation as I moved east to intern in New York City, then onto Connecticut for bespoke wallpaper and rug designers. My short time spent with Elizabeth Dow and Emma Gardner Design opened my eyes to designing beautiful products and to the new-to-me world of surface design. This was a big moment for me, feeling like I knew what I wanted to do for a career! A few months later, I moved back to Michigan, bought a computer, taught myself the basics of Adobe Illustrator and started to build a portfolio.

I was hired on as a product designer at Tag, a wholesale gift company, in Chicago, and spent the next five years churning out more snowmen, pumpkins and seasonal designs than I care to admit. It was also here that I learned so much about product development, timelines and building collections with a team. I had the privilege of traveling to Germany and Paris for sourcing trade shows and India for development trips. … It was truly the best first job ever. Sadly, I was let go in 2011, which stung at the time, but there was a whole new world waiting for me ahead.

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s a new freelancer, I immediately started taking on a wide range of projects. From corporate map illustration to holiday stuffed animals to stationery design, I did it all. I worked in whatever style each company needed me to and it wasn’t until months later that I really started to think about spending time developing my own style. I had worked so heavily in vectorbased art for the past six years, that when I took up painting again, it felt wonderfully freeing. I began working with watercolor in 2012, painting small, timid strokes, but with more practice, really started to loosen up and a more defined style began to emerge.

I was slowly building a cohesive body of work and began pitching to retailers and brands in hopes of a collaborating partnership. The amount of nos was really exhausting, but when that yes came, it was even sweeter, as it came from Crate & Barrel. We started with framed art prints and, during our 10-plus-year partnership,

have collaborated on dinnerware, rugs, bedding, holiday goods and more. That was my first dip into art licensing, and I was hooked! From there, I exhibited at Surtex (an art licensing trade show) for two years, and created a robust art licensing business and product collaborations with Bloomingdale’s, IKEA, John Lewis, Land of Nod and Target. I loved having the opportunity to create all of these amazing products but was longing to create something of my own.

In 2017, Grace Bonney of Design*Sponge reposted an art print of mine on Instagram with a caption that read, “I would love to have this pattern as a wallpaper in my mudroom.” This was another one of those big moments for me.

This was it — this was my product. This is what I wanted to create on my own! Another industry peer, Rebecca Atwood, commented on that same post and introduced me to her wallpaper manufacturer, who eventually became mine as well. I am still so grateful to Grace and Rebecca, as this Instagram post changed the course of my career in the best way possible.

I dove headfirst into a product and industry that I knew nothing about but landed in very good hands. My wallpaper manufacturing partners turned out to be more than just a printer and have been more like friends, mentors and cheerleaders since day one.

In my mind, I had planned to have tons and tons of wallpaper strike-offs made of my designs, but when I learned of the costs, I quickly panicked, retracted and asked for 10 strike-offs instead.

When I arrived in Litchfield, Connecticut, to review strike-offs, twenty2 (wallpaper printer) had gone above and beyond, printed dozens and dozens of patterns, way beyond my request of 10.

They were showing us what they were capable of and, also, what they believed our brand was capable of.

After seeing the possibilities on the wall that day, all of that earlier anxiety seemed to melt away. We launched wallpaper in 2018 and had a tremendous response to our collection. It’s been a steady growth, with the continued launch of new wallpaper collections and the expansion into textiles. Knowing that people are bringing a small piece of my work into their everyday lives, into their personal spaces and their homes, is something that inspires me to keep creating.

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The building has an incredible past life, dating back to 1871 when it was built by Oliver H. St. John to house his jewelry store and bank. This historic building, the only three-story building in Milford’s commercial district, is known as the St. John Building. The third floor was known as St. John’s Hall, which was the fine entertainment hall for the town until the Opera House was built a few years later.

It was a full gut and took a year and a half of renovating, but it has been worth every ounce of waiting. We kept some of the original brick walls and salvaged the pine floors, and though it differs from the theater it once was, I love that the third floor remains a creative space all these years later.

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peaking of homes, mine was bursting at the seams, with three young children and a rapidly growing business. I had completely grown out of my home studio, recently hired my sister Jen to work with me part time, and we were spreading operations across multiple rooms in my house.

The days of working around mounds of laundry, baby gates and scatted toys were over: We needed space to spread out and plan for the next chapter of the business — wallpaper and textiles.

I wanted something close to home, near my boys’ school and childcare, and a place that felt like it was part of the community. I had spent a full year looking at buildings for lease in my town, coming up short with each viewing. As I drove through our small downtown one day, I happened to look up while sitting at a stoplight and saw a little square of sunlight streaming through the third floor of a historic building. For the first time in the few years that I’d lived in Milford, I noticed this old building as something different, not just the building that housed a shoe store on the first floor. Now, I saw it for its nine tall and incredible windows and skylight, a place that was bound to be full of beautiful natural light, which was an absolute must for our new studio space.

After tracking down the owners, I learned that the space had been vacant for five years, and that they had planned to renovate the unoccupied second and third floors into a single-family residence. They decided to show me the space, with no promise of renting it, and when I walked up the narrow flights of stairs, stepped into a room with crumbling plaster walls, holes in the floors and a toilet in the middle of the space, I knew instantly that it was perfect! Not only did they say “yes” to me leasing the space, but they also offered to renovate it to my specifications, as they had done plenty of these types of projects in the past. While they got to work on tearing it apart, I began dreaming up ideas for what it could become.

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e have slowly furnished the studio to fit our ever-changing needs as we grow, adding desks as we hire, storage for inventory and proper space to spread out and create. The studio is filled with plants, many that have been purchased from estate sales and Facebook Marketplace. Plants that were in rough shape when we bought them, but ones that are absolutely thriving in this light-filled space, just as I am. As you look around the studio, you will find full tables of paintings, products, planning boards and messes from exploring mediums.

All these years later, I still carry that exploratory energy from my early days and have really leaned into allowing myself time to play. Making mistakes, stumbling on happy accidents, and feeling that spark — that is what keeps me going! Over the past

four years in this space, no matter how busy my schedule is, I have been very intentional about making time to paint, just for myself. It’s my selfcare, my way to discover new things. Spending an afternoon mixing colors and playing with new brushes with no result in mind is just as important as finishing a commission. This exploration is what has led me to create some of my best-selling wallpapers, hand-painted ornaments and, most recently, discover ceramics.

It’s this exploration that has helped me grow into becoming a more skilled watercolor artist; that the trial of new techniques, and different ways of layering and sometimes failing, is all part of the learning and growth process. Not knowing everything before starting something new is OK, and diving in is one of the best ways to learn, which is advice I share with young artists as often as possible.

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“Art is something that makes you breathe with a different kind of happiness.”

— ANNI ALBERS

The happiness that I feel when I’m creating in this space is truly a magical feeling. Though the end products are amazing, too, the process of getting there is like nothing else. I know that there is much more to come in how my art and business evolve and I’m excited to embrace the process as I have since the very beginning.

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More on Kelly

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www.kellyventura.com Instagram: kellyventuradesign

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Through the LENS

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More on Jennifer

Facebook: jlcashinphotography

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With 15 years of seasoned expertise, this accomplished female photographer has fully enjoyed the art of capturing moments through her lens. Specializing in natural lighting portraits and studio production, Jennifer Cashin effortlessly weaves a narrative of love, joy and authenticity in every frame. Her journey began with a passion for preserving precious moments of her quickly growing family, eventually evolving into a career marked by proficiency and an artistic touch. Known for her ability to harness the subtleties of natural light, she creates portraits that radiate warmth and showcase the genuine essence of her subjects.

Whether it’s the soft glow of a sunset or the gentle play of light filtering through leaves, she skillfully employs the surroundings to enhance the visual storytelling in her work. Balancing technical prowess with a keen artistic sensibility, she is not merely a documentarian but a storyteller, translating emotions into visual poetry with each click of the shutter. It is her main priority to showcase someone’s story while highlighting all of the beauty and grit.

Jennifer enjoys spending time outdoors, enjoying the four seasons while living in Michigan. She spends a lot of time photographing her three children, capturing family memories for years to come.

Geninne D Zlatkis CURATED BY J. BECKETT

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Hello! Welcome to my studio in the land of enchantment.

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G E N I N N E D Z L AT K I S was born in New York but spent most of her life in various South American countries. She studied architecture in

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Chile and graphic arts in Mexico. She now lives with her husband, Manolo, their two sons, and a really cute red heeler named Zorro, in the high desert near Santa Fe, New Mexico. Her inspiration primarily comes from nature. She works in a

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variety of media, including watercolor, block printing, ceramics and leatherwork, and recently has been doing silversmithing.

My name is Geninne and I live at 7,000 feet above sea level in the high desert of New Mexico near the beautiful city of Santa Fe. I was born in New York to a Chilean mom and an Argentinian dad. I spent most of my childhood in Mexico, Brazil, Argentina and, my teenage years, in Chile. My mom owned an art gallery/antiques shop in the coastal town of Viña del Mar in Chile for many years and I was exposed to a lot of local artists during that time. I went to college to study architecture for a couple of years and then ended up moving back to Mexico where I graduated as a graphic designer.

Both of my highly creative parents always encouraged and nurtured my love of all arts and crafts. I knew early on that this was what I would do in life.

Art and crafts were always my favorite subjects in school. I cannot think back to a time when I wasn’t drawing, or absolutely enthralled with art materials.

My mom says little 2-year-old me could be entertained for hours with a coloring book and a big box of crayons, spending a lot of time studying all the different names of the colors.

As I got older, my interest in doing anything creative with my hands grew. When I was around 10, it really dawned on me that I was good at drawing, based on the reactions my family and friends had when I showed them something I’d made. It was such a sense of relief and accomplishment to know that I had talent at something I loved doing. I knew then I was going to be making art forever.

My inspiration mainly comes from nature. That’s what inspires me the most: being in nature and being able to closely observe all the life forms, especially plants and birds. I focus a lot on birds because they represent a lot of things I love — like freedom, flying, happiness, etc. … Butterflies and moths look like flying flowers to me, and I really enjoy incorporating them into my work. I guess I have a thing for winged creatures and the concept of flying. There are so many different kinds of birds, so many different colors, the variety is immense and so are the possibilities to represent them in my work. My environment is definitely a big influence on my work.

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e moved from Mexico to Santa Fe at the end of 2014. Our current home was designed and built by my very talented husband, Manolo. He actually built it from scratch with the help of our son Daniel. They used adobe bricks and their own hands. It took them two years from the foundations to us moving in February of 2022.

Manolo designed and built houses for clients in Mexico for many years up until we decided to move to the U.S. This is our seventh home built from the ground up, but the first one he’s built with his hands.

In every one of our previous homes, he designed an

attached studio for me to make art. This current one is my very favorite, although all of them have been wonderful and special for different reasons.

