Makers to Know: Amira Rahim

I've admired Amira's work for a long time because her paintings always evoke such good energy. If you're a fan of bright color and high energy marks, keep reading to learn more about Amira! 

BB: For those of us who are meeting you for the first time, can you tell us a bit about your background? How did you get started?

AR: Well, my name's Amira Rahim! I've been drawing and painting for as long as I can remember. Drawing was just something that came second nature to me and I would spend my early years buried in books. I was a huge book worm and not just for the stories. I used to dream of being an illustrator someday. I've been painting professionally now for the past 3 years. The first year was really an uphill battle. I was a new expat in the United Arab Emirates and finally decided that I was going to follow my dream of being a "real" artist. But I didn't have a style yet. So my first year was a lot of failed paintings, lots of tears, but lots of growth too. I'm happy I went through all the miserable paintings because it led me to finding my voice as an artist.

 "Sisterly Love" 

"Sisterly Love" 

BB: Your paintings are bright and full of movement. Where do you draw inspiration from, and how would you describe your artistic perspective?

AR: Much of my work is quite simply about color. Lets just say that living in the Arabian desert will really make you appreciate nature. The lack of color and nature really forced me to look internally for inspiration instead of externally and I'm happy for that. My paintings are energetic by design. I want people to look at my work and feel happy, cheerful, or simply at peace. I love when someone's standing in front of one of my paintings and you can just see them find a piece of themselves in it. I guess you could say my artistic perspective is one of passion, color, and joy.

BB: When you begin a painting, what does your process look like? How long can a painting take to complete, and how do you decide that you're finished?

AR: I like to start with a feeling in mind. Often times I'll approach a blank canvas and thing "I want something feminine," or "I want something crazy and bright". But that's really it. I paint primarily in acrylics these days, and so much of my process lends itself to the materials that I use. I am able to incorporate texture, rich colors, and shapes relatively quickly in my work and that's because of the language I've developed and the relationship I have with all of the paints, inks, and more in my toolbox. I tend to approach a painting like a science experiment. I drop my projections or expectations and just allow it to happen. I'm either going to love it, or I'll set it aside and work on something else. There's very little attachment in the process and that's what allows me to keep painting every day. It's so easy for fear to creep into the creative process but we have so much fear in our daily lives. I don't need fear in my studio.

 "Soft Shock"

"Soft Shock"

BB: What has been a challenge that you’ve faced as you’ve established yourself as an artist, and how have you overcome that? 

AR: Juggling marketing, fulfillment, customer service, photography, all while staying inspired and creative to paint each day. It truly is a balancing act and I think many times people forget it's just you on the other end of the website. That can be hard when you're dealing with different needs and attitudes of people. I try and separate myself from my business these days. In the beginning, I took so much personally and was quite a workaholic because of it. Ok, I'll be honest, I'm still a workaholic, but I give myself permission to detach and take a day off when I need to.

 "Memphis"

"Memphis"

BB: You recently completed 30 paintings in 30 days, which is quite an accomplishment! How was that experience for you? What were some of the challenges you encountered, and what did you get out of this practice?

AR: This year was the 2nd time around for me doing the 30 paintings in 30 days. It is intense, haha. I'll leave it at that. Every year I experience something different. This time, I gave myself permission to do abstracts only and not try and chase some new goal. It went really well. You get a lot out of doing the 30 in 30 challenge. For starters, you get inventory. And if you're struggling to complete work on a regular basis, then doing a challenge like this, even if you only do 15 out of 30 days, that's still 15 more paintings that you wouldn't have made otherwise. It's also a great way to test out new ideas and see how your fan base responds. Sometimes, I'll try out new color schemes or techniques during this time period to test the waters. I'd highly recommend it. Just be prepared not to be good for anything else during the month. No cooking, no housework, just painting. Haha

BB: Lastly, can you name three emerging artists or makers that you would love to see interviewed here? 

AR: A'Driane Nieves, Hafsa Khizer, T. Kimberlyn Art

Find more of Amira's work here: 

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    Makers to Know: Jaqueline Diedam

    I first discovered Jackie's illustrations on Instagram last year and instantly fell in love with her delicate style. I'm thrilled to have her on the blog today and learn a bit more about her! 

    BB: For those of us who are meeting you for the first time, can you tell us a bit about your background? How did you get started?

