Celebrating Women in Art! — Part 6 Kim VanDerHoek

Celebrating Women in Art! — Part 6  Kim VanDerHoek
by Hanna Zorilla

Kim VanDerHoek

Kim VanDerHoek is a contemporary artist that brings her signature expressive style to every oil painting she creates. Her award winning pieces, and skill as an instructor have made her sought after by collectors and recognized in the community. What’s more? We are so excited to have her as this year’s juror for The heART of Orange County All Media 2022 Juried Exhibition.

How did you discover your love of painting?

My mom and I spent many hours creating different projects sitting together at the kitchen table when I was a kid. That started my love of creating which continued in my high school art classes. After college I took plein air painting classes which started me on this career path.

After receiving a lot of critical acclaim, how has this affected your life and artwork?

It’s helped build name recognition, which has brought new opportunities my way like being invited to participate in national exhibitions. It’s also increased the interest in my work with collectors and galleries

How do you know when an artwork is done, do you ever have to force yourself to stop?

When I’m nearing the end and I’m adding finishing details, if I put in five details and the painting isn’t improving, then it’s time to stop.

How do you determine success? 

In several different ways, being able to travel and paint, having a flexible schedule where I get to spend time with my kids, having friendships with other artists and collectors, and being able to make a living doing what I love.

Your works have become more abstract over the years, what was that progression like?

It was definitely a conscious decision. I’ve always had a passion for artwork that combines realism and abstraction. When I started plein air painting it was to build a foundation of skills in realism but ultimately I wanted to achieve a hybrid look.

In terms of technique, I spent several years seeking out influences that were not in the landscape genre. Finding inspiration in the work of figurative artists who combined realism with abstraction, I experimented with implementing similar methods in my landscapes. It took time to figure out what worked, but it taught me the value of continued experimentation.

What advice would you give to young female artists?

I would say that you’re better than you believe you are and your artwork has more value than you think. You have to be extremely tenacious to make it in this business.

Chemers Gallery has represented Kim VanDerHoek for 9 years. It has been exciting to witness the evolution of her painting style and critical success. To see more of Kim’s work click this link to our website.

In case you missed our interview with Kara Bullock, click here
For our interview with Maria Counts, click here
For our interview with Jonde Nothcutt, click here
For our interview with Lorraine Bubar, click here
For our interview with Amanda Fish, click here

Celebrating Women in Art! — Part 5: Amanda Fish

by Hanna Zorilla

Amanda Fish is a traditional artist whose specialty is in painting photorealistic still life. Looking at Amanda’s work, every pristine detail is accounted for and beautifully appointed. Over the phone, Amanda’s liveliness is plentiful and her enthusiasm definitely translates into her paintings. 

When did you start painting and what made you want to be an artist?

“I was always a creative child. My first picture… I actually still have it, my mom kept it… was when I was about five years old and funny enough it was a still life, it was a bowl of fruit sitting on the table. I’m from an artistic and creative family. My mother was a painter, and later a pastel artist. Growing up, she would paint oils at the dining room table. My sister and I spent a lot of time at our grandparents house during our childhood. My grandfather was a writer and photographer. My grandmother taught me to sew, knit, crochet. We were always involved with some kind of creative project, painting or doing crafts. I always wanted to be an artist and was fortunate enough to have encouragement early on from my family. My mother took me and my sister to museums, galleries, and antique shops throughout our childhood and teens. I certainly think that had a strong influence on me as well. Though I got a BFA degree in college and continued to paint after, starting an art career straight out of college wasn’t exactly viable, so I set my sights on working for a museum. I was beyond thrilled, after quite a few applications, I got a job at the Getty Museum.”

You often paint photorealistic still life, why do you choose to paint still life, rather than another genre?

“I was a watercolorist for over twenty years before I switched to oils. (I have been painting Still Life with oils professionally for over 15 years.) When I made that decision I already knew a wonderful group of landscape oil painters. It was through them that I joined Southern California Plein Air Painters, and began painting oil landscapes at first. But I quickly realized that this was not going to be my subject matter. I couldn’t see myself painting landscapes on a daily basis, it didn’t grab me.”