My spacious studio has amazing natural light and panoramic views from all the windows. The biggest windowsill in the studio holds my growing collection of cactuses and succulents. One of the walls has floorto-ceiling shelves where I keep all my art and design books, little curiosities that I love to collect on my walks with Zorro, and a variety of products that I’ve done in collaboration with companies through licensing my art.

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orro is my beloved studio assistant. He’s my shadow, so he has a comfy indigo-colored bed right next to my desk so he can chill and take naps while I work. I found him one day at the local shelter right after my dog Turbo passed away.

I’d go to the shelter to pet dogs because I missed Turbo so much, and there was Zorrito waiting for me to help me through the loss. We’ve been together for eight years and have formed a formidable bond! I love going on morning hikes with him and Manolo every day at a nearby nature preserve and sharing my studio with him.

I am a very passionate and curious artist, and love learning new things and techniques and view every medium as a way to create a new canvas to make an impression. Apart from drawing and illustration, I do silversmithing, where I draw and etch on sterling silver, combined with turquoise — which is so abundant here in the Southwest. I love designing jewelry and dreaming up ways for my birdies to be worn and enjoyed by people.

I’m also very into making ceramics. I had the opportunity to go to a wonderful Japanese school of ceramics for a couple of years in Mexico before moving to New Mexico. My wonderful teacher Akira taught me all about decorating on clay and I learned how to throw on the potter’s wheel to make utilitarian vessels that I could paint on. Manolo, Daniel and I also work with leather to produce different types of bags and journals that are hand-drawn with a wood burner or stamped with my art.

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y studio is spacious, and it has enough space to do all things. I have it organized in sections, with a big wood worktable in the middle that is multi-use. I have a jeweler’s bench in one corner, where I work with silver and turquoise. That’s where I do all the sawing, stamping and setting. I have another station by one of the windows that opens that I use for soldering because it’s very important to have ventilation.

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nother corner of the studio is dedicated to ceramics. I have a big blue slab roller and my potter’s wheel there. I keep all of my glazes and underglazes on a shelf Manolo made. I move my potter’s wheel outside to our lovely porch during the fall. I love to be able to make a mess outside while listening to the birds and enjoying the sunshine and crisp weather.

When Manolo designed and built houses in Mexico, he would also design all the wood for the house, windows, doors, cabinets, etc. When we moved from Mexico, we brought all of our furniture that was designed by him.

I have two beautiful file cabinets in my studio that he designed that keep so much of my studio materials organized. The big file cabinet is his, but I have it in my studio for the time being.

He made it to keep all of his architectural plans, which are now relegated to only one of the drawers because I filled up the rest very quickly!

The big worktable in the center of my studio is actually two workbenches Manolo made on wheels that can be moved if needed. He made a big shelf at the bottom so I can store more studio stuff there. A few months ago, I decided to make fabric skirts to go all around my worktable and I’m so happy to be able to hide all the things I keep there! I made each side skirt of a different fabric but kept them all in the same shade of indigo that I love.

Apart from not liking to look at messes or stored supplies in my studio, I don’t like to look at electronics, so I use indigo-dyed fabrics (scarves and hankies) to cover my printers, scanner and anything that’s black/grey and made of plastic.

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y main desk is a dining room table we bought at IKEA a couple of decades ago! I loved that it had a long drawer on each side to keep the placemats in. It has a glass top that I love and use as a palette when working with my watercolors and acrylic inks. I mix colors directly on the glass and scrape it off when it dries. I also love that I don’t have to worry about ruining the surface when I’m using glue to make collages. I have my iMac desktop there, where I do all of the scanning, Photoshop editing and my online business.

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Scan here to follow Geninne on Instagram:

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“ The monotony and solitude of a quiet life stimulates the creative mind.”

— ALBERT EINSTEIN

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More on Geninne

www.geninnesart.com Instagram: geninne Facebook: geninnesart Etsy Shop: geninne.etsy.com

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have a cabinet behind me with drawers full of paper and art supplies. On the top, I keep lots of cups and mugs I use to wrangle all my drawing tools and brushes. I love having those out in the open with easy access. I collect ceramic tumblers from potter friends and ones I find at thrift shops. I recently found a mug with a coyote on it that looks just like my Zorrito.

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Holly Capelle Photography by Michael Shay

HOLLY CAPELLE is a native Oregonian living just outside of Portland with her family.

She is a lifestyle artist, creating experiences and memories for the people in her life.

Holly has six kids, including two sets of twins. She’s a soon-to-be cookbook author, an avid gardener and urban homesteader who shares her journey, lifestyle and passions on social media. At nearly 50, Holly has found herself in a place of new beginnings.

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rom the kitchen to the garden, the apothecary room to the craft corner, and all the spaces in between, home is where I create. Creating for me has been a lifelong passion. When I was younger, I loved to decorate: my room, the dollhouse, the backyard fort, my locker. I was always designing, rearranging and redecorating my spaces.

My love of home decor and aesthetics followed me into my adult years. With elaborate holiday decor and over-the-top themed fun, life over here is always a good time. Turning our home into a space that is connected to nature and inspires creativity, while providing a sense of warmth and coziness within our means, is my art.

While I am a maker of many things, what I truly aspire to create is not something tangible. Instead, it’s an unforgettable feeling, a memory, or a vibe that I want to share with others. I’ve used this creative drive to make life for my husband and our six kids (three boys, three girls) as joyful as can be. I’ve created indoor campouts using our real tent and undecorated Christmas trees arranged in the dining room to feel like a forest. I’ve turned that same room into an underwater sea party, an ice cream shop, a movie theater, dress store, picnic in the “park,” an end-ofschool-year art gallery displaying the kid’s creations, and so much more.

During the COVID shutdown, when Halloween trick-or-treating was not an option, I decorated the inside of the house like it was a neighborhood, decorating each door differently. Then my husband and I dressed up and answered every door, interior and exterior, for the kids to trick-or-treat. Seeing their faces full of enjoyment, watching us answer each door in a different costume, is a memory I will treasure always. So much has changed since then. Our three older kids are adults now. The younger three are teenagers and for the first time in my adult life, I don’t have a full-time job.

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after I lost my job, my little, eclectic, suburban homestead kitchen officially became my office and I started to write my very own cookbook.

An exciting new journey had begun where I was my own boss. An author! Like any new path, this one is unknown, scary and full of weeds. It will take hard work, faith, sacrifice and determination to pave this new road. Some days I think: I’ve got this. Other days I want to hide under my bed. The pressure to create something from nothing is enormous and the sacrifice it takes to rebuild at the same time can be so hard. But there is nothing like the feeling of accomplishment and gratitude.

I used to wake up dragging my feet to log into work. Dreading each task as it came. Now, I wake up excited for the new day and I’m so stinkin’ proud of every penny I make. I shouted down the hall the other day, “Mom just made $1.89 in seed sale commissions,” and the crowd went wild. Ha! What would I do without my cheering section?

COURTESY OF HOLLY CAPELLE

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n November of 2022, I suddenly found myself starting over at 47 without warning.

After over two decades of being in radio broadcast advertising — basically my entire adult life — with 17 years of it spent working out of my house while raising my six kids, I was out. Just like that. That voice of worry and doubt in my head instantly set in. What did I know? Who was I, besides mom to Katlyn, Jack, Cole, Sidnee, Ryan, and Violet? What would I do now? How will we survive?

I allowed fear to lead me those first few weeks.

It’s ironic because, at the time, I was featured in the fall issues of two different magazines, one of them at every store we went to. But I was feeling completely lost. I didn’t love my job — but it was what I did for so long. It was who I was.

Even my kids were sad to hear the news. All those years of helping mommy. So many memories of juggling it all consumed my mind. Working during bedrest, managing deadlines while juggling three under 3 (plus three more!) and making time in my schedule to still volunteer at school.

Pickups, drop-offs, conference calls. Not to mention time in our gardens and all the work that goes into caring for them. I was so busy. For the first time in my life, I looked back and thought: How the heck did I do all that?

You know, we just don’t give ourselves as much credit as we should. Being a working mom is not easy. It’s a constant stream of tasks for others and always feeling like you’re letting someone down.

For those of you in these trenches, I see you. I hear you. You are amazing.

While I was marinating in the loss and the weight of the rug being pulled out from underneath me, the universe had already begun to make my new path visible. The opportunity of a lifetime was coming my way. It seems while I was sharing my brightly colored squares of life’s highlights on Instagram, an account my teenagers set up for me a few years ago so I’d get out of their hair, a big-time New York editor was finding joy in them on her subway rides. It was fate. Two months

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efore, when I worked from home, it was at a desk in the corner that I’d used for many years.

I tossed that desk out.

Now I set up my workstation wherever I want in the house, usually in my tiny kitchen full of jarred herbs and hanging peppers from the garden. Infused sugars within reach, window plants and thrift store decor — all making it a magical space I love to be in. Unless I’m doing dishes … then, not so magical.

Sometimes, I set myself up on the back patio and listen to the birds and enjoy the

breeze while I write. Or, on rainy days, I light candles and turn on the fairy lights in my apothecary room. I work at the table in front of the big window with it cracked just enough to hear and smell the rain.

When I am not working on my cookbook, I may be crafting, making my own beauty care, gardening, decorating, pressing and drying flowers and herbs, or working on a DIY upcycle/repurpose project. I’m always creating something at home. Being able to write a cookbook on preserving food at home and ways to use what you’ve preserved is truly a dream come true.

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We took three old pieces of furniture and gave them new life as one piece, which looks like a built-in pantry.

We put one wood shelf on its side and the other two on top and bolted them to the wall. We then turned the single cabinet double doors into single doors and added tiles to the back wall and wood shelving in between the single shelves.

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y husband and I turned our suburban oversized yard into several gardens where we’re able to grow some of our own food. We grow herbs, edible flowers, a large variety of vegetables, several different kinds of fruits and berries — and I even grow my own holiday decor! We also have a backyard flock of hens that provide us with fresh eggs. Backyard farm-to-table is a favorite for us.

Preserving what we grow has been our passion and the gardens we’ve created are part of our 30-year love story. What an honor it is to write a cookbook about something so meaningful to us and the life we’ve built together since we were 15 and 18. It’s beyond my wildest dreams.

My family sure loves our “test kitchen” days when they get to be taste testers, and the aroma of food cooking has been a constant comfort in uncomfortable times. So much to be grateful for.

I’ve always been a planner; always know where I am going and what’s coming next. But this experience has changed all of that for me.

Now I move with faith. I’m listening more and learning so much about myself. I have no idea what each day will bring. No clue where I will be six months from now. Or what will happen once the book is published. What I do know is that the things I create and the reasons I create them are what got me here today, on this new journey of unbelievable possibilities.

