This month our artist spotlight is Sarah M-B, she kindly took the time out of her busy schedule to answer our questions, and answer she did!! I think this is our longest interview yet so make sure to go on to page 2 of the interview:) You won’t want to miss anything!
I also thought I would let you guys know that Sarah will be donating to our yearly give-away that will be held right around Breyerfest. So keep on posting and getting those member points, your gonna need them! 
You can see her site here
How did you get started painting/sculpting model horses?
Two jars of Testors jar paint, one black and one white, a cruddy 50-cent craft brush and a hapless Classic Mustang Stallion. He ended up the most bizarre pinto imaginable, but I was so proud of him at the time! I eventually threw him out, but cha know, I wish I had kept him. Now my first official introduction to all this was an old JAH I got from the local toy store that sold Breyers. In it, Liz Bouras wrote about customizing and there was also an article about Nancy Strowger. I was fascinated and made my first earnest customizing attempts on my own OF Breyers. Then I learned about a local club, the Bay Area Model Horse Club, and attended my first live show, the club’s championships. Gosh…I remember getting up in the morning and packing all my custom models in bath towels, in laundry baskets, and driving to the hall and walking in, not knowing anyone or what to do…just like it was yesterday. There I learned so much more about customizing and activities, met a bunch of super people and had a great time! And later that year I attended my first “big” live show, WRC in San Clemente , hosted by Laurie Jensen. My Mom drove Janet Piercy and me down there, and I met a bunch of people who eventually became good friends. And so many gorgeous models! I was completely hooked!
Would you rather spend your time sculpting or painting?
Oh sculpting, hands down. I’ve always been a sculptor, not a painter, and I enjoy sculpting so much more. I think I’m a much better sculptor than painter because of it too. Often when I finish a sculpture or a custom, I think, ”Oh drat, now I have to paint it!” I’d much rather spend my time sculpting another piece. So I find it amusing when people refer to me as a painter, because that’s not exactly what I am. Which is why I think these past six years have been so difficult for me…I tried to focus my emphasis around painting without realizing that my real passion was sculpture. But I guess it took the gauntlet to finally recognize that! Everything happens for reason. So now that I have aligned my studio life more closely to what I truly love to do, I’m far happier for it. Now I can’t wait to get up in the morning and get into the studio!
What was your first job, and did you ever envision yourself working on model horses back then?
My first job was caring for two horses (a Morgan mare and a TB gelding) and two Dobermans for a man while he was at work, and also doing some maid service for his company at night. I also sold my beaded jewelry and equine flatwork at some local art festivals and in local galleries. Heck, my major in college was Environmental Studies and I graduated from UCSC with honors in that field. But when it came down to it, equine art was my passion, so I literally just jumped into it. I looked back only once…it was recently during my internal battle with my painting backlog. Geez, a job flippin’ burgers seemed like a better option, but now that things are straightened out, it’s wonderful again. But while I was in college, it never dawned on me that I’d be making a living as an equine artist, but now that I am, I can’t imagine myself doing anything else. It’s truly a gift to make a living at what you love to do! So, to me, I don’t actually “work”, in the drudgery sense of the term, I just get paid for what I was meant to do. Like Joseph Campbell advises, ”Follow your bliss”.
Does your significant other (spouse, boyfriend, etc) understand and help you with your hobby? 
Happily, my husband, Christopher, is very supportive and enthusiastic about my work. He enjoys setting up studio situations for me and encourages the development of my work a lot. He also has great respect for what I do and tends to brag about my work, much to my embarrassment! My parents were also very supportive of my artistic streak, sometimes much to their chagrin, but for which I am eternally grateful. So I have a long history of encouragement, a true blessing.
How long does it normally take you to paint or sculpt a model horse to completion?
Oh gosh, that’s dependent on so many things. I can do a very complicated dapple grey in as little as four very long days or as long as three months. I’ve been able to complete a sculpture in just under three weeks and some have been sitting here for nearly two years. So it’s hard to say. But I think a lot of it has to do with The Zone, that state of being where everything clicks and you find that somehow this thing is creating itself. You don’t think, you just do and in a mysterious way your best work at the time unfurls before your eyes. Truthfully, I create my best and my fastest when in The Zone. But this state of being is an engineered thing, produced by an environment with no distractions, no stresses and being jazzed about the piece. So I work very hard to minimize stress and distraction, which means I lead a very simple, uncomplicated, quiet routine life. It also means that I strive hard to do something new with each piece, like exploring a novel way of expressing anatomy, expression, color, design or mood. I’m happiest when in The Zone, so I strive to be in it as much as possible. It’s my meditation and mantra of sorts. So I guess I can say that the completion of a piece can be wholly dependent on this, which isn’t much of an answer, is it? Doh! Sorry.
Where is your designated model horse working area?
A spare bedroom has been retrofitted into a studio with bookcases, shelves, bulletin boards and anatomy charts. Another spare bedroom has been turned into my office and half the garage has become my Dremel station, storage, primer and packing station. But we have plans to move the Dremel station and storage into an outside assembled barn soon and move the ceramics production into the garage sometime this year.