    JD:  I'm Jackie, Brazilian born in the city of Curitiba, in the south of Brazil. I grew up there and during my childhood my father, who is a pilot with huge talent for fast sketching and creating comics, was always giving me ways to feed my creative side. My mother on the other hand, is a person who always had a entrepreneurial instinct, she worked with creatives in bridal and haute couture scene, then interior decoration, and even had her own baking business for years. She would always get to a great position but then change her heart and chose a new craft to learn. With so much input from my parents, since very young I was enrolled in art programs, painting courses, and by 9 years of age I was having private lessons of oil painting. I was certain I was going to be a painter when older. But, unfortunately, I developed a strong allergy to oil paints and simply lost the interest and distanced myself for this area for a long time.

    During High School, in the process of trying to find a career, I went abroad for the first time to Spring Hills, near Nashville, TN. While studying there, I was really interested in applying for SCAD, but still had no real focus. When back in Brazil, I chose to study Product Design in the UFPR.  Inside this program I went abroad on a study program for the second time, to KISD in Cologne, Germany. Taking a big risk, I chose to stay and live in Cologne. During the last five years, I've realized that my love for design, was much more intense when I had to visualize anything: processes, products, services. This seemed like a good reason to go back to my starting point, and try to paint again. Watercolor became a great passion for me, and the more I did the more I wanted to do it. 

    BB: Your watercolor paintings are detailed, delicate, and soft. What inspires you to be drawn to fashion and travel illustrations?

    JD:  I am interested in traveling and fashion, probably because of my parents influence. I love to paint places I've been, and where I want to go next. I think I put a lot of detail trying to visualize my own memories and expectations of a certain place. I do love to recreate patterns and textures on paper, and I know it's a cliche but it also works a bit like a 'shop therapy'. If I am drawing something I can't afford on my artist budget, I kinda own the piece then and makes me feel satisfied.

    BB: When you begin a painting, what does your process look like? How long can a painting take to complete, and how do you decide that you're finished?  

    JD: It really depends on my mood. Some are fast, and because I work with watercolor the drying time is also quite fast compared to oil painting. Some still life scenes and floral patterns are painted with quick and loose strokes to created a fun, vibrant and careless finish. When working in landscapes or architecture, I tend to take much longer, because of details and textures. I worked on my "Positano" painting, for around 3 months, every day a small area. I also think when I use gouache, I tend to work slower than with watercolor.

    BB: What has been a challenge that you’ve faced as you’ve established yourself as an artist, and how have you overcome that?

    JD: I think there are 2 main challenges that I've dealt with in daily life as an artist. First, is to be able to find time to do all I want. As I was graduating, writing my final thesis, I had no time to manage a shop. I was doing a lot of commissions on the side, but everyday I received emails asking for quotes, for prints and for editorial jobs, and I even tough I wanted to tackle it all, I simply couldn't manage it all. When I was finished with university, the first goal was to actually make a business plan that would allow me to fulfill my plans. I've now opened my online shop, where I sell prints, and also commissions for portraits, and it was a true battle. Not only to find the right work to sell, but to work with all the bureaucracy, taxes, production and logistics of it. 


    The second challenge is to be paid fairly. Owning a small business and being an artist puts you in a very vulnerable position in many negotiations. I get "exposure" and "opportunity" offers almost daily, and this can be very soul crushing. Now, after a lot of experience ( and frustration) dealing with these offers, I've created a thicker skin and became clear about my rates and my value when negotiating projects.

    BB: Aside from illustration, you're also interested in three-dimensionally crafted paper designs. Can you elaborate a bit on your experience with making paper props?

    JD: I started studying Product Design in Brazil. There was a course in the program, probably the hardest if you ask anyone there, called "3D representation" by a professor that was a perfectionist and extremely focused on details. In the first year, our task was to build 3D models, made of paper. Every week. It was a whole year learning different techniques and I couldn't help but ask " When will I ever use this? Shouldn't we learn softwares and how to create digital models?" . 

    I bit my tongue, after 4 years, when I was already living in Germany, me, my boyfriend and a friend had the idea to create a student guide of our city, all illustrated with paper models. The project was a success, and  we are now about to release the second edition with twice as much content. We created sets of postcards and prints, build an online shop, and even had meetings with the tourist board of Cologne to sell our products on their shop. 

    I really love to work with paper, and even tough it's an area that is getting saturated, I still consider it to be a fresh way to create visuals because of the freedom you have between 2D and 3D scenes. 

    BB: For your thesis, you created a board game about gender and design which sounds absolutely fascinating! Can you tell me more about it?