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Life with Gram

The story of Gram begins with the loss of our first pup, Phifer. We got him when he was just 7 weeks old. He was 17 years old when we said goodbye. I thought I could never love another dog again the way I loved him. But my kids longed for the companionship only a pet can provide, and so, after a few years of my heart healing, our saving up had begun. I told the kids any money mom made from Instagram would go towards buying a new friend for our family. There he was. A white labradoodle puppy with a severe heart murmur. I knew this unwanted pup who needed love was just the guy for us. We named him Gram and he’s been by my side ever since. Some may say we saved him. But the truth is, he saved us. I don’t think I could have managed this time in my life, with all this change, without the unconditional love and emotional support he gives me. He’s 2 years old now, and every day with Gram is a gift and a blessing.

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I couldn’t agree more with Elizabeth Gilbert when she said, “A creative life is an amplified life. It’s a bigger life, a happier life, an expanded life, and a hell of a lot more interesting life.”

ife is truly a quilt with each patch woven together with meaning and intention. If you have something you’ve always wanted to do — a business you want to try, a creation you think you can sell, a career path you want to explore — do it! I wasn’t brave enough to make that leap. I’d probably still be doing the same thing if I hadn’t been shoved off the ledge. And honestly, it’s the best thing that ever happened to me.

Take the leap of faith. Feel all the feels. Learn all the new things. Be scared. Be excited. Be brave. Be alive! Like my hubs said to me, “Throw your hands in the air, babe: It’s time to go from the merrygo-round to the roller coaster.” I’m ready for the big ride but I’ve got a barf bag in my pocket, just in case.

Be on the lookout for my cookbook (currently untitled), scheduled to hit bookstores in summer 2025. Until then, you can find me, and updates on the book, over on Instagram, TikTok, Facebook and YouTube.

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in Chicago, and lives in Portland, Oregon.

He was raised by a single mom and a grandpa who made sure his childhood was full of comic books, bicycles and model airplanes. It was his mom who bought him his first camera, a used and slightly battered Kodak Retina Reflex, on a visit to Germany when he was 16. He didn’t really use it much for a few years but an Erasmus year in Europe changed all that. All the new sights and experiences were something he really wanted to capture and remember forever.

While studying poetry at the University of Iowa Writers’ Workshop, Michael fell totally in love with making images, whether it was in a line of verse or from the viewfinder of a camera. After graduating, he and his new wife, Lynda, moved to Cincinnati, where he turned his ability to make beautiful black-and-white prints into a job. Soon, that printing job became a photography job, and he has been doing that ever since.

Michael and Lynda moved next to San Francisco, where Michael started his own business shooting for advertising and catalog clients. He also taught at the Academy of Art University for four years. He then seized an opportunity in Portland to help a large studio grow its business. And after a couple of years, he decided to start his own place again, naming it Polara Studio —after the North Star and his move north.

Michael believes photography is best when it’s a collaborative process and that it often takes a village to make that special photograph.

He has photographed four cookbooks, and his other food photography can be found on grocery store shelves and in advertising for many national brands, including Reser’s Fine

Foods, Pacific Foods and Papa Murphy’s. His people photography has appeared in catalogs, advertising and editorial for such diverse clients as Time magazine and Norm Thompson.

He is active in Portland’s creative community and has served as chair of the national board of the American Society of Media Photographers (ASMP). He has continued writing and has published work in several literary journals, including South Carolina Review, Nimrod and RHINO. His book of poetry, The Words I Own, was published by GobQ Press in 2021. When not working, Michael practices traditional Japanese karate, rides motorcycles and brews his own beer.

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More on Michael

www.polarastudio.com Instagram: polarastudio.com and chezshaypdx

Through the LENS

MICHAEL SHAY was born in Germany, grew up

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ARTIST LIVES HERE

INSPIRATION EVERYWHERE with Lori Siebert

Wendy Conklin CHAIR WHIMSY

Photography by Abby Grace

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Wendy Conklin lives just outside of Austin in Round Rock, Texas. Her home decorating adventure was sparked by a favorite children’s book that gave permission to people living on a neat street to finally live out their dreams in their own homes. This has now become Wendy’s obsession.

“My house is me and I am it. My house is where I like to be and it looks like all my dreams.”

— Daniel Pinkwater, The Big Orange Splot

Long ago when I was a classroom teacher, The Big Orange Splot was my favorite picture book. It’s a story about a bird that drops a can of orange paint on Mr. Plumbean’s house. That happy accident sparked a creative revolution on what was formerly a neat street. Over several nights, Mr. Plumbean took the liberty and transformed his home into his dreams, to his neighbors’ dismay … at first. Then, his actions inspired each of his neighbors to follow suit, to express their dreams and creativity on their homes, too. The transformation process took time and thought. The bird who dropped the paint — no one knows why — gave the homeowners on that street permission to be creative. That’s what I hope my home will do for you.

Believe it or not, my home used to be filled with neutral colors. I was trying to be like everyone else, but it never served me very well or really made me happy. And perhaps I worried about what others would think if I really went for it with my home design. Looking back, that seems so absurd to me … I’m the one living here — shouldn’t I do what I want?

I’m a chair stylist by trade, and I’m passionate about makeovers and bold fabrics. I believe that chairs can be art, too, and the fabric makes all the difference.

The very first upholstery project I did for my own home was the settee that sits perfectly in the nook at my kitchen table. I took a risk using the pink paisley fabric, not really knowing if it would work out in the long run, but I’m so glad I did. I am constantly changing out pillows and chairs to freshen up the space, but the settee will stay the same. The pink paisley behaves like a neutral and goes with everything I put with it. That settee was my first-ever “Mr. Plumbean move” in my own home, and it sparked my own creative revolution. Because the space is so inspiring to me, it functions as my workspace for the design work that I do outside of my chair studio.

From LORI SIEBERT:

I have always swooned over the chairs that Wendy Conklin creates. I even had the honor of collaborating with her on creating some floral fabric patterns for a chair series. And, I have one in my own home!!

Wendy’s style is so colorful and joyful. The way she masterfully mixes pattern in her chairs winds through her charming home and in her personal fashion style. You can see her upbeat personality in everything around her.

I LOVE watching Wendy on Instagram. She has built such a beautiful, authentic business that celebrates everything that she loves. She is truly an inspiration.

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ittle changes happened over time throughout my home, but the next really bold move came when I decided to wallpaper my stair risers.

I found the fun Matisse-like wallpaper on Etsy and did the project in a couple of hours. I began noticing how happy I was going up and down my stairs. So, the fire was lit.

It’s a well-known fact that I’m a hoarder of cute dishes, to my family’s dismay. I cannot resist them, and buy them online and at local antique malls. Eating off fun plates and drinking coffee from colorful cups makes me so happy.

But problems began when I ran out of space to store them.

After my stylist mentioned I should hang them on my empty dining room wall, I finally had a space to showcase the fun designs for everyone to see and a clever way to store them at the same time!

My dining room is ever-evolving … why shouldn’t it be?

I do chairs for a living! So, when I get tired of something, I just redo it. The latest dining room makeover involved mixing patterns, painting a dresser in a stripe, and adding a colorful wallpaper. Friends find it funny that my husband and I eat in there every evening. But I swore if I ever had a dining room, I would use it regularly … and I do.

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y bedroom had never been inspiring. We had hand-me-down furniture for most of my married life. I painted dressers and tried to look for unique pieces to complement what I had, but it never really worked very well until I found a colorful pink rug from Annie Selke. That set the tone for the entire room, and I painted my metal bed blue, added a whimsical settee at the base of the bed, and used a variety of pillows for added color. Lucky for me, I have a fireplace in my bedroom, which is a great spot for displaying my favorite artists like Carrie Schmitt as well as cheap Wayfair finds.

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hen my girls were young and at home, I let them do whatever they wanted in their rooms. It was their room, and I wanted them to be happy.

But now that they are gone, the rooms are finally mine to decorate for guests. I gave myself permission to let my imagination go wild in these guest rooms, and the friends who come to stay here have loved it.

Green and white Otomi print wallpaper — as well as a cute desk chair — adds fun pizzazz to the space of one of the rooms. This room belonged to my engineer/artist daughter, who painted various Frida Kahlos to display around the home. (They are in the stairwell, too.) We framed one of the Fridas to hang over her antique bed.

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n my designs, I like to buck the system at times.

(For example, who says red and pink don’t go together?) It sometimes starts with me wanting to prove something. So, the other guest room was born from this need to prove red and pink could go together.

I used a fun lobster wallpaper from Katie Kime on one wall, and a variety of patterns and prints. I took an antique makeup chair that had been in my family since I was a little girl and embellished the flowers on it with paint. It’s a happy space now and is lovingly called the Lobster Room.

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hat I’ve noticed is that small spaces can have a huge impact with a little imagination. The upstairs hallway is one of those spaces. This area is located just outside the bedrooms and was a chance to play around with a colorful butterfly wallpaper. What was once just a pale yellow painted area has now become a cheerful space where I like to hang out.

The main bathroom got a much-needed makeover last year with new tile. And like every project around my home, one thing always leads to another. My thought process goes something like this: Since the shower tile was blue, why not paint my bathtub blue, too? And then add wallpaper to tie in the pink shades with the blue tile? I found a great carved wooden mirror for $20 and embellished it with colors taken from the wallpaper. I love a good deal that turns into something amazing!

The living room is the real heart of the home. It’s open to the kitchen and the wide space is perfect for hosting parties. Art from Carrie Schmitt and my daughter sit layered on my living room mantle. I’ve painted my coffee table so it would pop against the fuchsia rug. On the other wall, I’ve recently added a graphic wallpaper with a custom Frida painting by my friend and artist Brittany Atkinson. An old settee, adorned with a luxurious Liberty of London velvet, anchors the wall and provides extra seating.

For me, ideas build on one another over time. Design is a process and I treat it like an adventure … which makes it fun! I’ve had to think about my spaces. I contemplate ideas for a long time, but then I execute boldly once I do make a decision. If I make a mistake, I just undo it, pivot and change direction. I’ve learned to not take myself or my designs too seriously.

My home is my palette where I experiment with color and patterns. It is the truest extension of my work and who I am. And the work will never be done as my taste evolves and I continue to play. Just like the neighbors on Mr. Plumbean’s street, I get inspired by each makeover I do and it makes me want to do more. I hope my adventure will inspire you to do the same.

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More on Wendy

www.chairwhimsy.com Instagram: chairwhimsy Facebook: chairwhimsy Pinterest: chairwhimsy

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Through the LENS Abby Grace is a brand photographer for high-performing, creative small business owners, and an educator for photographers.

Her work has been seen in Forbes, Martha Stewart, Southern Living, and many more publications. She’s an expert in brand identity, with a passion for helping others to run businesses that enable them to live lives they dearly love, and believes in the ruthless pursuit of leaning into your unique gifts. An avid Francophile and a Hufflepuff, she often speaks in song lyrics and movie quotes.

