Tundra
November 2nd, 2008, 03:01 PM
Amy Buchheit graduated with a BFA from Marylhurst University, where she studied under Portland artists Marlene Bauer, Paul Sutinen and Dennis Cunningham. While in school, she forged into the art world; simultaneously studying, developing a body of work and exhibiting in local, national and international shows. Since graduating, Amy has continued to explore new artistic possibilities through encaustic workshops with Portland artist Elise Wagner, as well as other workshops on creativity and texture.
Amy's travels have taken her to locals around the world, but she chooses to call Vancouver, Washington home.
Whether working in a naturalistic or abstract style, her commitment is to connect with the viewer on a personal level - stirring buried emotions to the surface for further inspection and introspection. The inspiration for her work comes from direct observations, research of subjects she is passionate about and personal experiences. Her focus on color heightens the emotion in many of her paintings, while a more "user friendly" subject matter softens what might otherwise be overwhelming. There are variations on this theme when approaching a subject she feels passionate about. She is not afraid to "take off the gloves" when it is necessary.
You can find Amy at her website (http://www.amybuchheit.com/), her myspace (http://www.notebookinhand.com/forum/www.myspace.com/amybuchheit), or her Etsy shop. (http://www.etsy.com/shop.php?user_id=5687878)
Tell us a bit about yourself.
I was born in Mayville, North Dakota. (Whee-haw!). However, I wasn't there long. I moved around the world ... Pennsylvania, Delaware, Washington (all around and near Spokane and now Vancouver), another stint in North Dakota, Berlin Germany and brief stints in Texas (for Basic Training), Mississippi (for Technical Training School), Honduras (for a Temporary Duty assignement) and Alaska (for an extended "working vacation").
Jobs I have held include: fast food worker, waitress, Airfield Managment (U.S. Air Force), Veterinary receptionist/assistant, short order cook, retail employee, display manager, marketing assistant, administrative assistant, and now business owner and entertainer.
What do you do when you're not doing art?
I really enjoy the simple pleasures of making other hand-crafted items that don’t fit into the category of “fine art”, such as stitching and beading useful felt creations and making hand-made cards (most are of an original design).
Do you have a 'day job'?
Not in the traditional sense of a 9 to 5 full time job. I currently do seasonal part-time work as an entertainer with an events company. My job there is to make people happy by doing temporary art in the form of airbrush tattoos, face painting and henna tattoos. However, I am looking for more year-round (part time) work due to life changes.
Where does your inspiration come from?
I am inspired by many things – nature, personal experiences, and world events. The strongest driving force behind the two current series I am working on are very different, but each reflective of facets of my personality.
On one hand, my “Toy Stories” series focuses on my experiences of the world around me from a personal and socio-political aspect. The other series I am working on, mostly photographs, are images of beach scenes. Rarely your “typical” landscape, I usually focus on textures, patterns and line that emerge from nature but are often overlooked.
How long have you considered yourself an 'artist'?
I knew that I was an artist since the age of three. If you asked me what I was going to be when I grew up, that is what I would tell you. However, somewhere along the way (in high school) it was drilled into me that while I had talent, I needed to find a “real” job that could support me because “being an artist isn’t practical”. That, added to several obsticles I encountered in attempting to go to college straight out of high school had me stop pursuing my dream and set to work being “practical”.
At the age of 27, having given up doing art altogether for 6 years, I participated in a life-changing program by Landmark Education Corporation called the Landmark Forum. At that time, I realized that who I am is an artist … and … I needed some training. That with support, I could do it.
I started testing the waters - creating and tentatively exhibiting in coffee shops. After being laid off from three jobs in a row through no fault of my own, I realized it was time to go to art school. The rest, as they say, is history.
What's your favorite thing to paint?
Whatever there is to be said. Sometimes, it can be a quiet whisper saying, “relax, be still”. More often it is something like, “Hey! The world is whizzing by you. Pay attention!”. I usually attempt to put a subtle spin on it to make the work more approachable, with the message being coming through upon further examination. But I am not afraid to be a little more “in your face” if the subject calls for it.
What did it take you to become as successful as you are?
Once I took on being an artist, I got to where I am by following my gut and not listening to the nay sayers - whether they be outside of myself or in my own head. Stretching beyond what I know I can do to try new things makes a big difference, too.