    JD: My main focus during my design studies in Germany was the topic of Gender and Design. This area is extremely important because objects and visuals have great impact on people. One of the topics I worked on before, was to question the problems we have with the color pink today, how it transitioned from a 'boy' color to a 'girl' color ( a fact that most people dont know about) and what it means to society when designers simply 'make pink stuff' for women. 

    The board game I created is aimed to be used in conferences and project development meetings, to try and help to open a dialogue with people that do not know about the area of Gender and Design. The game shows the participants why this subject should be an important part of the design process. 

    Find more of Jackie's work here:

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    Makers to Know: Naomi Ernest

    Naomi Ernest is an artist and photographer whose work is the perfect balance of delicate, intricate details and minimalistic composition. I'm thrilled to give her work the spotlight this week and learn more about her roots. 

    BB: For those of us who are meeting you for the first time, can you tell us a bit about your background? How did you get started?

    NE: When I was younger, creating was a core part of growing up. My parents were both artists-on-the-side, so my siblings and I would spend time painting roses with our mom, posing and cheesing for our dad’s camera, writing stories, starring in our own self-produced plays, building tree houses, and digging up clay from the field to make pottery. In high school, my work was entered in various inter-school art competitions, and I was voted class artist my senior year. Despite a childhood of creating, it never occurred to me that I could choose a creative career. I enrolled at the University of Michigan as a pre-med student.

    Eventually I returned to what I really enjoy and graduated with a degree in English and Literature; writing will always be my first and everlasting love. After I married and started a family, any personal aspirations were put on hold while raising five young children. Still, all during that time, I continued to create, on my own and with my kids, just as my parents had done. After my children all began school, struggling to discern my path, I eventually began a middling portrait photography business, which gradually transitioned into acclaimed art photography. And finally, after almost a decade of searching, it suddenly and decidedly occurred to me that art was where I need to be, and I embraced it wholeheartedly.

    BB: Your paintings are detailed, delicate, and geometric. What inspires you to be drawn to waves, galaxies, spheres, and birthstones?

    NE: The essential element in all of my work is an overall simplicity of composition made up of myriad details. The inspiration for any one subject isn’t usually much of a revelation. My wave line drawings are inspired by Michigan’s Great Lakes... my birthstones began after learning about gems with my 4-year-old... my galaxies bloomed from my husband’s perpetual interest in space exploration. They all start as rather humble sketched thoughts, and I develop them until I feel I’ve mastered and exhausted a concept. Hint: I haven’t yet mastered and exhausted a concept; they continue to evolve. 

    BB: When you begin a painting, what does your process look like? How long can a painting take to complete, and how do you decide that you're finished?  

    NE: All of my work is very intuitive and process driven. I am ceaselessly inspired to try new textures or color combinations, to replicate various techniques with paints or inks, or to experiment with different tools. It is important to me to have a good, simple composition, but as I paint,I allow the details within the composition to reveal themselves, often surprising me with beautiful intricacies.

    Deciding where to begin is often the most difficult task. Once I’ve begun, the success of a piece seems to pivot on how freely I allow myself to work. I often add additional elements like spot gilding or ink details, and deciding on those details sometimes requires letting a painted piece simmer quietly for weeks or even months. I know intuitively whether or not work is finished; some pieces look lovely enoughbut don’t feel finished, so I wait until I discover what’s missing. And then suddenly it’s done. I’ve found it’s so important to be patient with the process, to allow ideas to simmer until they’re ready.

    BB: What has been a challenge that you’ve faced as you’ve established yourself as an artist, and how did you overcome that? 

    NE: 2 things: First, it can be somewhat complicated to work in various mediums—painting, drawing, photography, writing—though I see connections in all my work, it can feel very scattered at times. Yet I remind myself each medium informs the others, and the more I work, the more cohesion I discover. For me, it’s good and necessary to have multiple projects, so if I need a break from one, I can turn my attention to something completely different. As I grow my art and business, I’m becoming less timid about sharing those other facets.

    Second, I am not professionally trained and my background is erratic. Like other self-taught artists, I have had many feelings of self-doubt and insecurities about my work’s worth. Taming that self-fed monster? Just get over it. Trained or not, the value of the work comes when you put something of yourself into it. The really difficult thing is finding your voice, which is intrinsically a journey of self-discovery. But when it begins to speak authentically through your work, the value comes in sharing that bit of yourself with others. 

