4.\u00a0 Do you have academic training or is it inherent?\u00a0 <\/strong>I taught myself to draw and paint for the most part from many hours of practice. My mother took me to her art history classes when I was 5 or 6, so I learned a great deal about traditional Western art history and prominent painters from an early age. Also, I went to the University of Oklahoma for my BFA, where I also minored\u00a0 in history and art history, and my MFA is from the School of the Museum of Fine Arts, Boston\/Tufts University. I used my time in school to refine my thinking and process, reading theory and learning about contemporary art, as well as other subjects outside art that still feeds into my practice today.<\/p>\n5.\u00a0 Your work is extremely diverse, what is the inspiration behind such abstract diversity?\u00a0 <\/strong>It\u2019s hard for me to sit still for long, conceptually and media-wise. Organizing my art practice under the umbrella of history and memory allows for me to pursue these divergent series and paths, as well as preventing boredom. I generally tend to become more complex and find new aspects to continue working within a series, or I switch to another body of work if I get stuck or frustrated. I also think my work is reflective of my personality in some ways, in that there are multiple interests and facets of myself\/my experiences I enjoy examining. I dislike restrictions, so being free to explore is as much a part of being an artist for me as the actual work itself.<\/p>\n6.\u00a0 How do you choose the colors in your pieces?\u00a0 <\/strong>For the Forgetting is so long series<\/em>, it really depends. I am usually reacting to the original photograph, and sometime that means thinking of it in a color. My next piece is centered around a hunter\/forest green, but I rarely am able to hold to one color! Once that first color is incorporated, then it\u2019s just a matter of thinking of it in terms of relationships and balance. I typically mock up a color sketch in Photoshop to lay out colors but leave openness to change or adjust as the painting develops, since it is a painting and should be able to breathe as itself. I think this prep work has also resulted in really colorful, complicated color schemes because I rarely think of using neutral colors.\u00a0 Regardless of work, I always think in color first, which is why I disliked shooting black and white or working in monochromatic drawing only. I used to mentally practice when an undergrad how I would mix up various colors I\u2019d see during the day, which aids now in the intricate compositions I work with now.<\/p>\n7.\u00a0 What is success to Daisy Patton?\u00a0 <\/strong>I think the bar for success changes periodically; as you accomplish your professional goals, you move the goalposts for new hopes for development and growth. This learning and evolution feels exponential and multi-dimensional\u2014it\u2019s exciting to be reminded that there\u2019s still so much to know and experiment with. I also firmly believe that failure is intrinsically part of success. I know I\u2019ll make bad paintings\/bad art as I progress towards the good artwork, and rather than be intimidated or discouraged, I fully accept and embrace this as part of that process. Kim Liao talks about trying to get 100 rejections a year, not because of masochism, but because it means good work and acceptances as well. Studio work, especially painting, is so much wrapped up in process and the journey instead of the final piece; while I document and share my process, it can be strange but enlightening in looking back to see how the work developed. As long as I can constantly work, that feels pretty successful to me.<\/p>\n8.\u00a0 What advice would you give putative collectors?\u00a0 <\/strong>I think that collecting art that evokes a response, something you truly love and want to live with, is crucial. I also collect artwork (with my husband), and what I look for is often different than what other collectors might. I choose pieces I know I\u2019d never make that I admire. The richness of being able to revisit and enjoy thoughtful, complicated art is something else I seek out. Art should challenge, raise questions, and provide windows into our surroundings and our world. Not to be narcissistic about this, but I once had a viewer cry after sitting with one of my paintings, and that was the highest compliment an artist could possibly dream of. I want to be able to revisit and reframe my thinking when I look at artwork\u2014so collecting younger artists and art that you really love will always be rewarding. Collecting with the art market in mind is like investing in stocks\u2014it stops being about the work itself and turns into speculation and a divorce from why the art exists in the first place.<\/p>\n9.\u00a0 Best advice you ever received in regards to your career as an artist?\u00a0 <\/strong>I can recall two really great pieces of advice: take time off between your undergraduate and graduate degrees to develop and solidify yourself and your portfolio, and you can\u2019t call yourself an artist if you\u2019re not working (so work!).\u00a0But I\u2019d add to other artists that exchanging studio visits is such a great way of networking, getting better at talking about your work and others, and building community among other artists.<\/p>\n10.\u00a0 Do you have a place\/person\/thing that you visit for inspiration?\u00a0 <\/strong>Constantly looking at other artist\u2019s work is an important part of being an artist, since it keeps you current on the on-going conversation that is contemporary art. I also read voraciously and wildly different topics from art, both online and books, and that frequently finds its way into my practice and new series.<\/p>\n11.\u00a0 If you could have dinner with 3 artists living\/dead who would be at your table?\u00a0 <\/strong>You know, I think this is one of those situations where I\u2019d probably go hide in my kitchen! The saying \u201cdon\u2019t meet your idols\u201d is one that\u2019s so often true\u2014often these conversations are where ego or just general awful behavior\/personality ruins the artwork that was once so beloved. Dinner means lots of casual conversation, and I\u2019m not sure the artists whose work I adore would be the same I\u2019d want to sit down and chat with. So perhaps I\u2019d be more interested in the gossip or history side of things\u2014Diego Velazquez to hear about the Hapsburg court, Francisco Goya on how to survive turbulent political times, and Sophie Calle on her many amazing, boundary-pushing projects (especially the Address Book one that got her into trouble).<\/p>\n12. Name three things you can\u2019t live without in your studio?\u00a0 <\/strong>I keep two studios, one for painting and another home\/office for digital work and printing. So I\u2019ll cheat and give three for each. For painting: 1. solid walls with no windows (I prefer evening lighting when painting, which I know is odd for many painters!), 2. paint and brushes, of which I\u2019ve had some for over 15 years, and 3. snacks, since if you get hungry while working, you stop working. For home: 1. Leroy, my large format printer, 2. Photoshop, and 3. the internet for research and inspiration.<\/p>\n13.\u00a0 Anything else you\u2019d like to mention that I didn\u2019t ask?\u00a0 <\/strong>I have several shows coming up in 2018, but there are two I\u2019m most excited about (and focused on). My first museum solo will be at the CU Art Museum at the University of Colorado, Boulder from July 19-Nov. 3, which will use funerary imagery as part of Forgetting is so long<\/em>. The second is a solo with my gallery K Contemporary in Oct. 2018, which will be garden themed. I see them both intertwined, dealing with ideas of artificial nature, cycles of life and death, beginnings and endings.<\/p>\nyou can purchase artist’s work in the BUY<\/a> section.<\/p>\n","protected":false},"featured_media":6556,"template":"","categories":[14,44],"class_list":["post-2273","artists","type-artists","status-publish","has-post-thumbnail","hentry","category-painter","category-collage-artist-artists-categories"],"acf":[],"_links":{"self":[{"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/artists\/2273"}],"collection":[{"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/artists"}],"about":[{"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/types\/artists"}],"version-history":[{"count":1,"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/artists\/2273\/revisions"}],"predecessor-version":[{"id":6557,"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/artists\/2273\/revisions\/6557"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/media\/6556"}],"wp:attachment":[{"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/media?parent=2273"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.jimon.com\/wp-json\/wp\/v2\/categories?post=2273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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