Do you have any special decorative items in your workspace to help spur your creativity?
My studio is my own personal space, so it’s encrusted with special items such as photos of friends, family and critters and lots of drawings, cards, items and memorabilia given to me that make me smile. There are printout of quotes that crack me up, along with horse prints and decorative plates (two were painted by Kathleen Moody!). A watercolor painting of an Arab by Barry Moore (Lynn Fraley’s hubby) greets you as you enter, and I have framed the Jack Russell cards that D’arry has sent me over the years too. Collected medallions are displayed on the wall, along with a collection of art glass ornaments (I adore art glass!) that hang in the window. Also hanging in my window is a cool pewter dragon holding a crystal and when the light comes in just right, rainbows dot the walls. Plants sit in the window and, of course, one of Dar’s horseshoes is nailed on the wall! It’s a similar thing in the office too, and it’s where the Blobs live in their giant cage (aka, my rats), right next to my computer. Some fun things here are the pastel painting Laurie Jensen did for me of a mouse with an acorn in his mouth, a rock painted like a rat that Laurie gave me, a super cool horse head bust sculpted in ceramic by her daughter Merryl (both are great paper weights…valuable things in this chaos!), a wonderful glazed gooey hamster sculpture Lesli Kathman did for me and two whimsical mouse wood carvings given to me by Darian Buckles and Lynn Fraley. And, of course, the “Ninja Hamster” from Bonnie Robb, which no one alive can resist activating and mimicking! “Everyone was Kung-Fu fighting! YEEEEHA!”
What mediums and techniques do you use now, and which would you like experiment in the future?
I’ve always used acrylics for models because I’m far too impatient for oils to dry. In the beginning, all I did was dry brush, start to finish, grinding the raw pigment into the surface. I went through a lot of brushes, but mostly it was murder on my hands and I knew I couldn’t keep it up. When I did my Artisan Hall horse for the Stone Company, I picked up an airbrush for the first time and got a heckuva crash course. Many thanks go to D’arry Jone Frank who showed me invaluable tips and offered lots of encouragement! Some of my fondest memories are of her and me painting our respective Stone horses at the roaring spray booths, fresh coffee and Jack Russells a-plenty. And when I came home from that, I got an airbrush for myself and Laurie Jensen generously sent me her extra compressor to get me started. Painting has been a far more pleasant experience ever since, lemme tell ya. I think the airbrush improved my results too because I never liked the graininess the complete dry brushing produced. So now I use a combination of hand painting, sponging, dry brushing, color pencils and airbrush. I’m also still experimenting with metallics and iridescents too, trying to figure out how to make them work to my liking with my methods. But overall, I rely heavily on the use of color to make my paintjobs distinctive, such as complementary color mixtures with blues, purples, greens, oranges, reds and other non-horse colors to create my palette. And Lesli Kathman introduced me to the use of color pencils, which are now a staple for hooves, manes and tails. I’d like to try pastels eventually too, but everything in its good time. And I’ll be getting into glazing soon, so that’ll be a whole new horizon to explore.
Do you have a favorite color or breed that you like to paint/sculpt the most?
I really enjoy dapple grey. Not only is it my easiest color to paint (probably for that reason), but it also has many challenging aspects and variations that can be so pleasingly chaotic and spontaneous. No dapple grey is the same, which is a lot of fun. I also enjoy painting sooties, dilutes and silvers for the same reasons. Plus, I like painting chestnuts because of the rich tones, and I like pangare a lot. And, oh, am I a sucker for roans! The color I least enjoy painting, though I love the color itself, is bay. That color is just so dang difficult for me because of my style and technique, so that’s why I rarely paint it.
As for breed, I used to be fixated on Arabians, but as I developed, I woke up to the plethora of equine phenotypes. And honestly, I realized boredom loomed with repetitively creating one body type. So at this point, I don’t have a favorite breed or physique for subject matter, and find inspiration in all horsey forms. But I definitely want to try my hand with the wild ones, such as the Takhi, Zebras, Onagers, Kiangs, Quaggas, Kulans, Wild Asses, etc. And I think domestic donkeys and mules would be fun subjects somewhere down the line too. I’ve also even been toying with depicting his evolutionary ancestors, which would be a fascinating exploration in both research and imagination.
What other artist/sculptor/hobbyist do you most admire?