Why do I paint still life? I started to think about classical art. I loved vignettes in homes, items that were gathered in a lovely way on an antique credenza. Since my mother was a collector of beautiful items, it got me thinking about creating still lifes. I became excited to see what I could create using items I had collected for many years, and adding fruits and flowers. It ignited a passion to pursue still life painting. There is such beauty and grace…..a lovely lyrical quality that can be created with the light dancing across objects. I also love the control I have bringing items together, designing my own compositions.”

Do you paint from photos or do you create physical environments from which you paint, and how do you get inspiration for the subjects of your paintings?

“When I started painting still lifes I would paint small paintings live. As I was learning, it was important to see the items in their clarity, to capture and understand the color, the light, the nuances. That is still important, it always will be, but one becomes accustomed to objects, and your artistic style develops, etc… As I grew as a painter, my still life compositions grew larger. Photographing my compositions became a much better way to work. I also have space limitations in my studio. I now take high resolution photographs and work from those. My photo shoots take about 2-3 day, with many different compositions created. I tend to do them seasonally, as certain fruits become plentiful and certain flowers are in season. I’ll have an idea of what items I want to bring together and then develop my compositions from there.”

How do you determine success?

“Success to me is having a passion and desire to create and wanting to share it with others. There is certainly truth in saying, having motivation is a success some days! The feedback I receive from visitors or collectors means a great deal to me. Looking at and reacting to my paintings becomes personal to them. If someone feels something about your work enough to purchase it, that’s success in itself. I also see being accepted into a gallery as success. They see the value in your work and yourself, and they want to share it with their visitors. It is an honor to be included in a community of artists.”

Do you paint symbols within your artwork, and if you do, do they ever represent aspects of yourself and your life?

“No symbols. I’ll use objects which are meaningful to me, whether I collected them, or they were once my mothers’, or gifts from loved ones and friends. But it doesn’t symbolize anything. I don’t paint a lily because it symbolizes love or fertility, or paint apples because it represents Adam and Eve, it’s just the beauty of an apple or a flower.”

How do you know when an artwork is done, do you ever force yourself to stop?

“The larger the painting is the more questions I might have, is it done? The smaller paintings I pretty much know. There’s so much more happening in a larger painting, there’s more to consider, more contemplation and studying. I ask myself if there is something jumping out at me, is something “off.” I think intuitively, you just know when a painting is done.”

What advice would you give to young female artists?

“Once you find the passion of whatever art it is you want to pursue, work within a consistent style and build a cohesive collection of what you want to express. Success can come from an identifiable style and I think when you find an identifiable style within yourself, it can give you confidence to know you have gotten to a level of accomplishment to go out with your body of work. I was talking to a gal from the LA area, and she had no idea what to do with or where to go with her art. I told her to narrow it down to two different mediums if she couldn’t decide what direction to go into and create two different collections to focus on development and style. I told her to look into local Art Groups to join in L.A. There are also websites that list art shows, outdoor fairs or small outdoor art markets which is a good start. It’s an important way to get feedback, feedback that you especially need when you are starting out.”

Still-life master, Amanda Fish has been part of Chemers Gallery’s stable of artists for 6 years. Her translucent layer of oil paint combine in harmony with her classical painting style.. To see more of Amanda’s work click this link to our website.

In case you missed our interview with Kara Bullock, click here
For our interview with Maria Counts, click here
For our interview with Jonde Nothcutt, click here
For our interview with Lorraine Bubar, click here


The heART of Orange County All Media Show 2022, Juried Exhibition

Calling All Orange County Artists!


Although it has been another year of uncertainty, Chemers Galley is always looking ahead! During the pandemic we have hosted 7 safe & successful events thanks to our wonderful clients & artists. We are so excited to announce that The heART of Orange County 2022, Juried Exhibition is open for submissions! Send us your best in all styles, mediums, and subjects. This means acrylic, ceramic, drawing, fiber/textile, glass, jewelry, mixed media, metal, oil, pastel, photography, printmaking, watercolor, wood, and more!