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More on Abby Grace

www.abbygracephotography.com www.abbygraceblog.com Instagram: abbygracephoto

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PHOTOGRAPHY BY JULIE DERBYSHIRE

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RACHNA GARODIA

London-based textile artist R A C H N A GARODIA trained at the National Institute of Design in India and the Royal School of Needlework in London. She weaves intricate textures juxtaposing cotton, linen, silk, nettle, hemp, wool and paper yarns with natural found materials like bark, seedpods, grass and twigs. Her commissioned pieces are held in private collections in India, England and America. Rachna’s book Contemporary Weaving in Mixed Media was published by Batsford Books in September 2022.

“ART HAS ALWAYS BEEN THE RAFT ONTO WHICH WE CLIMB TO SAVE OUR SANIT Y. I DON’T SEE A DIFFERENT PURPOSE FOR IT NOW.” — DOROTHEA TANNING

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I started my art practice in India in 2000, with a small loom on the dining table in a tiny apartment in the suburbs of Mumbai. I was young, fearless and confident. At 24, I thought there was no limit to the possibilities, and I could not wait for the world to “discover” me! Well, I’m not sure about being discovered, but after design school I started freelancing and working with various architects and interior designers, weaving quite a few interesting commissioned pieces.

My personal life, however, brought quite a few pauses in my creative journey — namely, having babies and moving to multiple countries: India to London to Dubai — before finally making a second home in London in 2016. All these years of settling in different homes and raising kids were dotted with a compulsion to create. I always moved around with my first loom, which is very dear to me, and continued to weave from wherever I was living.

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When the rhythmic taps of my loom, earlier so reassuring for me, made it difficult to weave around my babies, I turned to hand embroidery and attended the Royal School of Needlework in London to learn technical hand embroidery. With young children, the softness and calmness of embroidery felt natural, and I designed and embroidered quilts and cushions when weaving was not possible. Gradually, I started showing my pieces in exhibitions and shows, and slowly gained a rhythm and flow in my work.

I used to dream of a dedicated private studio space, without the distraction of household chores. I felt it would focus my thoughts and ideas and help establish a discipline and rigour in my daily practice. For me, a studio away from home, to channel my creativity, has only been possible since 2017. Until that time, I wove and embroidered from home. My family got used to yarns and books spilling out of every corner, and I became skillful at hiding my “mess” away before guests arrived for lunches and dinners.

Now, at 48, I find myself feeling the same excitement and sense of possibility I felt at 24. As I get ready to send my second baby off to university and give the fascinating world of textile art a renewed, wholehearted go, this time I do so with an internal quietude that only a “lived” life can provide. In A Room of One’s Own, Virginia Woolf wrote, “There is no gate, no lock, no bolt that you can set upon the freedom of my mind.” I can only achieve this state in my own studio — and believe that a space to create is vital for an artist.

“WHEN YOU START WORKING, EVERYBODY IS IN YOUR STUDIO — THE PAST, YOUR FRIENDS, ENEMIES, THE ART WORLD, AND ABOVE ALL, YOUR OWN IDEAS — ALL ARE THERE. BUT AS YOU CONTINUE, THEY START LEAVING, ONE BY ONE, AND YOU ARE LEFT COMPLETELY ALONE. THEN, IF YOU ARE LUCKY, EVEN YOU LEAVE.” — JOHN CAGE, ATTRIBUTED

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MY STUDIO JOURNEY

KINDRED STUDIOS 2017

PHOTO BY KRISTINA SALGVIK

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CURRENT STUDIO

HOME STUDIO 2020

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When I finally moved my practice from home to a studio in 2017, life altered immeasurably for me.

In addition to getting a dedicated space to work outside of my home, I finally met my tribe of artists and makers whom I had not previously been acquainted with in London. Being an artist is a challenging career, and quite often I get discouraged, lost in self-doubt, and goals can slide. When I have a strong art community, I am able to access support and encouragement from a place of understanding and shared experience.

As I gradually got acquainted with the vibrant artists in the shared studio, I finally started to believe I was not alone in my artistic endeavour.

Having daily access to a community of peers helped me to stay on track and to create my art with all of my energy and passion. A strong artistic community also provides the support I need to stay motivated and continue creating. Moreover, it has helped me to find opportunities to collaborate with other artists and showcase work to a growing audience. I was recently selected for a collaborative art residency in Wales with another visual artist from my studio and we are working together on a new collection of works to showcase later this year.

Artist studios at subsidised rates are hard to come by and, unfortunately, a lot of studio spaces get lost to real estate developers. In the last six years, I have had to move studios four times within West London. Every move causes immense heartache as I leave colleagues, but also empowers me with a new set of creative colleagues whose company and friendship have been vital to my growth as an artist.

— DOROTHEA TANNING

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“MOSTLY, I LOOK OUT OF MY WINDOWS HERE FROM THE STUDIO AND SEE AMAZING THINGS, THE SORT OF THINGS THAT YOU’D NEVER SEE IN AN ART GALLERY.”

My studio is on the second floor. The balcony overlooks a few birch trees, and a charming garden, which is a little oasis. On a busy day, I will take five minutes just sitting out there to reset. On the other side, large windows overlook a beautiful and vibrant ethnic food and clothes market, which feels frozen in time, contrasting the constantly passing London Underground, filled with commuters on a loop, chasing time and dreams.

I do more than look out of the window for inspiration — long walks in nature are integral to my art practice. I’m constantly collecting and gathering natural pieces like leaves, bark and seed pods, which regularly make an appearance in my weaves.

I do my best thinking when I’m out in nature in the quiet, steadfast company of trees and plants. All these years living close to the River Thames and being lucky enough to have had temporary studios around the river has also fed into my textile practice. These woodland and river walks help me distil mindfulness into spontaneous ideas.

When I say “woodland,” I do not necessarily mean you have to live at the edge of a forest or have a studio in the woods. I have always lived in cities and my woodland is, and always has been, the closest green patch I can find. I then need the quiet of my studio to bring all my thoughts and inspiration to life. This is when memories, thoughts — past and present — fuse together and new ideas are born: treating the gathered materials, journaling, making mood boards and, finally, preparing the loom for weaving. My intricately woven textures are akin to viewing a landscape, capturing the atmosphere, tone and emotion from my daily walks.

My current studio is a 25-minute walk from home. I usually hop on the bus, which reduces the commute to 10 minutes, but every few days I walk and take the longer route through a local park, spending a few minutes in the company of maple, eucalyptus, sweet chestnut and oak trees.

As the studio is not that large, I constantly refigure my shelves and table to accommodate occasional large commissions when I need to use the larger studio wall, and to weave on a clever portable device that was designed by a fellow artist in the studio for me. Thus, the studio, as the environment outside, is continually changing, however subtly.

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“JO TOLD ME ONCE THAT SHE WAS AN OLD WOMAN EVERYWHERE BUT IN HER STUDIO. ‘THERE I’M ONLY MYSELF,’ SHE’D SAID. STANDING IN THE MIDDLE OF MASTERPIECES THAT ONLY JO HAD EVER SEEN AND TOUCHED, I KNEW WHAT SHE MEANT.” — L AURA ANDERSON KURK, PERFECT GL ASS

Weaving is a slow craft and, as a mother of two, I continue to spill out of the studio to corners of my home when my children are sick, on school holidays, or if I need to work late nights, early mornings or weekends to meet deadlines for shows and commissions. This constraint has actually added an interesting element to my practice. I have started weaving smaller collections on paper and on small, portable frames. I love this challenge in approach, switching between various types of looms, studio location and scale of work. It keeps my mind abuzz with possibilities and helps in approaching the craft always from a “beginner’s mind.”

All my works are unique and bespoke; each one takes shape slowly in my studio and is later crafted into screens, space dividers and framed textile art. I can’t stress enough how important the solitude in the studio is to envisioning and creating new weaves.

I would love to continue experimenting, designing and creating surfaces that help unite the “evolving self” and the “artist” within me for a more coherent voice and better artistic expression. I’m working on designing a new creative workshop for textile enthusiasts as well as developing and expanding my collection of weaves to show to a wider, global audience.

More on Rachna

www.rachnagarodia.com Instagram: rachnagarodia

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PHOTO BY LUCY WILLIAMS PHOTOGRAPHY

Through the LENS

JULIE DERBYSHIRE is a photographic artist living and working in London, U.K. Like Rachna Garodia, Julie is based at Kindred Studios, and she enjoyed collaborating with Rachna and shooting these images of her studio for her.

As a full-time professional artist, Julie has a practice that is research-based and process-led. She tells visual stories through her fine art photographic work, and her underlying concerns surround notions of fragility and transience and the universal themes of our human condition. She incorporates processes of fabrication, manipulation and disruption into her work, including of the final photographic prints themselves. Julie’s work is influenced by art history

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and, reflecting her own lived experience, she seeks to and disquiet, inviting the viewer to reflect and to question what lies beyond the image.

Julie holds an MA Photography from the London College of Communication (University of the Arts London). She exhibits regularly and her work is held in private collections.

She is the recipient of a number of awards.

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www.juliederbyshire.com Instagram: juliederbyshire

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introduce opposition, notably a tension between beauty

Carla

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Giesbrecht-Wat The InkPAD Shop

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Curated by Sandy Rabourne

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CARLA GIESBRECHT-WAT lives in Winnipeg, Manitoba, Canada, with her husband, two children and dog, Zoe. Carla is the owner of The InkPAD Shop, a silk-screen studio, where she designs, creates and prints her own work.

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round nine years ago, my husband and I just had our second child and life was busy with all the things that a young family of four entails: outings to the park, cooking dinner, planning playdates — the list could go on. Along with this stage came a large mental load, one that could weigh me down during moments when my mind would race and I couldn’t catch my breath.

At many points, I thought I would just “feel better” or “move on” to the next stage, but felt stuck in what you might call a block. I’ve always been a creative person, from singing in choirs and bands in my adolescence, to acting in college, painting and writing music. I’ve always felt a deep connection to spirituality and artistry, finding comfort and fulfillment in creation.

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o, it only made sense that, while motherhood was a huge job in and of itself, keeping the parts of me alive that made me feel whole was just as important to my well-being. This led to a realisation that I needed to set aside time each week to do something alone, in the basement, for myself. Along with the encouragement of my husband, Jeremy, and my community, The InkPAD Shop was born. The initial plan was to do this endeavour together with Jeremy, but I quickly realised time away from the kids also meant time for him to spend with the kids and I went out on a branch of my own. Also, to be honest, as he is a creative himself, working as a video producer and printmaker, we quickly grew to realise our design styles differed and I needed to figure out exactly how that looked for me.

We began by repurposing my dad’s old wooden workbench in the basement and I carved out time dreaming of what to create.