Oh my good golly! The depth of talent in this community flabbergasts me every day, so there isn’t just one person who I can point to and say “ta-da!” Really, we are so very fortunate to have so many talented folks in our midst. For starters, I’ve always been an admirer of Edwin Bogucki’s work, which now applies to his daughter, Kathi, as well. I also relish the gifted work of Brigitte Eberl, Sarah Rose, Carol Williams and Lynn Fraley. And Pamala Hutton is certainly a marvel! And Diane Capwell’s paintwork astounds me too. My jaw also drops at the works of Hillary Hurley, Danelle Feldman, Carlee Balling, Danelle Gatcombe-Harmon, Sonya Johnson, Thomas Bainbridge, Kitty Cantrell, Kristi Sawin, Ed Gonzales, Stephanie Blaylock, Michelle Locke, Caroline Boyston, Melanie Miller, Elaine Lindelef, Paige Easley-Patty, Simrat Khalsa, Kathy Curtis, Tracy Eilers, D’arry Jone Frank, Lisa Rivera, Liz Bouras, Jenn Danza, Donna Chaney, Judy Renee Pope and Jennifer Kistler. And I slobber over the glazework of Joan Berkwitz, Lesli Kathman (and her customs too!), Paige Easely-Patty, Kristina Lucas-Francis (her other work too!) and Lynn Fraley. And we have some wonderfully gifted up-and-comers too, like Addi Velasquez, Stacy Tumlinson, Morgen Kilbourn, Lexie Lawrynovicz, Melissa Mistretta, Kristen Wellman, Nathan Ball, Denise Gimmarro, Stephanie Michaud and Katie Younger-Gerhrt. It’s always a joy to see talented new folks excel and succeed! As for vintage inspiration, I admire the work of Julie Froelich, Nancy Strowger, Laurie Jensen, Bev Zimmer and Michelle Grant. For outside this venue, I look to the works of Edwin Bogucki, Maureen Love, Michelle Grant, Anna Hyatt Huntington, George Stubbs and Susan Leyland for inspiration. And for “deep” inspiration, that designation falls squarely onto Dr. Deb Bennet, who has been instrumental in waking me up. Her guidance illuminated so many things about my previous artistic perspectives and I’m on a far more honest path now.
Do you like to listen to music while you work and if so what kind of music?
Oh boy…gosh…I like so many kinds of music! My Mom was a music teacher (and English teacher), so music of all sorts was a part of my upbringing. We’d go to ballets and operas together in San Francisco and, in fact, in February, Mom, hubby and me are going to see “Carmen” here in Boise . So I was raised on classical, opera, The Beatles, The Beach Boys, Elvis, Neil Diamond, Simon and Garfunkle and Bob Dylan, thanks to my parents. And in addition to all that, I like (other) folk, blues, classic rock, some disco, world music and Celtic stuff, along with Loreena McKennitt, Mediaval Baebes, Enya, Tori Amos and bagpipes (yes, I like bagpipes!). But I also like The Cramps, Siouxsie and the Banshees/The Creatures, The Clash, X, PJ Harvey, Yeah Yeah Yeahs, Echo and the Bunnymen, David Bowie, etc. Hold overs from my punk youth I guess. I had a mohawk in high school; heck my senior portrait is me with a mohawk. I also like 80s music since I grew up with it too. Hey…I’m all about Wang Chunging! Surf music is cool too, so Dick Dale, The Ventures and various other surf sundries are in my collection as well. So I guess it all depends on my mood regarding what gets popped into the player.
But really, Mystery Science Theater is king in the studio. Typically, it plays constantly while I work. Viva Tom Servo! I remember one year at WRC in Las Vegas (oh, I guess it was back in 1990), I dressed up as Tom Servo, Ed Gonzales was Manos, Laurie Jensen was Torgo, Steph Robson was a Manos maiden and Janet Piercy was a Giant Killer Leach (in a big black garbage bag!) and we went tearing through the Show Boat chasing after Kay Myers, who was dragging….er…”walking”…her rubber chicken on a leash, all of us laughing hysterically. We ditched security and piled into an elevator and the folks who were already in there became one with the opposite wall! Then we got locked out of our room and had to beg the maid to let us in. I can only imagine what she thought! Oh gosh…we were nuts! Julie Froelich got me started on MST, and she’d send Laurie and me tapes of the show, which we’d pounce on and brazenly devour. And I have many happy memories of Laurie and me creating horses together, bellowing with laughter while MST played.
What kind of background did you have in art before you started working with model horses?
Well, I was self-taught mostly, and enthusiastically filled up lots of sketchbooks with hours of drawing from life, photos and imagination. I still have some of them and though I cringe now because the drawings are so goofy, I do remember the energy at the time they were done, so I’m glad I kept them. I wonder if I’ll feel the same way about my work now, twenty years in the future? I dabbled in oils and did a few paintings, which my parents have, and I also used chalk pastels, color pencils and graphite. It wasn’t until I started painting models that I used acrylics, and it never occurred to me to use pastels or color pencils on models until others did! <smacks head> In junior high, Mom enrolled me in some private art classes so I could learn how to use various media. I also took some art classes in summer school, high school and college, but I got disillusioned when I was repeatedly told that equine art wasn’t worth doing and, instead, I should be doing “real art”, whatever that meant. One day in college, in a frustrated mood, I put together a collage for an art assignment the morning before it was due. I totally didn’t care about it and just threw it together, then simply made up some nonsense to imbue it “profundity”. I got an “A” and then decided that such classes weren’t for me and I’d be better off simply doing what I wanted to do, on my own terms. So it’s been darn-the-torpedoes ever since. And despite what some art types will try to tell you, horses have been the subject of “high art” for centuries and are a very worthy subject, being so instrumental in human civilization and striking such a primordial cord within us. Indeed, da Vinci himself wanted to be remembered by a gigantic bronze horse and those ancient cave paintings are peppered with gobs of horses! We have an ancient, profound bond with horses.