This diverse in person showing of Orange County artists draws attention to the wide range of creative talent in our community, and it will all take place on Saturday, May 14th 2022

The deadline for submissions is Sunday, April 10th 2022
Click here to Enter 

This year’s juror is Kim VanDerHoek, award winning artist and instructor. You may recognize VanDerHoek’s name from her fantastic artwork that has been gracing the walls of Chemers Gallery for almost a decade! Her studio, plein air, and up in the air cloudscapes always impress. Collectors seek her signature style using texture and rich color to set the scene.

Click this link to our Facebook events page for more up-to-date information.

This will be our 10th year partnering with Tustin Area Council for Fine Arts (TACFA), to bring you this iconic annual juried exhibition. Now in its 27th year, TACFA’s mission is to develop, showcase & support the arts in the greater Tustin Area.

Celebrating Women in Art! — Part 4: Lorraine Bubar


Interview with Lorraine Bubar

by Hanna Zorilla

Lorraine Bubar is an immensely detail oriented artist who uses paper as her medium. Lorraine’s papercut works are incredibly intricate and often advocate for the environment and social justice. Talking to Lorraine, you can hear her drive and the hard work it takes to create her amazing artwork. 

Your art is incredibly detailed and complex, what made you choose to do papercut artwork rather than another medium?

“Papercut artwork is very labor intensive, but I seem to gravitate towards labor intensive ways of working. My first career was in animation which was also very labor intensive, but I like getting into “the flow” and seeing where it takes me. I used to paint with watercolor, so I consider myself a painter, and I would use an x-acto knife to meticulously cut stencils to airbrush in the backgrounds. I already was cutting with an x-acto knife for my watercolors , so I made the switch from cutting the stencils to cutting the paper. I love to travel and in many cultures around the world artisans create papercuttings, including in own my Eastern European Judaic ancestry. Papercutting also allows me to be in the fine art realm and craft realm at the same time, which opens up a lot of avenues for exhibiting my work. I think of my papercutting as more like painting because I add layers and layers of colored papers, as if I’m painting with dabs of paper instead of paint.”

Is there something that you know today that you wish you knew when you first started your career as an artist?

“One thing is that you have to enjoy the process and do it for yourself.  When I am working, I am continually surprised and delighted with the unfolding process before me in creating the composition and seeing how the colors work together.  I think that is a feeling to work towards.  Let your instincts take you and trust what’s inside instead of being guided by exterior forces.  Give yourself the license to do what is authentically you. ”

I know a lot of your work surrounds environmental issues and social justice, why have you chosen to speak out about these issues through your art and why does this inspire you to create art?

“In the era that we’re in, I question what the purpose of art is and what responsibility does an artist have in communicating to the larger population. I want my art to communicate about the fragility of nature and even the fragility of our urban environments being transformed by overdevelopment and homelessness.  I love to travel and I’m lucky I can use my direct experiences to create art about fragile ecosystems around the world, including the land, the air, the water, and the species that are threatened.”

Is there an artwork that stands out to you, because you had so much passion and drive while creating it?

“There’s not one that stands out, but I really like my pieces that capture peak experiences of my life. I’ve been given the opportunity to be the artist in residence in several national parks. Most recently, in Lassen Volcanic National Park, where the Dixie fire is and nearly half of it has burned.  I recently created a piece where I was sitting by a lake in Lassen, observing the mountains, baby toads, wildflowers, and insects. It’s sad to know that the trails I hiked to beautiful destinations are being destroyed.  It shows how fragile this planet is.”

How do you determine success as an artist?

“It’s really important for me to exhibit. I have the feeling of success most when I have work in exhibits and talk to people about how my imagery resonates with them.”

How do you know when an artwork is done, do you ever force yourself to stop?