Jeremy and I had a conversation in the middle of the night where he reminded me that he had an unopened beginner silk screen printing kit that he had purchased at one time. With materials available, we decided it would be fun to create some clothes for the kids. At the start, I had no clue what I was doing and felt as if every bit of progress led to another realm of the unknown.

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ouTube became my lifeline as I am a visual learner, and I would spend a lot of the kids’ nap time researching how to burn a screen and the hacks to make it possible to do this art form at home.

Traditionally, in a larger shop, you’d have a proper automated multicolour press, a large washout booth, a light exposure unit and other industry-standard equipment to make things run smoothly.

However, I was determined to make it work for me at home.

One of the first things I did was screen print a design onto a onesie for our son. A little while later, I posted a picture on social media of our kids wearing a matching set that I made. I wasn’t planning on selling, but received positive feedback and was encouraged to create more. This is how I went from finding a creative outlet to designing and screen printing onto kids’ apparel.

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ventually, I outgrew my home workspace with online orders and decided to move to a studio where I could store my screen printing supplies and have a larger space to grow my business. My wonderful friend and fellow artist, Shelley, had turned a beautiful second floor of a building into a shared artist space, where you could rent by the square foot. I brought my sweet workbench from home, some tables and began working away filling wholesale orders, preparing for artisan markets and creating new designs.

I would go in the evenings when my husband was home and work away, listening to music and dreaming of what this could all become.

Fast-forward to when my shared studio space was no more and I had to pivot. I moved into a basement studio space with a friend, and this turned out to be one of the more lonely places I worked. After a year lease, I decided it was best for me to return to working from home.

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oving back home was great for work-life balance but not so much for physical space, as we live in a small 1,100-square-foot wartime home. I was determined to make it work and while it did, for the most part, a small voice in my head kept telling me I needed more space to truly breathe. I have this photo in my workspace of Andy Warhol working in a really cool loft, on a gigantic silk screen making one of his prints, and I dreamed of having a space like that for myself.

A little while later, an opportunity came up when I was approached to join another shared studio space. This time it was in our historic Exchange District of Winnipeg, which is filled with old industrial lofts, cute boutiques and trendy restaurants. I was very excited to say “yes,” to be able to have my own retail space and finally enough room for a 4-colour printing press. Having this press was a big deal at the time because printing multiple colours was always something that I longed to master, and the studio gave me the space and dedicated time to do it. This was in the middle of the pandemic, and felt like a pretty big risk at the time, but I had the support of my family and friends.

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“Creativity takes courage.”

— Henri Matisse

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fter about a year and a half, the studio disbanded and we went our separate ways. I learned so much being there: how to manage stock in a retail and online space, what advertising works, how to interact with customers on a regular basis, and more. I also learned things that were hard: being in an old building that was frigidly cold in winter and super hot in summer, fixing things that were broken, and not having certain things that were specific to what I needed. The decrease in foot traffic during the pandemic made it especially difficult to cover rent, a common struggle for artists.

After a lot of thought and prayer, I realised what I really wanted was just to be at home, on a small scale but with my own space perfect for me.

At first, I felt guilty even thinking this for the first while, knowing I’d be spending money away from the needs of our family and investing it in myself.

But in doing this, I also realised I would be investing in our family, creating a space that is curated for my needs but also suitable for the whole family to use. We try to foster free play and creativity a lot with our kids and being able to express ourselves through art. My hope is that one day they will see our hard work and know that joy comes from within and art can be an outward expression of love and encouragement to those around you.

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As this dream space began to take flight, we found a contractor who was willing to work within our parameters and budget. I had until the end of June 2023 to be out of my leased space and knew it probably wouldn’t be enough time. We filled our garage with my “studio” and I took the summer to bring all the little things to life.

I wanted to include special items and heirlooms from my family so I could see them every time I worked and be inspired. My grandfather’s radio is on the shelf, reminding me of the way he worked with his hands as a farmer and fixer. My grandmother’s glass dogs and enamel bowls remind me of the hard work she did growing her garden, sewing clothes and dolls, and cooking for her loved ones. And there are photos of loved ones that inspire me to keep going and provide for them.

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here were also practical things that I needed to fit into this small space, such as a washout sink. I found the biggest drop-in kitchen sink I could and it’s amazing how much easier things become when working with the proper tools. We also did a lot of the work ourselves, to cut down on costs, such as spray painting the ceiling, tearing out shelves and moving around supplies. My goal with the space was to have a bright, airy space where I could see colours properly, take photos easily, work efficiently and be surrounded by curious vintage treasures.

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Much of my work is driven by a desire to encourage others, so creating a space for that truly helped propel me forward to making this happen. From here, I hope to keep creating, teaching, connecting and loving through art and continue learning from those who have walked ahead of me. There is so much wisdom and truth around us from all walks of life. My hope through the work I do is that we can see each other as equals and encourage each other along this path of life with grace.

Cara Fox

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Photography by Janie Mahoney

Cara Fox

is a creative business owner and maker who specializes in hosting creative retreats, workshops and classes in her hometown of beautiful historic Madison, Indiana. She and her husband and daughter have owned and operated their family business for over 12 years and continue to grow and create a place for the creatives and community. This family-owned business is known for excelling in hospitality and creating a joyful place for all to celebrate.

As a child,

I grew up constantly creating and decorating with whatever was put before me. I wanted to learn arts and crafts and never missed an opportunity to do so. I was the kid who would spend the night with someone and want to organize and redecorate their room and make their space pretty.

I was designing on a dime before it was a reality show.

I have a very good eye for using what is put in front of me to make a space cozy and creative, yet functional and fun.

I come from a family of makers and craftspeople, as well as businessmen and women, and that definitely played a huge part in my creative journey. If there was a party or event to stage, I jumped at the opportunity. I was constantly creating spaces and art in my head — or questioning how things were put together.

I was very blessed to spend lots of time with my grandparents as a child. My grandfather was a woodworker/ cabinet builder and my grandmother was a quilter, and they both did a lot of homesteading just out of necessity.

They gardened and canned, processed meat, made furniture, curtains, blankets and clothing, cut wood to heat their big beautiful white farmhouse, fished the pond to eat, and had beautiful flowers to decorate the yard. I can still envision the beautiful peonies that lined the driveway.

I think it is safe to say that those daily rituals of raising a family had more of an influence on my creativity than I realized. Being the oldest and self-proclaimed favorite grandkid, I spent every second under their feet and working right beside them. Some of my best memories are of the smell of cut wood in my grandpa’s shop and sitting at the sewing machine with my grandma.

My grandmother and my mother both were amazing at decorating a house on a budget, cooking delicious meals, throwing a beautiful party, and always creating spaces that people wanted to spend time in. They truly set the bar high for hospitality. Whether it was making cakes, decorating for the holidays, working in the garden or cooking in the kitchen, I grew up loving the sense of satisfaction that came from making. My grandmother and mother both were very resourceful and had their own unique styles.

My grandparents were from eastern Kentucky, and their entire existence involved using their hands, whether it was building primitive-styled furniture, gardening, sewing, hanging wallpaper and curtains, or repurposing whatever was lying around — because there was no room for waste. It was always fun to be in the mix.

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As a student,

I was definitely drawn to art class and anything creative. I took woodshop, home ec, and art, and would have been very content with no other classes. My grandmother taught me how to sew and quilt; and once I had a license and a job in high school and college, I would save my money and take classes at local creative shops, which led to my most basic form of a creative career. I started making woodcrafts and fiber art to sell at the local craft fairs.

As much as I loved making, I also loved creating spaces to sell my goods. The staging was just as important as the goods. My husband often jokes that people don’t know what to do with the bones of a setup and they want to buy all of it so that one small item looks good. I can honestly say I find great satisfaction in the end result, but it is pure joy to take whatever is around me and make it pretty.

Even at a young age, my room was set up like a creative studio.

I organized pretty containers for pencils, scissors, and craft supplies, and stacked books in order of color or style versus theme.

I folded blankets and towels so that they showed well and spent time fluffing my pillows and stuffed animals, making everything showroom-ready. In college, I would often receive compliments on my beautiful notes and handwriting, to which I would respond, “If I only knew what they said.” But yes, they were pretty with all of the doodles and designs. It did land me a yearly job handwriting Christmas cards for a local company that sent out hundreds of cards every year.

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Fiber arts were definitely the area that I had my hands in most often. My grandmother was often working on quilts, so we would make trips to the fabric store. I’m not sure what I loved more, the beautiful shops or the actual bolts of fabric. But I know we would spend lots of time picking colors and studying patterns. She was the first to sit me down at a sewing machine and show me how it worked. We kind of joke about the fact that although my mom could sew, she definitely did not have the passion for it.

I vividly remember I had picked out a pattern for a pair of pants and my mom and I sat down and cut them out, only for her to sew the inseam of the legs together. It was at that point I knew that sewing and quilting were going to be something that I shared with my grandmother. There’s just something special about watching fabrics come together that have been chosen with thought for a particular family member or loved one.

I knew

early on that I definitely wanted to have some sort of creative business down the road and that it would include sewing. I was often referred to as “Little Martha,” because I would study Martha Stewart’s magazines and watch her shows, and then try to reproduce many of the projects that she showed.

Of course, back in that day, we did not have Pinterest and all the other wonderful resources at our fingertips.

When I wasn't working with fabric, you could often find me with my grandfather building a birdhouse or a primitive-looking box to display treasures. One holiday season, we made little cabins with windows and stuck lights in them, their rusty tin roofs made from scrap metals found around their farm. I still have a few of those and absolutely treasure them. We would also try to grow big pumpkins that were unique. And we would take a drill, attach a drill bit, and drill holes through them so we could wire pretty twinkle lights. If I had an idea, my grandfather was always happy to help execute it.

My grandparents owned an old 1960s trailer that sat behind their home on the pond. It was used by a great aunt who would come visit in the summer on occasion. When she could no longer make the trip, I turned it into my first apartment studio. Of course, the first thing I did was paint over the horrible dark paneling and rip the linoleum up to put carpet down. But it was such a happy place and everything in it told a story.

Whether it was something that we had picked up from an auction, or crafted, almost everything in it was reclaimed — except for a couple pieces of furniture. My grandma often asked if my furniture came from the burn pile, to which she would say: “You make my trash look pretty.”

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At that point,

I was going to college and taking classes of all sorts, but nothing really grabbed my attention other than business. I continued crafting for shows, took on a couple of booths within collaborative markets and pursued sewing pillows for a local antiques store. My dad would always say, “Someday, you need to own a shop on Main,” and I always kept that dream tucked in my heart and continued to grow it.

Fast-forward a few years and I found my prince charming, Mr. Fox. Not only was he amazing but he grew up with a family full of crafty women, so he definitely appreciated and encouraged my dream. We married, I left corporate work and had an amazing baby girl, and sewing became my late-night therapy. I wasn’t used to not working outside the house, so I definitely craved the need to create for others. I began sewing curtains, pillows, duvet covers and little apron knot dresses for my daughter.

