By Rich Horton
If you’re a local artist or have been active in the local visual arts scene at all, you have probably heard of Erin Sayer. You might of been to the many art shows she curated or seen one of her murals that she has done.
She has a new gallery show opening this Saturday at Gamut Gallery that are based on author Tom Robbins’ novels.
Sayer was kind enough to answer some questions for Rift about her process, ideas and being a full-time artist.
Rift: This new art exhibit is based on an a series of books, you seem not to have a shortage of ideas for your creations. Do you keep a sketchbook or journal that you just draw or write down ideas, or how do you track what you want to use for inspiration.
Erin: Yes I have several sketchbooks. When I read the books, I dog ear and underline quotes and scenes I think would make good paintings. I underline all the character descriptions. I have my sketchbook on-hand while reading and sketch out rough ideas. After I finish the book, I re-read all the underlines parts and go from there. All the books have paint all over them. Now my most prized possession is a personally signed paperback copy of Skinny Legs and All, ripped up, covered in paint, and well loved.
Rift: Is it still a challenge being a full-time creative person, or do you think you have figured a system that works for you that enables you to get done what you need to do and make money at the same time.
Erin: It will always be a challenge, but it definitely gets easier as an artist matures. I am lucky enough to be able to devote all of my time on creative endeavors, be it mural painting, oil painting, backdrop painting, doing art shows, etc. When the money is tight, a project inevitably presents itself. Having a great creative network is essential, as people often contact me for their creative opportunities. If I’m not the right artist for them, I send them to another artist in my network I think would be a better fit.
Rift: Is there still a sales element to selling your art, or do you feel that your able to create and it seems to sell itself.
Erin: I rely mostly on large commission work rather than painting sales. Selling paintings has got to be one of the most difficult things about being a painter. I don’t mind doing small paintings on commission, but limiting all my work to ‘sale-ability’ (is that a word?) would definitely hinder my creative process.
Rift: You do some traveling, but your home base is here in Minneapolis, what makes this scene great, and are there things here that you wish could be improved about the art scene?
Erin: I remain in Minneapolis to be close to family and friends. The affordability here is bar-none greater than most major metropolises in the US. Minneapolis/St. Paul have tons of affordable spaces for artists, which is key. Also the artist community is small and tight, there is more support than competition between creatives. I love that.
Something that could be improved is to have a wider selection of galleries around town, but as the old model shifts from gallery sales to online networking for artists, we all are forging a new path for our opportunities. Artists no longer have to rely on being represented by a gallery, which in my opinion is a good thing. But it is the individual artists’s responsibility to be active and get their work ‘out there.’ Artists who slave away in their studios without promoting themselves, even if they are the next Van Gogh, will suffer. But promoting themselves goes against most artist’s personalities. It is truly a proverbial Catch-22.
Rift: With social media has it been easier to promote and get your art out there?
Erin: Absolutely 100%. I would not be where I am today in my career without social media. All of my connections began with social media. The key is following up online connections with real world connections. Meeting people in person, especially traveling to another city to attend openings and events, really impact creative relationships (even though I’d rather be painting in my sweats rather than attending openings 90% of the time!).
Rift: Do you have a set routine to make sure your getting things done, or do you just go with the flow and things seem to work out.
Erin: If I’m working on a project with a deadline, I definitely have a routine. It’s when I am left to my own devices I get apathetic and lazy. It is much better for me to be super busy, I get much more done. I do have to set aside time for my real life, which is hard. Daily chores elude me when I am in the throes of a project, yet I work more efficiently when my spaces are organized and clean. So now, before I begin a large project, I organize my studio, and clean my house. The tornado of work tears it all apart. And then I clean up when finished. It’s a real rollercoaster of calm and chaos.
Rift: Is there any advice you would give aspiring artists out there.
Erin: Be nice! But don’t be a pushover. You never know who the next client, connection or commission will come from. You also don’t know which artists you may work with in the future, so making sure you present others with a kind self really helps form creative bonds. When negotiating terms of a project, don’t sell yourself short, and encourage others to trust your creative integrity. If you are a jerk to someone (even if unintentional) online, or in real life, that person may have a large network that you are suddenly cut off from, just from one negative interaction. Give people the benefit of the doubt, though, and don’t jump to emotional responses when interacting with other creatives.
Rift: Was there a time when you transitioned from working person into full time artist, and how did you know you were ready to make the leap.
Erin: 2005, I left teaching to be a full time painter and gallery owner. I wish I would have just done that from day one, but I learned quickly out of college that jobs where I could support myself were scarce for a young artist. I knew after 4 years of teaching High School art that teaching just wasn’t my gig. I hated the schedule, the rules and the rubrics. One parent asked me once if I considered myself an artist first, or a teacher first. My answer was 100% artist first, which was not the answer the parent wanted. That’s when I knew: either I teach forever, or really dig in and try the artist thing. My heart has never been in anything other than art, and living with that devotion is imperative to my career.
Rift: You are working on opening a new gallery space, what are the plans for that?
Erin: It’s been slow coming. I love our space at Premises, but I simply cannot do it alone while also pursuing painting. I learned some years back that you really do have to ‘pick one.’ I wish I could do it all but I can’t. For 6 years I devoted 80% of my time to the gallery, 20% to painting, and that wasn’t cutting it for me. So the last 3 years, I flipped that ratio. Great for my painting career, not so much for the gallery.
After working with Gamut Gallery for this show, I realized the incredible system they have with several amazing people all working toward a common goal. That’s what I would like to see happen at Cult Status. We are slowly tweaking the space and welcoming new partners, and it will take time to shake itself out. Summers are always really busy for me with mural work, so hopefully something will get going by late summer into fall this year.
Rift: If you could give any advice about anything life, love, being creative etc… What would it be?
Art does not love you back. You can love art and devote yourself to it all you want, but art has a billion other lovers, and it will never ever care whether you engage in it or not. Maintaining human relationships is key, even if it is difficult for the introverted studio junkie. Doing art is the easy part, being human is the hard part.
http://erinsayer.com/
http://www.premisesmpls.com/
http://www.gamutgallerympls.com/
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