“My work looks so done when it’s done, not one space is not intricately looked at. I do stand back to see how the colors work together and if I need to change anything, but every quarter of an inch is so examined during the process of creating.”

What advice would you give to young female artists? 

“Try to find your authentic voice, try to say something important whether it’s political or emotional. Work hard, and don’t worry about what other artists are doing around you.”

Lorraine Bubar has shown her evocative papercuts at Chemers Gallery for 9 years. Layer upon layer of hand-cut paper build the intricate images she creates . To see more of Lorraine’s work click this link to our website. 

In case you missed our interview with Kara Bullock, click here
For our interview with Maria Counts, click here
For our interview with Jonde Nothcutt, click here


New Art February 2022

Click the artist’s names or images below to see more of their work.



Dave Chapple

Oil Landscapes

Steve Kell

Coastal Oil Landscapes

Jason Li

Watercolor Landscapes & Figurative 

Marilee Nielsen

Watercolor Collage

Ebrahim Amin

Oil Landscapes



Maruca Design

Handmade in Boulder, Colorado

Tom Borusky

Hand-Turned Wood Vessels & Artisan Pens

Maria Counts

Whimsical Ceramics

James Minidis

Mixed Media Music Boxes

NEW Jewelry

Ayala Bar

Israeli Jewelry Designer

Michelene Berkey

Nature Inspired Sterling Silver, Gold & Gemstones

Nohline L’ecuyer

Hand-Blown Glass 

Elizabeth Nadler

Delicate Sterling Silver, Gold & Gemstones

Krista Bermeo

Lampwork Glass

Ithil Metalworks

Mixed Metal Meditation Rings


Celebrating Women in Art! — Part 3: Jonde Northcutt

by Hanna Zorilla

My next interview was with Jonde Northcutt, a master printmaker. Our conversation was rich with stories about her life as a skilled artist and teacher. As I tried to quickly write down details of our interview, I learned about the creativity and playfulness that goes into creating her wonderful works of art. 

When did you decide you wanted to be an artist, was there an eye opening moment where it  was like whoa I love this? 

“My mother was a great art mentor for me. Her name was Tookie and she was a wonderful  ceramic artist. I watched her work in her studio and create fanciful objects; so a light bulb was  already starting to glow. I was pursuing a B.A. in Sociology at Chapman University and during  that time I added studio art classes. During my sophomore year, I decided to ‘double major’. I  added one more year of art studies (studio classes and art history) to my curriculum. Upon  graduation, I knew sociology was not my passion and I veered toward art. I wasn’t sure what art niche I was interested in, so I enrolled for my M.A. in Illustration and Graphic Design at Cal State Fullerton. During this time, I met my husband, Nick Capaci, and we teamed to create Bluestone Editions, a fine art printmaking atelier.”

How do you determine success?

“Success, for me, is being content with creating something unique that taps into a different reality.  It is not monetary, even though a monetary cushion allows a safety net from which to work.”

You practice some very old mediums. What made you interested in encaustic, intaglio, and monotype? How were you introduced to these mediums?

“I’m going to credit my husband, Nick Capaci. I was already introduced to intaglio and  lithography from classes at Chapman. Nick was a ‘master printmaker’. He had graduated from  California College of the Arts and further pursued printmaking at Cal State Fullerton. He was  well versed in all the fine art print mediums. We printed limited editions for artists worldwide  (intaglio, photogravure, lithography, serigraphy, monotype) in addition to offering hand-tinting  services to hand-painted editions. Nick and I taught printing and book arts workshops both at our  studio and Idyllwild Arts (summer adult programs). We further were contract artists for UCLA’s  ArtsReach program (teaching in many of the men’s and women’s prisons throughout California).”

I know you have started to create digital art, what made you move from acrylics and mixed media type artworks, encaustic, intaglio, and monotype to digital art? 