I shared a picture of a dress on social media and shared that the fabrics were pulled from my grandmother, mother-in-law and my own fabric stashes — and then it went crazy. I sewed for hundreds locally, and a couple of pieces even made it to Hawaii. As our daughter began preschool, my husband encouraged me to pursue my creative endeavors, and within a year we opened Little Golden Fox on Main Street, in beautiful historic Madison.

“…

I am fearfully and wonderfully made; your works are wonderful …”

P S A L M 139:14

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I have two Bernedoodles — a mom and son duo. The black and white is the momma, named

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Marlee Moo Cleopatra Fox, aka . And the yellow

is her son,

. We named

him that because we should have sold him with the rest of the litter and taken the cash … but he is the most loving 1-year-old ever.

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Marlee Cash

It was definitely a dream come true.

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I had envisioned sitting in my little shop and sewing all day, greeting locals and tourists and making all of my favorite projects. I quickly found that running a shop on Main didn’t allow me to sew as I had planned, so I outsourced handmade goods from some of my friends and consigned vintage and kids’ clothing while working through the growing pains.

I set up a studio in the back of the building and would create products, paint furniture and host little sewing and paint classes — and that side of the business quickly took over. We added bolts of fabric to the shop, art and handmade goods.

Within two years, we outgrew the space and purchased a 10,000-square-feet industrial building two blocks down that was once home to Weber Brewing in the early 1900s. People thought I was crazy moving out of the busy district and even crazier for taking on such a big old industrial building. The first time I stepped foot in there I knew it was exactly where I was supposed to be, and that God had a plan to fill that building and use it

for the creative community. My husband looked at me and said, “What will you do with a building that big?” To which I responded, “What won’t I do with a building this big?”

The building houses huge industrial wood doors that you can drive tractors through and although I am not driving tractors through them, I am definitely dreaming big, and they continue to open and the space continues to fill.

My creative space quickly grew and so did our business. I expanded on handmade and craft and our creative classes have just kept growing and moving into bigger spaces. It is nicknamed the “creative hub on Main.” Although my personal studio is in the shop, I tend to spread out and work throughout the entire building. I have my saws and wood tools in the back. My sewing machines and personal fabric stash are in the studio and the shop has a paint and pottery area that I spend lots of time in working and teaching.

where they weren’t constantly subject to being boxed up for another move.

No matter what kind of day I am having, this place brings me joy and happiness. It is a time capsule of my creative journey and a place that calms my often-overwhelmed creative mind. I am fortunate to have a space where people can see inside because, let’s face it, we all love seeing where the magic happens (hence, that is why we love this magazine).

The plan is to renovate the entire building and expand our creative offerings to more workshops, retreats, art and music shows, a quilt center, and special events with art elements. We want it to be a place that fosters all things creative for our community. It is truly a special place that we love to share and a place where community and love are always found.

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There’s also a space for large creative events, and the back of the building (which is the best-kept secret) currently serves as storage for antiques I have acquired for a future remodel. Part of the best-kept secret is a basement that you can drive into. I have yet to define the future of that space, but it will be great.

The building has amazing creative energy and people often comment about it when visiting. When we purchased the building a little over 10 years ago, my husband immediately wanted to build our home inside of it and I was not on board. It is one decision I definitely would reconsider, although we are pursuing plans for an amazing renovation with possible housing in it.

My studio and shop are truly my happy place. I am blessed to do what I love for a living and that is: host creatives and share and teach in a place that brings joy to many. My studio currently houses lots of my favorite treasures. We have moved several times within the last several years due to renovations of properties, and I finally decided I wanted to place my faves in a spot

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Through the LENS

Janie Mahoney

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graduated from DePauw University with a degree in studio arts and was able to complete an internship with the still photography team at Saturday Night Live.

When she isn’t editing behind her computer, she is playing chauffeur for her active daughters or searching for the next Dave Matthews Band concert to attend.

Janie shoots everything from families to seniors, sports leagues and weddings. Living in a small historic river town affords the perfect setting for beautiful photos for any type of shoot.

Sharra Frank

Curated by Sandy Rabourne Photography by Margie Scherschligt

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SHARRA FRANK is an

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award-winning mosaic maximalist in Minneapolis, Minnesota, turning her works of art into viral sensations through her captivating blend of mosaic materials and beading techniques, all with an enchanting studio to match. Entering Sharra’s studio is like walking into a magical emporium of vintage beads, stacks of charming china, and jars of luminous glass, rhinestones, shells, gold and findings. Sharra is also mother to a living mosaic of three sparkly children.

t seems that my entire mosaic

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journey has been a dream. As an artist, I have always followed my curiosity and intuition, developing my craft through experimentation and love for the mosaic process. Starting out, my mosaics were simple and elementary, but one project always led to another and their complexity grew into the work I’m creating today.

When I pursued my mosaic work as a business, opportunities developed over time. I participated in countless open studios events, gallery shows and art fairs for several years. I was 25 years old when I attended one of my first art fairs and a famous collector swooped through, purchasing nearly my entire booth of work. That experience was pivotal and incredibly validating. It gave me the confidence to press on and work harder.

Today I have been making mosaics for over 20 years — most of my life — which is so wild to think about. For many years, I was in a cycle of intense deadlines, completing public art installations and large-scale private commissions, usually overlapping each other and the workshops I was teaching. I am grateful that I had those opportunities to build my portfolio of work and experience.

Now, I’ve carefully honed my business to fit how I want to be present as a mother and wife. I had what I call “artist tunnel vision.”

There were years when I hardly even noticed the change of seasons as I was buried so deep in my work.

I was entirely self-taught and had little exposure to other mosaics. It was a pocket of time before Pinterest and online learning, and I found a handful of mosaic books to learn about the various tools and materials to consider. My first mosaic was created when I was an art student. I started with plain white 4-inch-by-4-inch ceramic wall tile, Elmer’s glue and a hammer. I smashed the tile up with the hammer and adhered it to my coffee table.

After plain white wall tile and a hammer, I found proper nippers and cut up a porcelain plate covered with a delicate floral pattern.

I used it to cover vases and picture frames. I then found a stained glass shop in my neighborhood, which opened up a whole new world of transparency, color and glass-cutting tools. I created many mosaic window hangings with swirling pieces of stained glass.

I then experimented with adding seed beads into my stained glass designs, and then came found objects, paper-under-glass, buttons and costume jewelry. … It developed into a mixed-media mosaic language that became my own unique voice and style — a blend of tile, glass, beads and found objects that eventually covered elaborate sculpted mirror frames (which I created from scratch), a whole other process of its own.

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worked in many kinds of studios. I began at my kitchen table, like most artists do. I then expanded, adding a card table and bookshelf. Extra supplies were stored under my bed, in the closet and stacked around the sofa.

My first official studio was a little space that had been a dentist’s office. I outgrew that space after a year and moved into a much larger studio in a giant warehouse, filled with over 200 art studios.

I was in that building for nearly 10 years.

Today, I am in my dream studio nestled in the walkout basement of my current home, right outside of Minneapolis. My husband and I purchased the home with the intent to remodel this space into a home studio. We had a big window installed, letting in a flood of natural light.

It overlooks a pond, full of wildlife — and I now notice every little shift in our beautiful seasons.

During the warmer months, I pull my table out onto the brick patio and work until the sunset. It is my favorite light and time to work. I can watch my children play in the fairy garden, join games with the neighborhood crew, or build forts in the woods.

During the remodel, laminate flooring replaced the carpet and custom cabinets were installed. It was a bit overwhelming to make all the decisions — from the placement of shelves to the track lighting and finding just the right shade of white for the walls. I had to move forward with many decisions and trust it would all function and flow with my materials and work habits.

Once it was finally all complete and I started moving in my supplies … it all came apart. During a record freeze here in Minnesota, a water pipe exploded in a wall adjacent to my studio. It resulted in a catastrophic flood, water gushing over the ceiling, soaking the freshly painted walls and flooding the floor. Days later, the newly installed built-ins were removed, mosaic supplies packed up again and the long process of remediation began. It took almost a year to fully recover and redo the initial remodel. I’m even more grateful for this space after that experience.

“The human hand allows the mind to reveal itself.” — Maria Montessori

HOPES

My hope is that my children have warm and loving memories of my studio space as a familiar place of wonder in our home. A place to find unexpected treasures, to dream and create.

I hope they remember that I am always near and available to them. I hope they see how my passion for creating beautiful mosaics inspires others to create, too, and how important it is to carve out room and time for our creativity.

I also want my children to see my studio as an entrepreneurial example, that you can create a living with your own unique gifts and ideas.

FEARS

I used to fear missing out on opportunities after leaving the large artist warehouse community that I had been so active in, as that was how I built so much of my local following. Now, social media has replaced that. Sharing my work online has become much more efficient and effective. It still amazes me!

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Today I am focused on my personal work. Large commissions and public installations are on hold indefinitely.

I am having so much fun with a product line of mosaic frames I’ve created, called Sharra’s Shapes. I design uniquely whimsical shapes with the mosaic artist in mind. These designs become wooden frames with a raised edge to contain the mosaic materials.

They are like coloring books for mosaics, giving the artist freedom to apply any style or material. I create original mosaics with them as well, making them available in my online shop. I also teach classes locally and online.

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I walk ABOUT MY When into my stuSTUDIO dio, I want the

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same rush of inspiration and delight that I feel from entering an art supply store, charming boutique, old bookstore, or vintage estate sale.

I aim for organization and order but also leave room for creative clutter and work-in-progress sprinkled throughout.

I don’t mind messes and I like keeping my work out at all times, making it available and easy for me to drop in and spend an hour or two of time with it.

I make everything visible, as much as possible. So, tiles, rhinestones and findings are stored and displayed in clear glass containers. Plates stacked in the hutch show off the colors and patterns.

Beads are strung and hung. Stained glass is lined up in vertical storage.

I consider myself to be a “mosaic maximalist,” as it’s difficult for me to choose just one material or technique in my work. At the same time, I am always curating materials, periodically editing them down to keep only what I absolutely love and use.

The materials I use tell a story. I still use vintage rhinestones that I sourced from a private seller on the East Coast in 2005, and recently acquired a lifetime collection of beads from a retiring artist. I’ve also stopped at random estate sales, rescuing antique china sets in the final minutes.

I prefer using materials that have history and a story of their own. I favor a vintage bead over a brand-new one. Opening beads or rhinestones from their original early 1900s packaging is thrilling. I display these materials with nostalgic admiration, sometimes holding onto them for years waiting for just the right piece.

The presentation of materials inspires my work. The inspiration to create a new mosaic is intensified upon entering my studio. I am always aware of the color, texture and visual input around me. Each time I enter my studio, these details come together to nurture a deep appreciation for a new opportunity to create.