Everyone mainly thinks of you as an artist but as a collector what do you collect the most of? OF’s, resins, etc….
I collect Laurie Jensen Stone OFs when I can…I have a Raingod, Snap Dragon, Coho and a Golden Nugget (and a Half-Angel on order). I also collect naked resins for myself, though I often have a hard time wanting to paint them since they have such inherent fascination as a naked sculpture to me. I really enjoy the sculptural interpretation by another artist because it’s like one sculptor “talking” to another. Generally speaking, what I gravitate towards for my own collection is work that’s technically good, but naturalistic.
And because they have a unique charm and nostalgia for me, I avidly collect vintage customs, particularly those by Julie Froelich and Laurie Jensen. Julie was so ahead of her time and her pieces are very appealing to me because they’re so distinctive. And I have a particular yen for Jensen Adios customs, PAM customs and some Lady Phase customs she’s done. I adore the Adios mold. Oh, I know he’s got issues, but he’s just darling to me and I like how Laurie plays him up. I also collect modern customized pieces if I can afford them. And I do have some holy grails…some specific pieces by Strowger, Froelich, Jensen and a Fraley Koko…I just love that piece! I also collect medallions (like those given for awards or giftware) and have some cool ones by Lynn Fraley, Laurie Jensen and Paige Easley-Patty.
Do you show ? halter? performance?
I don’t show anymore really, at least my own work. I don’t get a charge from it anymore and dislike competing against my customers. And, really, I get bigger smiles from seeing them do well with my pieces. Besides, I’m far too distracted with visiting so I miss my classes anyway! But occasionally I’ll show the work I have by other artists, only halter though. Performance isn’t for me. I’m too interested in the horse as an autonomous creature rather than what we do with him, so that’s why so many of my pieces aren’t performance oriented. Plus, I have no patience for all the little fiddly bits of tack, though I admire those who do. I used to make Arabian halters and I made two Arabian costumes, but while I enjoyed it, one only has so much time and energy and my passion really lies with the equine aspect of this activity.
What is your biggest pet peeve (model or otherwise)? 
Oh boy, this is gonna be long and I’m sure folks will be thinking, “Geez! She HAD to ask!” ha ha! Yes…I do have some pet peeves because, in my view, they’re weights on this activity that impede its growth…
- First is the assertion that a horse isn’t beautiful or suitable simply because he doesn’t conform to one’s ideals. This is why I have a hard time with some conformational points as infallible dogma when they’re really, at best, just working theory or marketing gimmicks, and ones that don’t account for the bigger influence of good horsemanship and the horse’s heart to boot. To me, there’s absolutely no such thing as an ugly or useless horse, only horses with more distinctive characteristics or perhaps in need of more advanced horsemanship. Each horse is fine just as he is, given he’s healthy and happy. And each horse is an individual, like us, and I enjoy the eccentricities, differences and quirks. We people have enough baggage we heap onto each other, so I like to leave some if it behind when I’m in the studio. So, yes, I get a little tired of the cookie-cutter, Barbie doll expectations that overlook his intrinsic worth and dignity. It’s the unique combination of our strengths and imperfections, our history and our purposes, that make us who we are, and the same is true for horses. There’s no such thing as perfect and there’s no such thing as one perfect for everybody too… and thank God for that!
- Second is problematic workmanship becoming highly successful, which means there’s disconnect in the understanding of good work. This gives the wrong message to both the artist and the customer, which can impede growth rather than nurture it. Now I don’t mind if someone loves a problematic piece “just cuz”. Heck, I certainly own many pieces “just cuz” and in the learning process created some myself. Honestly, “just cuz” can be a beautiful reason to own a piece, as long as things are kept in perspective. Now to me, good work exhibits a command of all the subjects that constitute a viable, healthy, happy horse expertly translated into painted sculpture. This entails everything from the ABCs (anatomy, biomechanics, conformation) to the quality of the prepwork to the mastery of the media/effect to the soul and character of the piece to the honesty towards the equine as a happy, gracious spirit. And that last point is especially important to me since depictions of the equine that veer towards harmful or misguided phenotypes, horsemanship or management trouble me. It reveals artistic blinders, and I can say this because I went through the process of removing my blinders when I came to recognize erroneous information.