“I actually have not moved away from any of the mediums you mentioned, but I added the digital  tool into my art satchel. My digital images are Mixed Media Photographs that use elements from  my paintings, monotypes and photographs.Years ago, I took a wonderful series of workshops by  Walter Nottingham. He was an American Craft Council Fellowship recipient and professor emeritus at University of Wisconsin (River Falls). His week-long workshops were entitled  “Mystical Symbols”. In this Mystical Symbols class we were instructed to bring whatever  supplies we wanted to use. I thought … the class does not have a printing press available, which I  had been accustomed to using to create my monotypes … so I thought I would focus on collage. I  thought about Joseph Cornell’s work and the work of another one of my favorites, Nathan  Olivera. I brought scissors, glue stick, cutting board, x-acto knives and volumes of printed material (vintage paper, photographs, magazine pages, stamps, prints). I was laboriously cutting  and pasting my collages.  

Someone came up to me during this workshop and asked why I was doing this “all by hand and not using Photoshop?” I had taken a class on how to use Photoshop, the software was on my computer; but, I was an extreme novice at using this software.  

This person was right … I was enamored with the work of Joseph Cornell. I had seen his collage  work in books and finally viewed a few in person. When I saw the work up close, his gluing and  cutting techniques diminished my appreciation of the work as a whole. Fast forward > I started  using digital mediums in the creation of my collages. The true beauty of using digital mediums is  that objects can be seamlessly merged so that the process does not interfere with the artist’s  vision. I can think and create much faster; however, the gamut of available tools and options can  be both distracting and alluring. One of my recent mixed media photographs is centered around  an iron rabbit that I still have from my childhood.”

In your “About the Artist” on your website, it seems that traveling and collecting items (which you mentioned you learned from your mother)might represent a facet of yourself or your life, in which your art can stem from is often how you gain inspiration. Due to this, how connected are you with your art, do you have a hard time letting it go, and do you take inspiration from anything else?

“My inspiration can come from almost anything … My dog’s ball that is sitting in the sun could be  a springboard. I’m sitting with my two labradoodles and the geometric shapes of their ball are  casting an interesting shadow. Almost anything can be a stepping stone… ordinary and mundane  objects taking on mystical qualities. When you allow your vision to see other realities, the  playfulness can give you inspiration. You asked if I have a “hard time letting it go”? No, since I  hold back a few pieces for my own collection; and I have the documentation of my work to look  back at and remember.”

You create abstract works of art that often represent metaphors. Is there a particular metaphor that you have gone back to from time to time that resonates in your work?

“A house shape… Because even though it can be as simple as a foundation of twigs, it is a safe  arena to tell and assemble a visual story. Also I love Orbs … circles, vintage balls, marbles,  planets. Nick and I play golf and there are these wiffle golf balls that you can practice your swing  with so you don’t break your neighbors window. I took a picture of the light perforated wiffle  balls and changed their color. Nick and I bounce ideas off of each other in our art and I showed  him the photo. He remarked that there was nothing mysterious about them, ‘just’ a wiffle ball. I re-thought the image and used photographs I had taken of Nick’s fused glass. I manipulated the photographs into glass spheres, spectrums, and crystal balls.”

How do you know when an artwork is done, do you ever have to force yourself to stop?

“I know when it’s NOT done. Sometimes an artwork will take minutes or days or years to revisit  and to complete. I can’t describe the “when” moment, but I know once I reach that finish line.”

What advice would you give to young female artists?

“I think for any artist, it is important to search out a variety of mentors, some being outside of  one’s own art niche. Be inspired by their creations and submerge yourself into their techniques  and imagery. Once you understand their techniques, reinsert your own magic and tell your own  stories.”



One of our longest exhibiting artist’s, Jonde Northcutt has shown her work at Chemers Gallery for more than 30 years. The stories she weaves through her art explore both her personal & work life experiences.  To see more of Jonde’s work click this link to our website. 

In case you missed our interview with Kara Bullock, click here
For our interview with Maria Counts, click here

Celebrating Women in Art! — Part 2: Maria Counts

by Hanna Zorilla

Maria Counts is an inventive and diverse ceramic artist. Her own magical and whimsical artform captivates the imagination as anthropomorphic beings. My interview with Maria shows she is just as creative and imaginative as her art in real life, taking inspiration from the wonder of nature all around her. 