WHAT THIS SPACE MEANS This space represents all parts TO ME of me — my creativity, artistry, motherhood — and the love and support of my husband, and my hard work in the past that has paid off, which supported investing in a long-term home studio.

I have been makMY PASSION ing mosaics for FOR CREATING over two decades and I sometimes wonder if I’ll ever tire of it. I just have so many ideas, I can’t imagine ever stopping.

I could easily mosaic all day, every day and still go to bed thinking about what I want to make next.

I love all parts of it: the hunt for materials, seeking out new materials to try, coming up with what to search for, where it might be and where I could someday travel to and scour for unique findings. I consider new ways to display collections and search estate sales for unique storage options, such as vintage apothecary cabinets or file drawers.

My favorite storage piece is a wooden set of drawers with little divided sections within. Now filled with candy-like glass pieces, tile and beads, it is like opening a treasure box. I found it at a local flea market and immediately knew that it was a perfect fit.

I love mixing unexpected materials. The elegance and luminescence of Italian smalti, a glass used in Byzantine cathedrals, mixed with Grandma’s porcelain china creates an unexpected yet satisfying combination. Finding ways to weave all the different materials together in an aesthetically and technically intriguing way is a challenge I continue to pursue.

PETS

When the house is quiet and I’m the only one home, our pets follow me into the studio. Our sassy Maine coon, Lucy, watches the squirrels from the window or struts across my tabletops while our Great Pyrenees rescue, Ringo, naps under my table, waiting for his next meal or walk.

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More on Sharra

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Scan here to follow Sharra on Instagram:

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is a Minneapolis-based portrait photographer.

Her photography specialties include high school senior portraits, family portraits, professional headshots, natural light photography and photography services for fine More on Margie artists and theater companies. i www.margiephoto.com In addition to her photography work, Margie is also a reading and literacy educator who works with students with dyslexia and similar learning differences.

Through the LENS

MARGIE SCHERSCHLIGT

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Sandy King Photography by Kim Louise

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SANDY KING lives in Madison, Indiana, with her husband, Jay. She is a creative maker of inspirational jewelry, mixed-media art, upcycled gifts and artist-painted furniture. She sells all things vintage, patinaed and antique, along with creative products, in her booth space inside River West Antique Mall, and also in the creative hub Little Golden Fox. She is a retailer for Debi’s DIY Paint, Iron Orchid Designs and Roycycled Treasures, and believes that creating art in any form is good for the soul!

Hello, beautiful people.

Have you ever done that exercise where you are asked to go back to your happiest childhood memory? The place before the world left scars on your heart? Mine is playing in my grandmother Bessie’s backyard. She would always keep a watchful eye through the big window in the “new room,” while she painted colorful canvases, many of children.

I would run down to the giant white rock with a net in one hand and a dented old metal kitchen strainer in the other. I would kick off my shoes, dip my bare feet in the cool waters of Waller Creek and explore until sundown. Perhaps, along with the fish and tadpoles, I would find a crawdad with little dads all over her back and belly, or maybe even a fairy or two. It was mud pies, wildly tangled hair and dirty feet. This was my most sacred place as a child and throughout my life. A place of creativity, makebelieve, dress-up, safety and boundless love from the most selfless woman in the universe.

My mom was amazingly creative as well. When I was little, she was always creating something from nothing. She made pendant lights out of Pringles cans wrapped in shelf paper, and made a kids’ soda

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bar out of a thrifted bookshelf and our old basketball backboard as the top for the game room. I learned from a young age the value in repurposing. My most special belonging of hers is her 1948 diary from when she started dating my dad. I swear that generation invented junk journaling because her diary is so thick it looks like a Rolodex! It is crammed full of words cut from 1940s magazines, handwritten waterfall pages with such wit, and ticket stubs, photos and party invites.

While I had a wonderful childhood, there were monsters there as well. You, too? I’m sorry. Please know that my heart is hugging your heart. Some were so terrifying that I withdrew deep within myself. My confidence and self-worth were shot. My love for creating seemed to fade away. I did everything I could to just be invisible. The only places I felt truly whole were at the little cottage with the giant white rock and through the Wardrobe. My wonderful sister Del Ann started reading me these books when I was young.

My escape was Narnia and the Lord revealed himself to me there. When times were difficult, I could hear Him whisper to me, “Courage, dear heart,” as he did to Lucy in The Voyage of the Dawn Treader by C.S. Lewis.

To this day, I still have The Chronicles of Narnia on the bookshelf by my bed.

In 1985, I met Jay. He was bold, brave, unstoppable and handsome. Over the next almost four decades we would raise three incredibly adventurous, loving and intelligent kids while making about a dozen cross-country moves. Our first two, Demi and Dalton, were born in our years in the glorious state of Montana. I struggle with endometriosis and had several unsuccessful pregnancies, which also contributed then to my low self-esteem. We finally decided to give up. We got rid of all things baby, remodeled our home, took out the extra bedroom, scheduled a hysterectomy and … found out I was pregnant! Our third, Cameron, came along in Arkansas.

“Friendship is born that moment when one says to another ‘What! You too?

I thought I was the only one!’”

— C.S. LEWIS

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M One of my most cherished possessions is my mother's journal from 1948.

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y creative awakening happened on a move to California. It all started with a hand-stamped note from Bobbi thanking me for volunteering at the children’s church. I was hooked. My first craft keeper was a small 8 ½ × 11 three-drawer plastic bin, labeled “papertools-stamps,” that I kept in a closet and pulled out on the dining room table when crafting.

For over a decade, I had ink-stained fingertips while learning, sharing, teaching and building lifetime friendships. This took place over four moves to four states.

During that time, sewing beads on cards was a trend but not all of them fit on cards so I started stringing bracelets and my jewelry making started. My craft space had grown from a bin, to a closet in the guest room, to a converted attic, and then to its own dedicated space.

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COURTESY OF SANDY KING

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ave you ever noticed how certain people are brought into your life for a reason, a season, or a lifetime? From the little girl who was never going to live farther than 15 minutes from my parents, I am forever blessed that with each move more beautiful people were brought into my life.

My neighbor in Arkansas, Shawn, became my creative soul sister and we fed off each other’s energy like gas on a flame! We would go to the bookstore and buy every craft magazine we could get our hands on, including WHERE Women Create, ogling over every page.

I bought a soldering book by Sally Jean, went to the hardware store and bought lead-free plumber’s solder, got some microscope slides for glass — because that’s all you could get back then — and some art prints and started soldering. Soon, I wanted to become more authentic to who I am as an artist and the message I wanted to share. My love and I spent years attending, and then serving at, a soul-healing retreat. During that hard soul work, the Lord restored my value and gave me a voice and a new confidence.

We made another move, this time to Northern Illinois, and more beautiful people came into my life. I met Kim at a flea market in her front yard and she encouraged me to get a booth with our friend Michele. I learned so much about staging and styling my booth during that time. I was still struggling with my identity as an artist and listening to negative tapes in my head. The ones that whisper “Who am I to think anyone will like, want, or buy my art? … Who do you think you are to start a real art biz in your 40s? … Will they even know my heart and connect with what I create?”

You know what? I did it anyway. When it came time to officially name my business, I couldn’t think of anything more personal than the little cottage by the creek with the white rock that my grandparents built in 1931. And so, The House at White Rock was officially born.

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COURTESY OF SANDY KING

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started using my own black-and-white family photos on one side and scripture or positive affirmations on the back of my pendants.

My art is all about sharing hope and encouragement, and maybe a laugh or two. I scoured every antique store I went to looking for old photos, and have a ridiculous collection of them now. I like to use old photos in my work because they are real people with their own struggles and victories just like you and me. They serve as a reminder that we can get through the hard times.

I also solder discarded broken china dishes. I call them “Broken Hallelujahs” to symbolize how God creates beauty from the broken pieces of our story. I did my first mixed media piece of a little girl with arms stretched wide. It was my declaration painting, reminding myself to, “Always believe in your little girl dreams.” I then took my first art class with Kelly Rae Roberts, called Mixed Media Mantras.

In that class, she had us do some soul work similar to what I had done in the past, but I had never thought of applying that to my business, which was a game changer.

Then there was one more move, y’all. I really butted heads with God on this one and stomped my feet saying, “Really? Another move? You want me to start over again?”

After my temper tantrum I submitted, and boy was I blown away by what was to come. We moved to Madison, Indiana, filled with art, music, historic architecture and the most beautiful people. I do several shows a year now and sell my jewelry in multiple darling boutiques, have a booth space in an antiques mall and sell on my website.

I live in an 1840s log cabin home in the woods with Jay and four crazy wild male dogs that have so much personality. Duke is too old to make it up the stairs anymore, but Angus, Jack and Captain spend their days in my loft studio over my dining room. This is my “Joy Room.”

I am surrounded by testosterone, so this space is filled with all things feminine. Vintage pinks and blue, German glass glitter and lace, keepsakes of my mother and grandmother. It is not just my studio, it’s my sanctuary. It is where I create, pray and just be.

I take walks in my Narnia in our forest where my love and kids “planted” me a solar lamppost. I kick off my shoes, walk barefoot in our creek and always keep an eye out for fairies.

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More on Sandy

www.thehouseatwhiterock.com Facebook: thehouseatwhiterock Instagram: thehouseatwhiterock

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detail and creative art, I created Kim Louise Designs in the Chicagoland market, which encompassed residential and commercial design, creative faux finishes and photography.

Our outdoor tag sales in Barrington, Illinois, are still talked about to this day. Talk about junk’n!

That is how Sandy and my friendship started

Through the LENS

Born with a passion for nature, design

and grew.

My photography reflects a distinctive spiritual and free-spirited perspective to the viewer. I love to capture the intricate dance between the shutter and the soul in natural light scenes. I also try to make my landscape photography transform into a poetic narrative where nature becomes a living canvas.

Today, I am aiming for creative family and pet compositions to be brought to life with

WADLINGTON, known simply as Kim

a sense of “pets are family” values. Simple

Louise. I am a multi-faceted artist whose

beauty surrounds us everywhere and I hope

creative journey weaves through the realms

to always seek that daily and share it with

of photography, three-dimensional stone

anyone needing a bit of inspiration through my

painting, interior design, and my love of travel.

KIMMERSCARDS, little inspirational handmade

I live in Dana Point, California, where, from

notecards I’ve been making since 1997. I hope

sunrise to sunset, art is everywhere — just

my work resonates with those who seek a

look up! Dana Point is also known as the whale

deeper connection with nature’s beautiful

watching capital of the world.

simplicity through my lens.

Here, I co-own several natural pet stores,

Thank you so much for the opportunity

Earthwise Pet, along with my family. Who

to share in this wonderful outpouring of

knew a girl from Missouri would be making

admiration for these creative women yesterday

her dreams come true in California? “Have

and today.