My third pet peeve is “now” judging, or judging only according to the current trends, standards and ideals of the modern showring. IMO, this perspective is problematic because it prejudices against depictions that don’t currently exist or aren’t recognized in the modern showring. Really, what better way to squelch an honest celebration of the horse than needlessly chopping out the greater experience of the animal, which is far older, more diverse and infinitely more interesting than today’s showring? When I judge a resin Arab class, for instance, I don’t prejudice against historic forms or colors in lieu of modern phenotypes or conventions, and I don’t prejudice against pose, expression or grooming (or lack thereof) either. Rather, I pick entirely on workmanship…Who came closest to recreating an authentic, viable, life-like Arab with thoughtfulness and skill? Yet I know there are plenty of judges out there who’ll favor the modern showring presentation and criteria, even with inferior workmanship, because that’s their comfort zone and they default to familiar visuals. In blunt honesty, militant breed dogma is tedious to me because it usually reveals a loss of perspective or regurgitation of marketing propaganda. Absolutely, it’s two different things to be involved with a breed and wholly another to See it, balanced within its history and evolution. If I had a nickel for every frothing breed aficionado who was completely off-track, I could buy a Caribbean island and you can all visit. And I can recognize a frother rather quickly because I was one, but thankfully woke up. So, in my opinion, the factual history of a breed or type, horsemanship and the entire span of equine evolution should always be kept close to heart in the studio because modern showing has distorted or jettisoned so many important things. And horses do far more than walk, trot and canter in the acceptable ways dictated by the showring, and spend most of their lives striking positions totally unlike what it demands. Or they’re at work, doing the things they were bred to do, and their rider doesn’t have a care in the world about a ribbon or trophy. And whatever happened to the grace of the mixed breed or grade? Sadly, now-judging often inspires a desperate stretch for purebred assignments and other conventionalities for models, sometimes to improbable or inappropriate ends. Really, as a judge, I’ve seen a multitude of brilliant models that would have done far better under me with a description that wasn’t so desperately grasping at straws. And I encourage people to ask me about assignments for questionable models before I start judging, because I want good pieces to do well! It pains me as an artist and judge to mark down a wonderful model because of problematic assignments. So I perceive now-judging as a real shame…how unfortunate to deny the greater, richer part of equine existence. So I’m very happy to see more artists, collectors and judges appreciating the different facets of the animal other than the narrow aspects of the modern showring. Kudos to them!- And my fourth peeve is a general lack of common courtesy and humanity lingering in our community towards artists. Our products have been morphing into something more sophisticated than what they were in the past, as have the expectations that drive their creation. Yet some of the attitudes out there still maintain they can be altered, duplicated or recast as one pleases, despite the wishes of the artist. Aside from the legal aspects, it’s simply a destructive attitude to dismiss artistic intent because it does nothing other than to erode the infrastructure of our industry and create derision.
Really, the issue is quite simple, read an artist’s policies and abide by them. If you don’t like them, don’t purchase the work. And buy what you like 100%, faults and all. I do cuz I can’t imagine shelling out hard-earned money for anything I wasn’t totally nuts about…and I have a very nice collection I love as a result. And it’s always better policy to buy finished pieces that you’ve inspected, rather than commission work, unless you’re commissioning from a tried-and-true artist who consistently churns out pieces to your total satisfaction in a reasonable timeframe…though they are exceedingly rare, to be honest, but they’re there. And if alterations, restoration or updating is desired, just ask first. It’s simple courtesy. Most artists don’t care and some can even provide referrals for such things. But if the answer is “no” or the artist can’t be located, either be happy with the piece as-is, sell it to someone who would be or don’t buy it. The truth is that buyers should be careful from whom they buy…do your research, and that includes any policies or practices that aren’t compatible with your own sensibilities and goals. It’s the compassionate, commonsense things we do for each other that will shape this community in healthy, structured ways and provide a more welcoming environment for more artists, collectors and innovation. My hope is that people understand that we’re each responsible for protecting the future of this activity, and the foundation of that protection is honoring reserved rights, even if you don’t agree with them.
Is there any particular resin that you would love to work on, that you haven’t painted yet?
Oh lots!…already in existence and I’m sure in the making! For those I know I can’t, I’d enjoy painting a Fraley Koko or a resin version of Rain or Shine ( Lynn ’s big drafter bronze). Also, a resin version of Carol William’s trotting Standardbred mare and foal and a resin version of Brigitte Eberl’s bronze Salaa El Dine. And, of course, various resin versions of Edwin Bogucki and Anna Hyatt Huntington bronzes.
Do you have any tips for beginning artists to better their painting/sculpting?
Oooooo mama-jama…I have a lot…probably too much for the space here, but I’ll share some basics.
- My first bit of advice is to learn how to See. Learn how to actually observe and interpret…not see what your mind believes (or wants to believe), but See what’s really there. Foster keen observational skills and then actively practice at teaching your hands interpretative expertise in the media. The real distinction of a good realistic artist isn’t skilled mimicry, but skilled translation of what’s Seen. So before a beginner even picks up a paintbrush or sculpting tool, her ability to See should be in development or she’s going to get frustrated and confused. And the living animal is the very best teacher, so observe many horses, in many situations. And get close up and personal with him, don’t hang back from a distance. Good work clearly expresses a love of all things “horse”, so get in there and learn what that means. And if you get stuck, you can refer to an admired artist’s work to see how he or she tackled the challenge, but be sure to stay in check by always working from the living animal. Life study is a must.