How did you discover your love of ceramics and why ceramics rather than another medium?

“I was taking classes at a community college, playing around and wasting away my life. Then I discovered ceramics. I like painting and drawing, but ceramics is hands-on and very therapeutic. I believe that when you touch something for so long you’re putting your own energy in it.” 

Your work is inspired by mythical beings, deities, animal hybrids, and such… Why does this interest you and inspire your work?

“Nature, animals, and our universe… It’s just magic. Magic from my surroundings and the universe inspires me to create.”

How do you determine success?

“Success to me is less about financial gain and more about what I can contribute to society. I view somebody who is successful as kind, a great character, and cares for our planet.”

What connection do you have with your artwork?

“It’s funny because I make them and don’t really have an attachment. I hope they go to a good home. Very little connection, I feel connected when creating. Sometimes I get attached to a cute little face and want it around for a while, but my home is filled with other wonderful artwork from other talented artists.”

What do you do if you have a block or lack of inspiration? 

“If I can’t find inspiration I’ll go back and look at pictures or go to galleries to see wonderful artwork. I’ll go on social media, Instagram, to look at pictures. I’ll go to the coast and walk in forests to find inspiration.” 

How do you know when your artwork is done? Do you ever have to force yourself to stop creating?

“I always have to force myself to stop. Time just flies when I’m creating, I always stay up way too late. How do I know when I’m done? I don’t know, it’s weird, it’s like a feeling. Sometimes I’ll finish, glaze, fire the anthropomorphic beings on top of the animals and I’ll have a feeling that it needs something else… wings, or something. It’s just a feeling.” 

What advice would you give to young female artists? 

“My advice would be to create what you love and don’t care what others think. It’s hard to not listen to the critics. My mom would ask me if people really buy my work, and they do! People will make fun of your work, but create what you love. I think what’s beautiful about humans is that people have different taste. Also don’t hop on the trendy stuff, create your own work and trends.”

Maria Counts has been showing her ceramic creations at Chemers Gallery for 16 years. She continues to enthrall us and our clients with her out-of-the-box imagination. To see more of Maria’s work click this link to our website.

In case you missed our interview with Kara Bullock, click here

Celebrating Women in Art! — Part 1: Kara Bullock

The following posts “Celebrating Women in Art!” were written by Hanna Zorrilla. The inspiration came from a project she worked on at UC Santa Barbara, where she is currently in her sophomore year. We love having her here during the summers and “pandemications”. 

We will post one artist each week for six weeks… Enjoy the look into their artistic lives!

Celebrating Women in Art! — Part 1 Kara Bullock
by Hanna Zorilla

Becoming a successful artist is a difficult feat; one that takes lots of patience, hard work, and dedication. However success doesn’t always mean monetary gain, as I learned from the wonderful women artists I had the pleasure of interviewing. 

Here you can read my interviews with six women artists all with incredible artwork at Chemers Gallery. Learn about their life as an artist, how they define success, and what advice they would give to young female artists!

Kara Bullock

Kara Bullock is an immensely talented artist, focused on portraiture. Along with creating her own works of art, she runs a business offering classes and more to help others create inspired artwork. Even talking over the phone, you can hear her passion about people through her friendliness and sincerity.

When did you decide you wanted to be an artist and was there an experience that really sealed the deal and determined this profession was for you?

“I always loved art growing up. All throughout school, middle and high school, I took art as an elective and my teachers were always very encouraging. Drawing portraits was always my favorite. My last year of high school I was burnt out from art and I decided to go to college to become an elementary school teacher. In my senior year I took an art elective and my love for art was reignited. I came home and told my parents that I wanted to be an artist, but they said ‘no’ because I was graduating soon and getting an elementary school degree. I taught elementary school for ten years. During that time, I started teaching early childhood and education courses, online, for several different colleges and universities. Basically, I was teaching others how to teach.