Nikon, will travel,” was my motto at Northwest Missouri State University, while also being a member of the Phi Mu Fraternity and studying fashion design.

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More on Kim Louise

Instagram: earthwisepetpicsbykimlouise

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Hi everyone, my name is KIM LOUISE

ERIN BOLGER 140

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WELSH

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ERIN BOLGER WELSH is an abstract painter and high school art teacher living in State College, Pennsylvania. Erin seeks order and she frequently depicts it in her art, creating it like a meditation. But it’s always juxtaposed against a disordered universe of marks and colors, serving as a visual feast for eager and perceptive eyes. Her home studio is like her work: vibrant, colorful, lovely and disorganized, with piles upon piles of inspiration.

I HAVE VIVID MEMORIES OF HELPING

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set up my grandmother’s elementary school art classroom, outside of Philadelphia, when I was young. My mother and I would unload boxes of paint, paper and brushes before I was even attending school myself. The smell of tempera and Mr. Sketch scented markers flavor these memories. Organizing materials and colorful paints in her giant supply closet excited my senses and I eagerly anticipated having my chance to paint on large paper at tables where “the big kids” would sit during the year. I treasure these memories I have of my grandmother, my first and most important art mentor, who was also a talented watercolor painter.

More than 40 years later and here I am, an art teacher and artist myself, still feeling the thrill of having art-filled spaces and plentiful materials of my own. These days, I attempt to stay on top of my own well-stocked school supply closet organization as well as a home studio overflowing with materials, artwork and inspirational piles.

My home studio — much like my home around it — is in a constant state of creative flux, with in-process work on my large worktable and scores more possibly-done pieces on the walls and shelves nearby. At the same time, my 9-yearold daughter is likely to have a collection of teeny, tiny food items, or similarly-sized critters, she’s fashioned from polymer clay or Lego bricks on a table nearby, while my 14-year-old son, a loom knitter, has stacked his recent creations on the studio window seat, waiting to be photographed for his Instagram feed. An homage to their labor: Yarn snippets and mini Legos are sure to be scattered nearby. My husband, a bicycle mechanic and photographer, adds bike wheels and chains as well as cameras and tripods to the glorious art mess.

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IN THE BACKGROUND OF THE

STUDIO, THERE ARE ALWAYS

OVERFLOWING BOXES,

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ready for me to bring to my next art workshop, and piles of books and random materials waiting to find their way to my classroom for the purpose of student inspiration and instruction. It’s sometimes difficult to discern where my studio ends and the rest of my house begins with its crazy, colorful clutter. If you come to visit, you’re likely to see a mosaic as it takes shape on the table in my living room and you might notice a stretched silk painting as it rests, waiting for more, by a window. In so many ways, my home is an extension of my studio. It is a space filled with art and love.

There is art from people I have admired — art from dear friends, art from my grandmother, art made by my husband and my children — and art that students have made for me over the years.

“A creative mess is better than idle tidiness.”

― MICHAEL J. FOX

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WHAT I CONSIDER TO BE “MY STUDIO”

IS NOT STATIC.

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Like Harry Potter’s Room of Requirement, it appears wherever I need it. I hatch out some marks on a piece of paper next to the toaster as dinner bubbles away on the stove; I add scribbles to a pink background in the living room while my daughter plays with her animals; I methodically plot out a dotted grid on a panel during a family viewing of Star Wars for the many-th time; I spray paint through stencils in the driveway while my son unicycles

nearby; I breathe and calm my sometimes frazzled mind by drawing dots in meditation. My studio travels with me, in a canvas bag, when I’m on a trip, or at an appointment, or visiting with friends and family.

Most plentiful in my home studio are the supplies I’ve collected or made for my own work: countless paper dots, marked-up paper, collage fodder and colorful paint swatches.

These materials form piles that grow and shrink in equal measure and are

necessary to my creative process. As I sort through them, I arrive at a color or pattern combination that sings out, telling me where it belongs. These piles and their disorganization feed my process and make me crazy in equal measure. Adding to the appearance of disarray, I work on many pieces at once. Whatever melange of in-process pieces litter my studio spaces takes shape simultaneously, speaking to each other and often working together as a series. When she said, “Creativity is a wild mind and a disciplined eye,” Dorothy Parker understood the forces that move me, too, as I work to order the chaos that is around me.

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When I look outside my studio windows, with the perfect morning sun, I see a yard with some corners tended and others wild, mirroring the interior of my home. I watch the seasons change, each one bringing its own color magic. I had a childhood dream of a window seat, so my husband, Jim, built me one and now my children read, or knit, or play on it while I work. Next to the window is a chalkboard made for my grandmother by her grandfather. It is a rare day that there isn’t a picture on it drawn by my daughter.

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THE FIRST THING YOU’RE LIKELY TO

NOTICE ARE THE MOSAICS

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on the side of the stone garage of my mid-century modern home. Walking up the few stairs to the front door, there is another, larger mosaic wall — a wall I created when my son was still tiny, imagining a future when I could measure his growth in first-day-ofschool pictures, dreaming of how each year he’d be a few inches higher against its mirrored circles. My house is tucked into a quaint neighborhood adjacent to the main campus of Penn State University, and five minutes away from the Palmer Museum of Art. I visit campus often and relish every chance I have to walk through its quiet galleries, or draw inspiration from the summer blooms at the nearby arboretum.

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More on Erin

www.erinbolgerwelsh.art Instagram: erin.bolger.welsh

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Just as my studio space expands well beyond its four walls, I am a teacher outside of my school. My driveway is a spot for art workshops — typically the mosaic variety — for fellow art teachers or other interested artists.

I’ve held grout parties in my studio and hosted late-night hangouts, tiling in my garage with some of my favorite people. My backyard has boasted summer morning art classes — for my children and their friends when they were preschool age.

I do online Zoom sessions from my studio sofa, in front of a favorite painting I made while in college, with my critique group or my art teacher organization. During the pandemic, I taught my students online from the safety of my studio, peppering my lessons with bits of my own work, surrounded by the same art chaos they were accustomed to seeing in my high school classroom.

I am so inspired by my community of creatives — the many friends who are artists, and artists who are friends. My children and their own boundless creativity inspire me, as does my husband and his work and the bikes that have filled up our garage. I am grateful for my art community and honored to be a regional leader in the Pennsylvania Art Educators Association.

It is my goal, as an artist and a teacher and a mother, to put positive energy out into the world. In teaching, I see the hopeful spark of “becoming-artists” in my students. No matter where I am making art, or helping others in their own creative process, my studio houses the energy, the materials, and the spirit I bring with me.

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OZZIE and Delight Rogers

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OZZIE is a 3-year-old Australian shepherd who arrived in this world during COVID. He lives with his family in a tiny village in Northern Ontario, Canada. Like most Australian shepherds, Ozzie has a lot of energy and needs a job and a purpose. He arrived in his forever home to be a playmate, but quickly made himself invaluable in so many more ways.

H

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ello, I am wagging my tail in greeting right now. My name is Ozzie Rogers, aka The Oz Man, and I am here to share my story. I am Delight’s loyal companion, self-appointed wellness coach, and an artist in my own right. I sure am glad that I joined this family when I did. Delight may not have realized it, but she needed me.

Sometimes I have to help Delight get inspired creatively and then, together, we create some truly special art. We collaborate. I hold a brush with my teeth or guide her hand with my nose nudges and tail wags. It is a fusion of my human’s creativity and my canine intuition.

I’ve got an eye for all things creative, and I know good art when I see it. My days are filled with art.

My head fills with the scents — the smell of paint, the faint traces of past masterpieces, and the comforting scent of my partner and friend.

When I create solo and get in my flow, my paws become my paintbrushes and abstract masterpieces appear on the canvas. My marks are bold, free and untamed, just like the wind in my fur during a fast run. Colors have become my friends.

I’ve developed a deep appreciation for how the blues and yellows come together to tell stories that can only come from a dog like me.

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s Delight’s wellness coach, I am her guide on the journey to a more peaceful and grounded state of being. I know that painting is the thing that makes her most happy, so I faithfully support her while she’s busy doing that, but I also have the job of making sure she takes breaks and gets outside into nature. That’s the other thing that makes her feel really good — nature — and that part is my favorite part, too.

We take trips to the lake, walk in the rain and play catch in the park.

Let’s talk about mindfulness. I’m a master of living in the moment. On our walks, I’m not thinking about what’s for dinner or what’s on TV later. No way, I’m fully present, soaking in the sights, sounds and scents of the world around us. I have to remind Delight to do the same. The prize: no more racing thoughts, just pure unadulterated Zen. Our favorite movie is based on the book by Garth Stein, The Art of Racing in the Rain. It makes us both sad and happy at the same time. Delight and I have a good cry. I have to tell her every time that crying is cathartic. The messages in this movie really speak to me and I encourage her to meditate on these morsels of wisdom: There is no dishonor in losing the race. There is only dishonor in not racing because you are afraid to lose.

That which is around me does not affect my mood; my mood affects that which is around me.

You should shine with all of your light all the time.

When Delight meditates, it isn’t much fun for me. She wants me to not move and not make any noise. A lot of the time I’ll bring her toys just in case she’s not focused and needs a happy distraction.

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www.delightrogers.com Instagram: delightrogers_art Pinterest: Pinterest.ca/delightrogersart Youtube: delightrogersart Facebook: delightrogersart

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irst thing every morning, we are ready to hit the nature trail for a brisk morning walk. Sometimes I have to remind Delight how invigorating the crisp morning air will be! I lead the way, of course, setting a “just right” pace. Together, we conquer those hills and join the birds in greeting the sunrise.

Guess what else? I’m an expert downward-dog practitioner. Aussies like me can stretch and contort in ways that’ll have your jaw hit the floor. They don’t call me The Oz Man for nothing! Delight prefers yin yoga and for me, the long stretches are a little tiresome. I use this time to perfect the resting dog pose! I think I may have invented this one myself; nevertheless, it’s a good one.

Any good wellness coach knows that it is as much about the heart and soul as it is the body.

That’s where cuddle time comes in. When she needs me, I will be there with a wagging tail and a gentle nudge, ready to climb into Delight’s lap and use the power of connection and love — it’s the best medicine. Sometimes, that’s all we need.

When we are not creating art or practicing wellness, I follow her everywhere. Sometimes I can tell that she doesn’t like it, but how else can I keep her safe?

As a dog, being an artist and a wellness coach is quite a ride. It’s in the rustling leaves, the crashing waves, and the warmth of a sunbeam on my fur. It’s in the connection I share with Delight, the walks in nature and the art we create together.

Through it all, we have discovered that art and wellness aren’t what you create — it’s what you feel, what you experience, and how you share it with the world. That’s the true essence of being.

THE

ONE THING

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