- Do research…hand in hand with Seeing is study, exploration, analysis and “opening up”. Dump any baggage you’ve accumulated and look at the equine with fresh, unbiased eyes. Actively develop deep understanding because you’ll never create authentic work without it. And the more you know, the more genuine the work. And build a reference library of books, videos and photos (if you want my 2005 reference library listing, I believe Shallon will post that for free access here…it’s thirteen pages long). Attend workshops and seminars that challenge and deepen your understanding. And keep your eyes and ears open… stay open to new things and directions. Study the work of others up close and engage others in conversation about methods, perspectives and approaches. Share. And above all, avoid creating a box for yourself with pre-conceived ideas, directions or goals. The world is your oyster and pearls can be found in the most unlikely places. And in all honesty, if you’re serious about what you do, you’ll make the sacrifices to explore these fundamentals in really meaningful ways. I find that artists who simply pay lip service to these things never reach their potential, so it is serious business to get serious about this stuff if you’re serious about your work.
- Be kind to yourself. Learning takes time and lots of repetition and lots more mistakes, which are an essential part of learning. You don’t have to be perfect right out of the gate. Give yourself permission to be a human being. And in all truthfulness, you can only create as good as you’re able to at any given level of understanding and skill. When I was doing drastic customs ten years ago, at the time they seemed perfect to me, but now…oh how I cringe! But that’s the point isn’t it? To always improve. So if you can look back on older work and see where you hiccupped, that’s good cuz that means you’re moving forwards.
- Always remember that not everyone will like your work. One of the biggest problems I see new artists encounter in this venue is an unrealistic expectation of public exhibition that often leads to soured feelings. You could be the most astounding talent this planet has ever seen, and yet it’s not possible that everyone will like your work, so don’t sweat it. The worst thing is to let any negative comment, well intended or not, ruffle your feathers enough to create a bad scene in public or get you down about it…either case backfires. You can’t display your work and have cotton candy comments all the time, especially in this activity. So because you can’t have it both ways, you have to develop a thick skin. People will comment on your work in various forums, good and bad, often loudly, and with little consideration for your feelings. This is their right since you opened yourself up to it, so you have to learn to graciously cope. Plus, public display requires that you learn how to listen, how to distinguish between useful negative comments and useless ones, intelligently and gracefully, because you should remain open to words that translate into improvement or growth.
- Now attached to all this is learning to haul around large grains of salt for the well…unaware or unfair. So much about our activity demands that artists create at A+ levels immediately and isn’t very tolerant of the learning process whatsoever, which is unfortunate. I’ve heard plenty of comments through the years that chastise an artist for a piece he/she did in the past, but don’t consider all the learning that occurred during that time that now results in wholly better pieces. Basically, such people neglect to look at an entire body of work, over the many years, to see a bigger picture and the potential blossoming with each new piece. So be ready for it. Yes, this is completely unfair, but completely human…so you have to learn how to deal with it and simply smile because you know the truth. That truth being that it’s unwise to hold an artist accountable for her work she did last year, five years ago, ten years ago or twenty years ago…artistic exploration and creation is such a journey of growth and deeper understanding that an artist is only accountable to the piece created at this moment. You just have to check out The Rubbertree Exhibit hosted by RESS to clearly see this. Yes, our mettle is gauged with the reputation of our past pieces, but we also have to allow for growth and change too. It just takes some folks longer to realize that I guess. So just keep forging ahead and don’t let folks poke you too much with past pieces.
- Seek critique from those who know their stuff, who are able to See and who also share your artistic sensibilities. But you
have to be at a suitable level of understanding to comprehend what’s imparted. A good way to know this is the precision of your questions…the more tightly specific and technical your question, the more likely you’re at a level where you’ll understand the answers and actually be able to use them. For instance, if you’re a beginner, don’t ask a pro “How do you paint?” or “How do you sculpt?” or “How do you prep?” That’s akin to an answer of “I just slap the clay on and smoosh it around until it looks like a horse.” Really, such general questions demand such big answers that the information becomes essentially useless. And while not intended, it’s also impolite, because it’s presumptuous on the person’s time. There are gobs of materials and opportunities out there now to get a person started at the most basic beginnings. So instead, a beginner should have done enough homework and experimentation of her own to be able to ask a pro something like, “How do you keep the tone of a buckskin from turning green on the dark legs?” or “How do you smooth the sculpting of your manes and tails?” or “What do you use to fill small divots and pinholes?” Those are questions with quick, specific answers you can really sink your teeth into. I speak from experience from both sides of the coin on this. - And absolutely, find your own voice. Find your own style, story and goals in your work that makes you distinct and special. While you can adopt another artist’s techniques, use them in your own unique way, and develop your own ideas and perspectives too. So avoid copying, in all its forms, because your own narrative is important to the diversity and vitality of this community. Truly, your work should be distinctive and distinguishable at a glance, because that’s the hallmark of sincerity and authenticity.