For example: I had only been painting for 1 ½ years when I decided to enter a juried competition to become a Signature Member of the International Society of Acrylic Painters (which was the National Acrylic Painters Association, USA division, at the time). When I mentioned I was going to go for it … I had people in my life who tried to tell me I wasn’t ready for it. I entered anyway. And you know what? I was juried in on my first attempt.
Another example: About the same time that I applied to be a Signature Member of the ISAP (then NAPA), I decided it was time to get some shows on my resume from New York. But not just any shows. Shows that were at reputable galleries, with quality jurors. I sent in my entries. Within 10 months I was in my first New York show – the juror was the Senior Editor of Art in America Magazine! The second one, fast on its heels, had Robert Rosenblum (curator at the NYC Guggenheim Museum) as a juror. All three of the New York shows I exhibited in that year were in the Chelsea district.
"Excellent art sets the mind dancing. I hope my art will cause your mind to dip, twirl, and bow deeply in thought ... drawing you in to consider what it has to say." - Amy Buchheit. What did you intend your work to say?
While I touched on this in the question about my favorite thing to paint, I’ll elaborate a bit. The key thing I want to come out of someone viewing the work is for them to stop and notice the world – their surroundings (in my nature photos, for example), in the political landscape and how it affects them, or their inner selves, depending on what work they are viewing. Often these two or more of these things overlap in one piece or series of works.
Is there any 'message' that you work into your art, or do you think any messages in your work arose as a natural consquence? Basically, my question is this: meaning before content, or content before meaning?
I do most of my work intuitively, allowing the message to arise through the process of making the work. It is rare I know what a work is about until at least halfway through the process.
What sort of marketing techniques do you use/have you used in the past to get your work 'out there'? What worked/didn't?
First thing I did was start off by reading the book “Art Marketing 101” – a great starter book for those just beginning their marketing, particularly if you haven’t had any training in school.
I think the key is to start where you feel comfortable and go from there. I began exhibiting my work at coffee shops and in my home. As I became more confident I found some smaller local exhibitions, moving into national and international level exibitions over time.
It is very important to network and communicate with others in the art community. Information sharing is important if you don’t want to waste time redoing something someone else has already figured out how to do.
You need to get out there and find every resource that is available. Art Calendar magazine was essential in me finding a wider market and getting into national level shows.
Since networking is very important, I highly recommend finding an organization to become a part of where you can talk to artists, exchange ideas and get opinions/critiques when you so desire. I am currently part of a regional community and an international community. (I’m still in search of a local art community that is a fit for me.)
Another thing that really worked for me is creating a Mastermind group. The short version of what that is: a small group of business people who are basically in the same stage of business development who can support one another via meetings (we meet twice a month) and other structures. It just so happens that everyone in our group is an artist, though not everyone focuses their business talents in that direction.
The only thing that really hasn’t worked for me is staying in any one place too long. It is important to keep moving, stretching, growing, and trying new things.
What do you regard as your greatest achievement as an artist?
Simply giving myself permission to be one! I have achieved lots of recognition that I could mention, but that is the most important thing to me.
Did any particular childhood experience influence your desire to paint?
No. I have just always loved art. My father (who died a year ago November 17th) told me I did my first drawing when I was 18 months old. That unlike most kids, I was actually drawing what I saw rather than the symbol of what I thought a boat should look like. He carried that picture with him until his last move, when it got lost.
Does any historic artist / school influence your work?
While I don’t set out to have my work reflect someone else’s ideas or techniques, I have certainly been influenced by other artists. I have loved Patrick Nagel’s work for years. The flat planes, sparse simplicity and fluidity of his work are very appealing to me. I really enjoy Salvador Dali’s work in all its strange, fantastic yet still somehow naturalistic depictions of the world. I can see his influence in my “Toy Stories” series, now that I think about it. Other personal favorites that have influenced my work over the years include Laurie Anderson, Keith Haring, and Andy Warhol. (I am definitely a child of the 80s!)
Do you feel sad or as if you're missing a part of you when you sell a painting? If not, what do you feel when you sell a painting?