    BB: Aside from painting and illustration, you're also a photographer of dreamy, blurred, organic images. How would you describe your style of photography and the meaning behind it?

    NE: In all of my artwork, I experiment a lot. I learned so much from my portrait photography about creating properly exposed, tack-sharp images, so I began to stretch and test those standards. My impressionistic photographs area result of challenging the norms of photography—intentionally overexposing, blurring focus, using physical obstructions in the foreground of an image—creating nebulous compositions to address mood rather than subject, all with an overall simplicity. In this respect, I discover many parallels to my paintings. 

    Find more of Naomi's work here:

    Shop: www.naomiernest.com

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    Makers to Know: Carve Out Time for Art with Marissa Huber & Heather Kirtland

    Marissa & Heather have created something that art world desperately needs: a place for moms to connect, and share how they manage to balance art and motherhood. Carve Out Time for Art (COTFA) isn't exclusive to parents, it could be for anyone who is working a day job, or full time students - anyone who makes the effort to carve out a few minutes a day for creativity. COTFA deserves more attention than I could ever give it, and I'm so excited to have these two women on the blog today. 

     Marissa Huber in her element

    Marissa Huber in her element

    BB: For those of us who are meeting you two for the first time, can you tell us a bit about your background? How did you get started in painting?

    MH: I’ve been creative and have painted throughout my whole life. I never thought I excelled at one thing so I didn’t think I was an artist. Years later, older and less self-conscious, I realized everyone has fear and self-doubt, and I should probably get over myself if I ever wanted accomplish anything creatively. Against what most people would think, having my son in 2013 was the best thing that could happen for me artistically. Having a child put me into survival mode, especially since I worked outside of the home full time. I had to eliminate excess and streamline my life just to function at first (it got easier by the way). When I scrutinized my life, I realized how much I needed art– not for fun, but to feel whole, fulfilled and happy. That realization put art to the top of my priorities in terms of free-time, and I realized I must be an artist if it was that important. I also became more selfish with my precious art time and now use it to paint whatever I want, not what people ask me to paint. It is empowering.

    HK: I grew up in a creative family, although neither of my parents were artists in the truest definition, they were both very hands on. They were always building, fixing, crafting etc. So I was encouraged from a young age to be creative.  I attended The Maryland Institute College of Art and a majored in painting.  Most of my undergraduate work was figurative oil paintings.  My work started to change after studying abroad in Italy.  I began to create more abstract compositions.  For the most part I have been painting ever since.  There have been times in my life when it’s taken a back seat, but not for long.  

     Heather Kirtland, glowing with joy holding one of her paintings.

    Heather Kirtland, glowing with joy holding one of her paintings.

    BB: How did the two of you meet, and when did you decide that you should write this book and start Carve Out Time for Art?

    MH: I met Heather where I meet everyone…Instagram! At the time, I was looking for more artist moms to interview. As I did with most artists, I scrolled down to see if she had kids, saw she did, and immediately reached out. When I read her interview, I stopped in my tracks when I read “I’d love to write a book on this topic of art and motherhood, maybe a collaboration Marissa?!” I had never told anyone, but in January 2015, I wrote down that I knew I was going to write a book for artist mothers one day. I just didn’t know how that would unfold. I believe that when you put yourself (and ideas) out there, that things start happening. Especially if you’re ready. I’m so glad Heather took this chance, because our book and our community are stronger because of this partnership. At the beginning of this process, it felt like a crazy idea yet we both believed in it so much. I didn’t even tell my family yet. But we are both so passionate about empowering other women, and we felt this was bigger than the both of us. It’s a calling. Also, it’s more crazy that more books are not already written on this topic. There are thousands of books on making art and crafts with your kids, but a mother wanting encouragement to work on her own creative dreams? You’ll have to search a lot harder.

    HK: Funny story…. Someone I followed on Instagram did an interview with Marissa for Carve out Time for Art, and I was over the moon with excitement.  “Yes! I thought THIS is what I have been waiting for!!”  So I commented about my struggles and experience, and Marissa invited me to be interviewed.  When I was working on the responses I lit up.  I had been wanting to articulate this for so long, and as I got more experience as a mother I wanted to go back in time and tell myself “this is possible." Her final question was about goals or projects that I wanted to do.  It was the first time I ever typed the words for this dream I had to write a book.  A book that was a resource to mother artists. The book I wished was there when I was new at it.  Marissa had already been doing these amazing interviews, so I thought maybe she’d like to collaborate.  So I took a deep breath and typed it out.  That lead to a few emails and then a phone conversation.   Once we talked on the phone, we knew we’d be a good fit. We felt like we had the same vision and man it’s less scary when someone else is doing it with you.  I’m so happy to be working with Marissa.