- And my last bit of advice is to join RESS. That’s a solid resource of fellow artists and information that provides a good foundation for exploration and growth. Go to www.ress.org for more information.
- What do you hope to accomplish/learn this year?
#1 goal: Put a big dent in my backlog, or complete the whole darn thing this year. Amen! Break out the champagne! My second big goal is to complete all the original sculptures slated for casting in 2005 and to improve on each one…to go that next level. I’d also like to get started in ceramics production in earnest. And I haven’t painted anything for myself in gosh…ten years…so I’d like to do that too. I have boxes full of naked resins for myself and it’s about time they got some attention. And with the diminishment of my backlog, I don’t feel so guilty about doing a little something for myself now and again. Currently, I have my eye on my Velasquez Brigand and Kistler Tsumani for my first personal paintjobs. I also love my Tempest by Debbi Lermond, and I can’t wait to paint that one up…all the tropical possibilities! I’d also like to get a bit farther along on my book too, closer to completion to a point where I can actually send it to an editor and start working on illustrations. I also hope to figure out how to use all these new programs I bought! Software! PAH!
What other interests do you have outside of the Model horse world?
Well, my Arab gelding, Darafix, certainly keeps me busy and he’s always teaching me new things every day, and about so many things other than horsemanship and anatomy. And I adore rats! I’m a shameless rat-addict! And my four little guys, Milo , Nibbles, Ziggy and Bongo are such characters! Also, my husband is big into Harley-Davidsons and I’m getting more involved with that whole thing too…such nice, fun people and beautiful bikes! I’m now a HOG member and I’m actually enrolled in a special class in March to learn how to ride because I’d like to have my own someday (I really don’t want to be “the chick on the back”…I want my own Harley! <blub blub blub blub>). And it makes me wonder if I could paint a bike…looks like fun, all those wonderful colors, effects and finishes.
I also used to do a lot of beading, which I’m sorta rediscovering too. I enjoy reading and when I’m not delving into material relevant to my artwork, I like to crack open fun stuff like Terry Pratchett. My Dad is a doctor of physics, so science was a theme in our house too, during my childhood. So I enjoy science-related subjects, and besides reading about them in books and mags, the Science channel, Court TV, Discovery channels, the History channel, National Geographic channel and the like are common pit-stops on the tube here when the Blobs and I are having some quality time on the rat couch. Biology, physics, forensics and pathology are of particular interest, and heck, if I were smarter and more clever, I’d be working for the CDC or in forensics or some sort of theoretical, particle or astrophysics or any various applications of biology. Really…I just like science! I also like those Sherlock Holmes, Poirot, Inspector Morse, Miss Marple and Monk shows a lot too. When they have marathons, I just keep ‘em running on the TV in the background. Though I’m also a Red Dwarf freak too…”Emergency! Emergency! This is not a daffodil!”
I also want to start sculpting other animals, well…mostly rats! But giraffes, rhinos, elephants, frogs/toads, tortoises/turtles, antelopes, insects, birds (especially penguins. herons, ravens and crows) and sea life (especially rays, octopi, jellyfish, whales, sharks and starfish) appeal to me too. Also some flowers and plants would be fun to sculpt in bas-relief as well. I also want to play with some non-realistic sculpture, and I’ve been meaning to sculpt some whimsical, caricatured garden animals to cast in concrete. I also love plants and my house is filled with them. Christopher refers to our house as “the jungle”. My dream studio would actually be in an arboretum. But I’m no green thumb by any means, so all my plants are those that are well…ahem…adaptable to conditions that aren’t always ideal.
I was raised in Japan for the first year of my life, which still influences me. So, yes, I’m a sushi addict and green tea is a staple in this house! I also collect Japanese pottery and dishes. My prized possession is a sake set my parents bought in Japan from one of the esteemed raku artists there and they kept it wrapped in the original wood box and funky ‘60s wrapping paper all these years and presented it to me on my 30 th birthday. I’ve kept both the box and the wrapping paper, but have yet to drink out of the set (I can’t cope with hot, filtered sake, but I do like nigori sake, the traditional, unfiltered cold version). I can also make sushi and several traditional Japanese dishes so when I get the time, I’d like to have a big Japanese dinner party with all my dishes! I also enjoy anime and my favorites are Lupin, Cowboy Beebop, Saiyuki and Last Exile. And I’ve been meaning to take a class to speak Japanese (and Chinese if I had a bigger brain!), but who knows when I’ll get the time. Actually, my greatest wish, if a genii popped out, would be the ability to speak, read and write all past, present and future languages and dialects (and animal languages too!)…I think that would be wonderful! You could read things in their original language and go anywhere in the world…whoo hoo!