Absoulutely not! I love it when I sell my work. The most obvious benefit is bringing in revenue so I can continue to purchase supplies to do my work. Second, I love that someone is so touched, moved and inspired by what I created they want to have it in their home. Like a grown child spreading her wings, I want my work to find its place in the world and be part of a loving family. I am simply the proud parent.
In the end, I do not create the work for myself. While it is for me and from me in its creation phase, ultimately I want the work to be for others. It is my contribution to their environment.
Do you draw your abstract art with any one specific idea in mind?
Like all of my work, when I do abstracts I work very intuitively. Perhaps even more so than my naturalistic pieces. There have been times I have been unclear as to some of my abstract work’s meaning for years after its completion.
What's the greatest challenge that comes with being a professional artist?
Time, health and money have been the biggest challenges for me thus far. Lets face it, life can be demanding at times.
While I don’t have a full-time job, my relationships have demanded an enormous amount of energy expenditure in the past two years. My father had terminal cancer and my marriage was tottering on the brink (I later found it had already crashed and burned). I have a chronic illness as well, which flares up when stressors increase.
With my father’s passing (last year) and my marriage ending, some of the relationship demands will diminish over time. I say that with the reduction of stress will come better health. With better health, more time to create and market. And with that … increased prosperity.
When did you decide you wanted to pursue art as a profession, and how did/do your parents feel about your choice?
I was serious about it in high school, but didn’t know how to make it happen. There were no professional artists in my life. While my mom and stepdad thought it was a lovely hobby, they discouraged me pursuing it as a career.
At the age of 29 when I realized I was not happy doing anything else and stood my ground to say, “this is who I am, this is what I’m going to do”, they were still highly skeptical. Now they are cautiously supportive but still don’t think it’s a good way to make a living.
My father and stepmother always said they just wanted the best for me. They have been proud of me as I move forward in my career. I think my mom and stepfather are too, they just want to see consistent financial success.
What's allowed you to succeed when so many others haven't and never will?
I believe that anyone can be successful if they are 100% no kidding committed to doing it. That is what has had me achieve what I have thus far, and will carry me forward into the future.
Look, being an artist is rarely a cake-walk. It takes serious hard work and commitment. If you are willing to put your heart, soul and guts into it and never give up, you can be successful too. You have to learn to balance the hard work with enough play to keep the creative flow happening.
Talent helps. Absolutely. But 99% of being successful is sweat equity … and networking.
Amy's travels have taken her to locals around the world, but she chooses to call Vancouver, Washington home.
Whether working in a naturalistic or abstract style, her commitment is to connect with the viewer on a personal level - stirring buried emotions to the surface for further inspection and introspection. The inspiration for her work comes from direct observations, research of subjects she is passionate about and personal experiences. Her focus on color heightens the emotion in many of her paintings, while a more "user friendly" subject matter softens what might otherwise be overwhelming. There are variations on this theme when approaching a subject she feels passionate about. She is not afraid to "take off the gloves" when it is necessary.
You can find Amy at her website (http://www.amybuchheit.com/), her myspace (http://www.notebookinhand.com/forum/www.myspace.com/amybuchheit), or her Etsy shop. (http://www.etsy.com/shop.php?user_id=5687878)
Tell us a bit about yourself.
I was born in Mayville, North Dakota. (Whee-haw!). However, I wasn't there long. I moved around the world ... Pennsylvania, Delaware, Washington (all around and near Spokane and now Vancouver), another stint in North Dakota, Berlin Germany and brief stints in Texas (for Basic Training), Mississippi (for Technical Training School), Honduras (for a Temporary Duty assignement) and Alaska (for an extended "working vacation").
Jobs I have held include: fast food worker, waitress, Airfield Managment (U.S. Air Force), Veterinary receptionist/assistant, short order cook, retail employee, display manager, marketing assistant, administrative assistant, and now business owner and entertainer.
What do you do when you're not doing art?
I really enjoy the simple pleasures of making other hand-crafted items that don’t fit into the category of “fine art”, such as stitching and beading useful felt creations and making hand-made cards (most are of an original design).
Do you have a 'day job'?
Not in the traditional sense of a 9 to 5 full time job. I currently do seasonal part-time work as an entertainer with an events company. My job there is to make people happy by doing temporary art in the form of airbrush tattoos, face painting and henna tattoos. However, I am looking for more year-round (part time) work due to life changes.