     Heather's kids getting in on the painting fun.

    Heather's kids getting in on the painting fun.

    BB: What has been the biggest challenge that you've faced during this project, and how have you worked to overcome that?

    MH:  Nobody will be surprised to hear it’s time. But we both knew that when we committed to this project. In fact, we knew it would take away the most from our art time but it’s worth it. This is where being crazy and naïve to writing a book helps us! We don’t know any better. We hijack time where we can. I commute about 12 hours per week. That’s a lot of time that I can dictate to my phone and turn that into an email later, chat on the phone, or mull things over in my head for later. Being moms make us more flexible, focused, realistic, and decisive. We don’t worry about perfection, we just get the work done the best we can and fine tune things later.

    HK: Carving out time, ironically.  Somehow we make it work with texts, emails, and phone calls during our commutes. I think it helps that we haven’t put too much stress on ourselves.  We know that it’s hard enough without beating ourselves up.  So although we are working hard, we aren’t pressuring ourselves with hard deadlines.  It’s a passion and a joy to work on this project and to be a part of such an awesome community of artists.  Whether they are stay-at-home mothers, hold a full time job other than their art, or just come by to find inspiration. 

     Some of the conversations that happen on the COTFA instagram page. 

    Some of the conversations that happen on the COTFA instagram page. 

    BB: What does the process of writing a book look like? Has their been any part of the process that has surprised you? 

    MH: My process is to google a lot, try not to overthink things, stay focused, and keep consistent with our overall vision. It’s hard to not want to cover everything, but that’s not what makes a good book. You need to keep it quite specific in order to truly explore at topic. Again, it’s prioritizing like with the free time. If we tried to cover everything, we’d only scratch the surface on a bunch of ideas. We’re going in with an excavator. I was surprised that it’s so hard to find books on artists who are mothers. There are books that touch on parts of what we are doing, and we’re hoping to bridge some of these bigger ideas.

    HK:  Since Marissa and I haven’t met IRL yet, we brainstorm, and then Marissa is great at putting that into coherent content.  We write and send google documents back and forth.  The biggest things that have surprised me are how when we talk, so many more ideas and concepts are born out of a conversation.  The process is similar to creating visual art in that way.  For instance, the artist takeovers and new ideas for the blog and collaborations have come from book conversations.  We are so blown away by the community, and get daily inspiration from everyone involved.  We’ve got some cool things coming up!  I also consider the fact that we are making something happen that neither of us had even said out loud a year ago,  seems totally magical to me.  

    BB: My favorite thing about Carve Out Time for Art is the great conversations that happen between artists. What have you learned from this growing community of creatives?

    MH: We love these conversations! It happened so organically and I look forward to it each week. Seeing the passionate responses, vulnerability, honesty, and encouragement makes it clear that we have a special community. I see us as one branch of a larger interwoven community that inspires me daily and makes our efforts completely worth it. I’ve also learned that this group is a lot of fun and I want to visit everyone’s studios and paint with them one day.

    HK: Oh my gosh!  Me too! I have been so inspired by this community.  I am humbled by their honesty and talent.  I am so grateful for their support and the advice that they share.  Marissa and I say we get “ALL CAPS” excited by things.  The followers and commenters truly make me ALL CAPS excited when I am scrolling through.  It is also inspiring to know that these smart, talented artist see the need for this book and are so supportive.

    BB:  There is this long-standing belief in the art world that women have to choose between having a successful career as an artist and having children. Tracey Emin most recently stirred up the conversation by confidently stating, "There are good artists that have children. They are called men." How would you respond to this statement, and how do you find the balance between art & family life? 

    MH: Oh, Tracey. My blood boiled at first when I read this statement, and then I read the specific article to understand it more before answering. I’ll go with Amy Poehler’s phrase of, “Good for her, not for me.” Here’s what I think. Tracey Emin grew up in the 60's which was entirely different than my experience. She stated that if she were to have been a mother, she is the type of person that would have had to be 100% mother or 100% artist. I respect her choice of pursuing what was most important to her. I think her comments and perspective are shaped from a specific era, art scene, and ideas of what it means to be an artist. When I view her comments, I see them through the lens of someone fighting their own battles of gender issues in art. A generation later, perhaps our battles and struggles are similar yet  different. I find it the most sad and feel sorry that she felt she had such a limited choice or thought that she did based on what she had seen of artist mothers. I’m sure many other female artists felt the same. Look at how artist women married to artist men were asked about “living in the shadows of greatness” such as Lee Krasner or Elaine de Kooning. Let’s be gracious and cut Tracey some slack, and hope that this comment is not the only one females hear when they’re wondering if they can still create art and raise a family.

