I’m a “nice girl.” I know this about myself. I’ve often told that I may be too nice…perhaps too trusting. “Nice guys finish last” is the old trope that men, in particular, like to point out when they don’t get what they want. I have opinions on this (like I do with most things), but I won’t get into all that. My point is that I am well-aware of all the problems with being a “nice” person.
“…but you’re so nice.”
I’ve struggled with this characteristic of being a nice girl: On one hand, it has given me immeasurable opportunities to connect with people. On the other, it perhaps reflects some of my inherent need to be accepted, to be liked, and to avoid confrontation. I’ve also been screwed over more times than perhaps I choose to count. The latter doesn’t bode well with me, especially considering the inevitability of stepping on a few toes and hurting feelings in the game of Art. That can be a dissertation in itself: whether or not you can establish a career in Art without competition. I’m pretty sure that’s impossible at the current state of things- blame Capitalism, blame poor taste in Art, blame Canada, blame it all—but I try my best so I can keep going.
As you may know, I’ve recently hit few big milestones in my career in the past few months: landing two great positions with a leading art supplier, Savoir Faire, as a demo artist and a marketing contractor– and being selected to join Pacific Felt Factory as one of the first artists in a brand new, creative think-tank/community minded artist space in a highly competitive, hostile space/housing market. These are significant achievements for me, mainly because they contribute to three important elements in building my long-term art career:
- Financial stability
- A like-minded community of great artists
- An affordable space to do it in
Oh yeah, and I’m also still teaching the kids. As I said in a previous post, Art is a game of survival, and I’m here to play the long game. In this game, there are no defined rules, no prescribed milestones. You just have to make your own and celebrate them as you see fit. So friends, let’s party!
It Takes a Village
That said, I am enormously proud of these accomplishments because I know I did my part in getting them, but my pats on the back are limited, because, if I am truly honest with myself, I’m pretty sure I didn’t do it on my own merit as an artist. Sure, some of my early success as an artist must have played a factor. But if I’m honest, every one of these opportunities trace back to my one characteristic that has also given me pause: being a nice person. The truth is that I have so, so many people to thank in every little success I have– whether it’s a live painting gig, a commission, a salon I host, a show I’m in, or even just a meal I enjoy (Thank you, Carlos. ;)) Although it seems a bit silly to feel so much gratitude for something so insignificant to others, I feel it all the same so I’d like to acknowledge them… because when other artists ask me how I get these opportunities, I can help them connect the dots and hopefully convince them that– despite the risks, nice people win.
On Getting the Studio
I originally wrote about 6 paragraphs about this, but realized it was really TL;DR (too long, didn’t read), so here’s the synopsis: If you buy me a drink I’ll divulge all the details and more. Here’s how it happened:
December 2013: Met Sandra Yagi by chance, after I spoke on “Choice” Panel, a show juried by Catharine Clark of Catharine Clark Gallery, hosted by Arc Gallery.
April 2014: I featured Sandy at “Escapism” at Art Song Salon – the salon Jessica Wan and I host quarterly. I visited Sandy at her studio afterwards, and we chatted about studio prices being exorbitant. A few days later, she asked me if I’d be interested in sharing her studio. I said HELL YES.
June 2014 (?): Not sure exactly when, but I moved into Sandy’s studio on 10th and Mission.
December 2014: Sandy tells me Michael Yochum (from Arc Gallery) has been working with some folks to a huge project in the Mission aimed to provide long-term, affordable studios for SF Artists and a creative space for gallery talks, lectures, workshops, and events for the community. They wanted a diverse group of well-established, gallery-represented artists who were in need of studio space. Sandy jumped on it, so did I.
March 2015: Found out that not only did Sandy get a studio, I qualified for my own space at Pacific Felt Factory as well. I suspect Michael Yochum and Priscilla Otani gunned for me to get the space, along with Sandy, who has worked and been friends with Michael and Priscilla for years.
On Getting the Job
This one was much more straightforward: I met Rick Kitagawa and Eve Skylar while taking a course at City College back in 2010, I think, and we’ve stayed in touch. Rick and Eve are amongst my favorite people, and their pure grit, humility, passion, and hustle has inspired my artistic career. So when Rick referred me to Savoir Faire as a potential demo artist, I was honored. After interviewing with Savoir Faire, I realized I also had a mutual friend to the founders of the company, Deb Cook Shapiro, a fabulous painter in my studio building. I had also been helping Deb with some of her tech stuff, which led her to give me a glowing recommendation to Maureen and Pierre at Savoir Faire, who asked me in for a few interviews and promptly offered me a job as their marketing manager.
Surrounding Myself with Good People
If that was too much for you to read: Here’s an even shorter version. I acknowledge that I’m a crazy lucky person, so I will never take full credit for my successes. BUT– if I were to take credit, it would be for being able to surround myself with great people who, despite having had their fair share of difficulties, choose to be kind and supportive. When I think about the crazy trajectory that I have taken in the past three years since leaving Google, I can only be grateful to those who have believed in me and helped me get to this position. The rest is up to me, and it will be a long game, but I know one thing: I’ll do my best to succeed, and help others get there too.