Where does your inspiration come from?
I am inspired by many things – nature, personal experiences, and world events. The strongest driving force behind the two current series I am working on are very different, but each reflective of facets of my personality.
On one hand, my “Toy Stories” series focuses on my experiences of the world around me from a personal and socio-political aspect. The other series I am working on, mostly photographs, are images of beach scenes. Rarely your “typical” landscape, I usually focus on textures, patterns and line that emerge from nature but are often overlooked.
How long have you considered yourself an 'artist'?
I knew that I was an artist since the age of three. If you asked me what I was going to be when I grew up, that is what I would tell you. However, somewhere along the way (in high school) it was drilled into me that while I had talent, I needed to find a “real” job that could support me because “being an artist isn’t practical”. That, added to several obsticles I encountered in attempting to go to college straight out of high school had me stop pursuing my dream and set to work being “practical”.
At the age of 27, having given up doing art altogether for 6 years, I participated in a life-changing program by Landmark Education Corporation called the Landmark Forum. At that time, I realized that who I am is an artist … and … I needed some training. That with support, I could do it.
I started testing the waters - creating and tentatively exhibiting in coffee shops. After being laid off from three jobs in a row through no fault of my own, I realized it was time to go to art school. The rest, as they say, is history.
What's your favorite thing to paint?
Whatever there is to be said. Sometimes, it can be a quiet whisper saying, “relax, be still”. More often it is something like, “Hey! The world is whizzing by you. Pay attention!”. I usually attempt to put a subtle spin on it to make the work more approachable, with the message being coming through upon further examination. But I am not afraid to be a little more “in your face” if the subject calls for it.
What did it take you to become as successful as you are?
Once I took on being an artist, I got to where I am by following my gut and not listening to the nay sayers - whether they be outside of myself or in my own head. Stretching beyond what I know I can do to try new things makes a big difference, too.
For example: I had only been painting for 1 ½ years when I decided to enter a juried competition to become a Signature Member of the International Society of Acrylic Painters (which was the National Acrylic Painters Association, USA division, at the time). When I mentioned I was going to go for it … I had people in my life who tried to tell me I wasn’t ready for it. I entered anyway. And you know what? I was juried in on my first attempt.
Another example: About the same time that I applied to be a Signature Member of the ISAP (then NAPA), I decided it was time to get some shows on my resume from New York. But not just any shows. Shows that were at reputable galleries, with quality jurors. I sent in my entries. Within 10 months I was in my first New York show – the juror was the Senior Editor of Art in America Magazine! The second one, fast on its heels, had Robert Rosenblum (curator at the NYC Guggenheim Museum) as a juror. All three of the New York shows I exhibited in that year were in the Chelsea district.
"Excellent art sets the mind dancing. I hope my art will cause your mind to dip, twirl, and bow deeply in thought ... drawing you in to consider what it has to say." - Amy Buchheit. What did you intend your work to say?
While I touched on this in the question about my favorite thing to paint, I’ll elaborate a bit. The key thing I want to come out of someone viewing the work is for them to stop and notice the world – their surroundings (in my nature photos, for example), in the political landscape and how it affects them, or their inner selves, depending on what work they are viewing. Often these two or more of these things overlap in one piece or series of works.
Is there any 'message' that you work into your art, or do you think any messages in your work arose as a natural consquence? Basically, my question is this: meaning before content, or content before meaning?
I do most of my work intuitively, allowing the message to arise through the process of making the work. It is rare I know what a work is about until at least halfway through the process.
What sort of marketing techniques do you use/have you used in the past to get your work 'out there'? What worked/didn't?
First thing I did was start off by reading the book “Art Marketing 101” – a great starter book for those just beginning their marketing, particularly if you haven’t had any training in school.
I think the key is to start where you feel comfortable and go from there. I began exhibiting my work at coffee shops and in my home. As I became more confident I found some smaller local exhibitions, moving into national and international level exibitions over time.
It is very important to network and communicate with others in the art community. Information sharing is important if you don’t want to waste time redoing something someone else has already figured out how to do.
You need to get out there and find every resource that is available. Art Calendar magazine was essential in me finding a wider market and getting into national level shows.