And I was heavily involved with creating RESS and getting it off the ground with a fantastic crew of folks. It was hard work and I’m very proud of this organization and all it does for equine artists. I sure wish RESS existed when I first got started in 1987! The 2004 board has been wonderful and I look forward to the new paths the 2005 board will take. I recently finished editing the RESS Techniques Booklet 2 which was a big undertaking, but well worth the effort.
I’m also writing a book about equine ABCs and artistic technique for the artist, which I’ve periodically worked on over the past two years. Learning the arts of this industry is often a trail by fire, so if I can give a leg-up to someone with this book, then it’s been worth writing.
I also enjoy continued education for my artwork, and I’ve taken a few workshops and retreats in the past. Those of note are my first one with Veryl Goodnight in Taos , New Mexico , with Lynn Fraley. Another one was a RESS retreat hosted by Darian Buckles, featuring Dr. Deb Bennet and Randy Buckles. And the latest one I took, with Lynn again, was with Dr. Deb Bennet on a five-day course dissecting a horse. The benefits of these experiences are too profound to put into words, and they mark huge jumps forward in my artwork.
Do you get any vacation time and if so, where’s your favorite place(s) to visit?
Hmmmm…..I never really think of vacation because what I do is also play to me…I enjoy it so much, why would I want to take a vacation? But hubby likes vacationing and I sure enjoy exploring new places with him, so we take a jaunt now and again. Recently, we spent seven days in Sonoma and Monterey for my brother’s wedding…that was a blast! We’re talking about going to Sturgis this year, along with a couple of other short trips following the bike event circuit. And we’re toying with the idea of going to NAN in Las Vegas . Yes, it’ll be Christopher’s first official introduction to model horse mayhem, but he’s already met quite a few of my good friends from all this, so it won’t be such a shock to him. We’re also considering venturing down for BOYC in Carlsbad , but it depends if he can get the time off and if my schedule permits. In 2006, I’d like to bring him to BF too…he loves horses and I think he’d really get a kick out of the park. I also meet three of my good friends every year for a weekend together, usually wine tasting in CA, so that’s a wonderful recharge. And I’ve always wanted to explore the northeast, particularly New England , in fall with all the trees in their colorful glory. And I have a deep affection for lighthouses…I don’t know why, but I do. But in all honesty, I’m a homebody because I enjoy what I do so much. And I can get discombobulated from travel rather quickly, though I do enjoy it. I’m such a creature of routine; sometimes it’s kinda lame!
Do you own any real horses?
Yes I do…a 14 year old Arab gelding named Prince Darafix (dorky name, so I just call him Dar). He is such a wonderful spirit!…and a great, patient baby-sitter for this hopeless klutz. He shares the same birthday as my brother too, February 13! It was in the stars I guess.
Can you give us any hints on upcoming sculptures?
Sure! I’ve recently released Tango ( http://www.mink-studios.com/tango) and Otto ( http://www.mink-studios.com/otto or in china at: http://www.pourhorse.com/otto/) , though their resin editions are now closed. And I created Spinnaker for RESS, as a benefit ( http://www.ress.org/products/resins.php). And there’s going to be quite a few new faces because now that things are focused on sculpture, all those souls trapped in my head for so long are stampeding out. As I posted on my mailing list, I recently released a cavorting universal stallion, Taboo, in SM size, and soon will be releasing a galloping WB mare, Valinor, in LB size. You can see them at www.mink-studios.com. Also in the works for this year are a Marwari stallion, an au naturel Saddlebred stallion (no fixed tail, no pads, not even a bridlepath), a stock horse mare and a Morgan stallion. I’ve recently finished a Welsh Cob stallion and I’ll be getting to work on a running mate for Valinor soon here too. For 2006, I have some Pasos lined up, along with a Campolina (who I think are really cool) and a really big drafter is currently in the works, but I don’t think he’ll be done until late 2005…he’s really big and really heavy in that epoxy…ack! A Gentleman’s Cob is in the planning along with a WB stallion. I also have armatured up a universal mare in a cavorting pose and a classic Appy is on the list for 2006 as well. And whatever else I feel like at the time…so I’ll be busy that’s for sure! But a good kinda busy. And I’ve given a lot of thought to the methodology of how to release my resins because I didn’t necessarily want to exclude anyone, but I didn’t want to churn out bazillions of an edition either. So thanks to Joan Berkwitz’s suggestion, I release my resins in a pour-date method, meaning that you can order as many copies of an edition as you like during the pour date, which is usually three months. And since no payment is required until I have a body in hand to fill the order, the customer can cancel at any time and revise an order. This has proven to be extremely successful and my customers love it, so it was a happy ending to a tentative experiment. If you want to stay on top of things, you can join my mailing list at: MinkiewiczStudios-subscribe@yahoogroups.com
Thank you so much Shallon for this opportunity! I know this is kinda long, but I’ve been told that folks are often intimidated meeting me in person. I’m really just a big dork. So I wanted to share as much as I could so we instantly have something to talk about when we meet. So I hope to meet some folks from this list at future shows…come up and say “HI!”
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