    Her comments go back to what the conversation always goes back to. What is art? What makes art good? What makes someone an artist? We’ll be having these conversations forever. There’s too much to write!

    Me personally – I don’t have aspirations to be a famous artist or be featured in the MoMA. I don’t know if my work will ever be great, nor does it matter. We don’t all have to be the best, we just have to grow to the best of our abilities. To me, what matters is that I take the time to put my work into the world. I’m sharing my work with people I care about. I’m connecting with like-minded individuals who appreciate what I appreciate. Would I still be doing this if nobody were there to double tap on an IG photo or comment? Yes, I would. It makes me feel fulfilled to create and not just consume. It’s not for glory. It’s for the feeling I get when I am painting and time slips away. It’s for the feeling of peace and accomplishment that makes me feel fulfilled and a better version of myself.

    In terms of balance? It’s a see-saw, not a balance as I’ve heard stated (I think by Joy Cho of Oh Joy). I can’t have it all. But I already have so much. I have a healthy family, I get to create, and I have a job that pays the bills. I’m very aware of struggles of people all over the world, and know how fortunate I am. The fact that my biggest struggle is having time to create is hard sometimes and I get cranky, but it’s in perspective. I do the best I can, cut myself slack, am kind to myself, and try to banish mom guilt and encourage others to also. That’s my balance!

    HK: As far as the Tracey Emin statement, every time I read that article I have to talk myself down.  It hits a hot point with me, probably because this theory was an undercurrent during my college years.  It was a very male dominated painting department and this concept just seemed to be a given.  I didn’t see it affecting me, mostly because I wasn’t even thinking about children at that time in my life.  My head was down and I was painting.
     

    What I think bothers me the most is that this is a successful woman artist who has the platform to be heard and she uses it to further this misconception.  She speaks to the discrepancy in the art world based on gender and then goes right into supporting the biggest reason it’s there.  Perhaps it is a true statement for her, if she left it at that I’d support her opinion.  For me, I feel that the experience of motherhood has pushed me to make better work.  

    I feel like “balance” is a mythical concept that was made up to give us something else to attain.  In truth, there are moments of balance but they don’t last long.  I am truly learning as I go.  I find that I try to be fully devoted to the task at hand.  I schedule studio time, and even more importantly time to sketch, think and have mental space.  This allows me to focus on my family when I am with them.  Now it certainly isn’t a hard and fast rule.  There are times in my day that are pretty chaotic and I have to address the business side of my work immediately and that looks like me scrambling to type something one handed while my two-year-old uses crayon on my office desk, and my five-year-old is asking me a million questions.  I try to involve them in creating side by side with me (Great for the 5 year old, unintended collaborations happen with my two-year-old – not the good kind).  I also am constantly writing down ideas and sketches as they come to me, most inconveniently that usually happens the most while driving. Which leads to some pretty humorous talk-to-text notes.  I also have post it note ideas everywhere, as if I am some sort of mad inventor. Some days go better than others. 

     questions to the community on COTFA's instagram page 

    questions to the community on COTFA's instagram page 

    BB:  Aside from painting and writing, are there any fun side projects that you’re working on? 

    MH: Those are my fun projects, which makes me smile. Yes, I have always wanted to be fluent in Spanish. Living in South Florida again and working in Miami means I have so many opportunities to practice. I love the Spanish language and it’s so much fun to learn more. I’m also looking to do fun collaborations this year with creative friends. But I’m letting those happen slowly and organically so I don’t spread myself too thin. I’m crazy, but realistic!

    HK: Our house is an on-going project and I would love to finish painting the molding and a few rooms in our house.  Oh wait, you said fun.  I am in the idea stages of curating an art show that brings some unique artist together.  I am also dreaming about collaborating with other creatives, possibly outside the art world on some ideas too. I am trying to stay open for whatever comes my way.

    Thanks for reading! Keep up with Marissa & Heather and be sure to check out Carve Out Time for Art at the links below!

    Marissa Huber: 

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    Heather Kirtland

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    Carve Out Time for Art

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