Around 2014, my sister, who is also an artist, sent me a picture of a mixed media giraffe she made. I asked her how she did it and we started talking about online art classes. I discovered online art classes and I started creating art from home. I wondered if I could possibly create an art class since I had experience teaching and teaching online. I decided to try and do it. So I bought a camera and filmed a class. I created a website and put the class for sale. To my surprise, several people purchased the class! Now I collaborate with artists all over the world and help them to create online art classes so that they, too, can live the dream of being an artist full time. My journey to owning and running an online art school was very organic. It just sort of happened bit by bit over time.”

What do your paintings represent? Do you think they represent parts of yourself and how do you use loose brushstrokes and other stylistic elements to get this representation across?

“I’m a huge lover of people! Building an art community for people, where they can have a safe space to learn and develop their art, has always been really important to me. I like people so much, I think that is why I am drawn to painting them… I try to paint their story. I think 100% I’m in my paintings because I’m trying to understand the story of the person I’m painting and because of that I’m conveying that in my work. I often paint my daughters now that they are teens and want to portray the feelings and experiences that children go through as they are growing up…feelings of insecurity, uncertainty, excitement, etc. The teen years are tough and I want to capture those feelings.

I’m drawn to more expressive impressionistic type artwork. I like to put my own spin on it and I think texture and brushstrokes are more interesting to look at. There seems to be more feeling in the looseness of brushstrokes. I suppose the strokes are representative of the stories that I am trying to portray to others, a bit rough and raw, but together it unites, sort of like how life works.”

How do you determine success?

“I think success is when you are living a life that you love. Success is not a dollar sign, it’s not a big house, or a fancy car, it’s doing what you love, every single day… creating art, being with my husband and kids, driving my kids around town, creating a safe community for artists. These are all of the things that I love and am grateful to get to do them every day. This is what success is to me.” 

Do you ever get caught up in the creative process and how do you balance other aspects of your life with art?

“I get caught up in the creative process all the time! There are many periods where I don’t feel like creating… periods of prolific creativity and periods of rest, where I’m still creating in my mind, but not on a canvas. I create as time allows me too, and cherish those times. When I’m painting and just not feeling it, I try to find inspiration from other artists and artworks. Sometimes I’ll look at past work that I really like to try and see if it fuels inspiration. Even if I’m not making art and painting, I find that I’m still always creating… Whether it’s for my business or the building of a second story of my house where I’m designing an art studio, my wheels are always spinning.”

How do you know when your artwork is done, do you ever have to force yourself to stop? 

“I create in small increments of time, never for more than a couple hours. During those few hours, I spend twenty to thirty minutes painting and then I’ll work on other things, like checking my emails for my business. I’ll put the painting around ten feet away or on a wall and while I’m working I’ll spend time looking at it. Then, when time permits, I will go back to work on it. I’ll sometimes bring my paintings home, and I’ll set them on the piano so I can see it while I’m cooking dinner or just “living”. I ask myself “Can I live with it like this? Have I done enough?” If the answer is no, I’ll keep painting. Then once I’m over it or I can live with it, the painting is done.”

What advice would you give to young female artists?

“First and foremost, I absolutely believe anyone can be anything they want to be. Whatever your dream is, you can make it happen! A lot of people think you can’t be successful as an artist, but I think that’s not true. Especially in today’s world, I believe it is much easier. I do think that you have to be a hustler to be an artist, you have to work very hard. However, anyone can become an artist, no matter who you are! Find others that are doing what you want to do and ask them to mentor you, or be a go to person, ask lots of questions. Find people who will support your dream so that you know it’s possible. It’s a lot of hard work filled with lots of sweat and tears, but also with so much joy. I would not trade it in!”

Chemers Gallery has been proud to represent Kara Bullock for four years. Her artwork evokes emotion and energy through every brushstroke. To see more of Kara’s work click this link to our website.

To read our interview with Maria Counts click here!