Since networking is very important, I highly recommend finding an organization to become a part of where you can talk to artists, exchange ideas and get opinions/critiques when you so desire. I am currently part of a regional community and an international community. (I’m still in search of a local art community that is a fit for me.)
Another thing that really worked for me is creating a Mastermind group. The short version of what that is: a small group of business people who are basically in the same stage of business development who can support one another via meetings (we meet twice a month) and other structures. It just so happens that everyone in our group is an artist, though not everyone focuses their business talents in that direction.
The only thing that really hasn’t worked for me is staying in any one place too long. It is important to keep moving, stretching, growing, and trying new things.
What do you regard as your greatest achievement as an artist?
Simply giving myself permission to be one! I have achieved lots of recognition that I could mention, but that is the most important thing to me.
Did any particular childhood experience influence your desire to paint?
No. I have just always loved art. My father (who died a year ago November 17th) told me I did my first drawing when I was 18 months old. That unlike most kids, I was actually drawing what I saw rather than the symbol of what I thought a boat should look like. He carried that picture with him until his last move, when it got lost.
Does any historic artist / school influence your work?
While I don’t set out to have my work reflect someone else’s ideas or techniques, I have certainly been influenced by other artists. I have loved Patrick Nagel’s work for years. The flat planes, sparse simplicity and fluidity of his work are very appealing to me. I really enjoy Salvador Dali’s work in all its strange, fantastic yet still somehow naturalistic depictions of the world. I can see his influence in my “Toy Stories” series, now that I think about it. Other personal favorites that have influenced my work over the years include Laurie Anderson, Keith Haring, and Andy Warhol. (I am definitely a child of the 80s!)
Do you feel sad or as if you're missing a part of you when you sell a painting? If not, what do you feel when you sell a painting?
Absoulutely not! I love it when I sell my work. The most obvious benefit is bringing in revenue so I can continue to purchase supplies to do my work. Second, I love that someone is so touched, moved and inspired by what I created they want to have it in their home. Like a grown child spreading her wings, I want my work to find its place in the world and be part of a loving family. I am simply the proud parent.
In the end, I do not create the work for myself. While it is for me and from me in its creation phase, ultimately I want the work to be for others. It is my contribution to their environment.
Do you draw your abstract art with any one specific idea in mind?
Like all of my work, when I do abstracts I work very intuitively. Perhaps even more so than my naturalistic pieces. There have been times I have been unclear as to some of my abstract work’s meaning for years after its completion.
What's the greatest challenge that comes with being a professional artist?
Time, health and money have been the biggest challenges for me thus far. Lets face it, life can be demanding at times.
While I don’t have a full-time job, my relationships have demanded an enormous amount of energy expenditure in the past two years. My father had terminal cancer and my marriage was tottering on the brink (I later found it had already crashed and burned). I have a chronic illness as well, which flares up when stressors increase.
With my father’s passing (last year) and my marriage ending, some of the relationship demands will diminish over time. I say that with the reduction of stress will come better health. With better health, more time to create and market. And with that … increased prosperity.
When did you decide you wanted to pursue art as a profession, and how did/do your parents feel about your choice?
I was serious about it in high school, but didn’t know how to make it happen. There were no professional artists in my life. While my mom and stepdad thought it was a lovely hobby, they discouraged me pursuing it as a career.
At the age of 29 when I realized I was not happy doing anything else and stood my ground to say, “this is who I am, this is what I’m going to do”, they were still highly skeptical. Now they are cautiously supportive but still don’t think it’s a good way to make a living.
My father and stepmother always said they just wanted the best for me. They have been proud of me as I move forward in my career. I think my mom and stepfather are too, they just want to see consistent financial success.
What's allowed you to succeed when so many others haven't and never will?
I believe that anyone can be successful if they are 100% no kidding committed to doing it. That is what has had me achieve what I have thus far, and will carry me forward into the future.
Look, being an artist is rarely a cake-walk. It takes serious hard work and commitment. If you are willing to put your heart, soul and guts into it and never give up, you can be successful too. You have to learn to balance the hard work with enough play to keep the creative flow happening.
Talent helps. Absolutely. But 99% of being successful is sweat equity … and networking.