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In this episode, we sat down with Julie Davis, a landscape painter with a deep fascination with trees. Julie shares her inspiring journey from law and education to becoming a celebrated landscape artist, specializing in trees. She describes how plein air painting and mentorship shaped her artistic process, turning personal challenges into creative strengths. Julie reflects on balancing family life while nurturing her passion for art through early-morning painting and freelance work. She emphasizes the value of joining artist organizations, networking at shows, and the profound impact of supportive communities. Julie encourages artists to embrace lifelong learning, view mistakes as opportunities, and follow their curiosity. Finally, Julie tells us about her upcoming exhibitions and ways to connect with her work.
Julie’s FASO site:
juliedavisstudio.com/
Julie’s Social Media:
instagram.com/juliedavisstudio/
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Transcript:
Julie Davis: 0:00
Always be a student. If you think you’ve arrived at one level or this answer is going to answer this question, it actually opens up a whole other can of questions. Dive into them, follow that. Whatever that curiosity is that you know is eating at you right now, be a student, but take it at a pace that makes it works for you that allows you to ingest it, turn it over in your mind, you know, and and then practice it until you’ve incorporated whatever it is and you’ve come to some level of mastery for it.
Laura Arango Baier: 0:39
Welcome to the BoldBrush show, where we believe that fortune favors a bold brush. My name is Laura Baier, and I’m your host. For those of you who are new to the podcast, we are a podcast that covers art marketing techniques and all sorts of business tips specifically to help artists learn to better sell their work. We interview artists at all stages of their careers, as well as others who are in careers tied to the art world in order to hear their advice and insights. In this episode, we sat down with Julie Davis, a landscape painter with a deep fascination with trees. Julie shares her inspiring journey from law and education to becoming a celebrated landscape artist specializing in trees. She describes how blender painting and mentorship shaped her artistic process, turning personal challenges into creative strengths. Julie reflects on balancing family life while nurturing her passion for art through early morning painting and freelance work. She emphasizes the value of joining artist organizations, networking at shows, and the profound impact of supportive communities. Julie encourages artists to embrace lifelong learning, view mistakes as opportunities and follow their curiosity. Finally, Julie tells us about her upcoming exhibitions and ways to connect with her work. Welcome Julie to the BoldBrush show. How are you today?
Julie Davis: 1:53
Thank you so much, Laura. I am doing well. I appreciate
Laura Arango Baier: 1:57
it awesome. Yeah, and I’m excited to have you, because I think you have had a very interesting trajectory that I really want to dive into, and I’m absolutely in love with your trees. I’m so in love. Thank you. They’re so I’ve never seen someone capture trees maybe, maybe Corot, but I’ve never seen someone capture trees in such a wistful and expressive way, in the similar way that Kuroda, so I really appreciate that
Julie Davis: 2:26
a lot. Well, thank you very much. Those are, those are some big words. I appreciate it.
Laura Arango Baier: 2:32
Of course, yeah. And then, of course, we will be talking more about your beautiful trees. And before we do that, do you mind telling us about a little bit about who you are and what you do?
Julie Davis: 2:41
Yeah, sure. So I am a landscape artist. I live in Austin. Divide our time a little bit between Wyoming and Texas. We have done that for a few years now. So I paint a ton when I’m up there, I paint a ton outside. I don’t get to do it as much here half the year because it’s so hot. But I regard myself as a plein air artist to some extent, but I in that everything I do begins outside. It may morph and change and evolve as I create other studies or bigger studio pieces from them. But generally, that’s sort of my my process is Get outside and get ideas and learn from nature and work on studio pieces from there, I’ve been painting for roughly 15 years. I guess I kind of came to it late, didn’t I was one of those kids, like all of us are loved to draw, always wanted to to use it in some way. But my family wasn’t like we didn’t. It was, you know, you go to college and you figure, you know out what your major is, and probably do something professional. So I ended up with a degree in education and a law degree, and for various reasons, attracted to both of those things, actually thought I wanted to be an architect to begin with. So might have used it that way, but, but ended up doing what I did, and raising three daughters and writing freelance a little bit, doing some black and white photography, you know, all creative outlets in various ways, but didn’t really ever understand what the process of how you became an artist, or what that looked like. And it wasn’t until we lived here in Austin and we went to a fundraiser for the local art like school, and it’s called the contemporary Austin now, but they had a fundraiser, and I met someone there that was an artist and paints and was in galleries, and I’d chosen her painting, and this raffle that I won, and. And her name is Laurel, Daniel, and she she taught at the school, and so I thought my kids were in about middle school age then, and that’s when I jumped into my first art class, and Laurel became a mentor and inspirational and pushed me. And that’s kind of where it all came together.
Laura Arango Baier: 5:23
Wow, yes. And this is also what I meant about your interesting trajectory, because I mean to go from like education and law school into photography, well into freelance writing, and then into photography, and then finally into painting. I think that is fascinating, because it must have brought in a lot of really cool, transferable skills into painting, right? Because one of the things that I think that you and I had actually talked about a while ago is the research heavy side of law school, right? How there’s this aspect that you enjoyed, particularly about just looking in and diving deep and trying to understand things. And I definitely see that in your work, you have this very inquisitive eye, and I can tell in how you especially when you really pull into like the trees, like you have like you pulled the valley of the tree, and then you pull the valley of the sky back in, and then you have, like, this really beautiful interplay of, like, the negative space and the positive you broke a positive space. Do you find that there are other transferable skills from these different, you know, past trajectories that have been brought in that you find have really helped you with your paintings?
Julie Davis: 6:39
Well, I think that, you know, anytime you look back on your life and you start putting puzzle pieces together, you go, Oh, well, that’s why that happened, and that’s why I did that. And it definitely, you know, when I look back, I’m like, Yeah, everything came together in various ways to influence, you know, my art and to and I can use all these tools in various with the writing, you know, from law school was huge. The photography, obviously, I use that, you know, law school itself, learning to, you know, attack project and dive deep and study. I think that’s part of why I went to law school originally, even was that I, you know, I really enjoy research. I’ve always enjoyed writing and, you know, understanding an issue or a problem or a subject matter really deeply. And so I think I don’t know if, if it was law school that influenced what I what I do now, or if it was just my that’s why I went there, that that’s that’s just part of who I am. I’m just, you know, one of those people who’s a student forever and loves to learn and understand things and understand them deeply, most comfortable when I understand something deeply. So I went from being complete generalist, you know, and all these different things, not being very good at any of them, just like adequate and then and then, to suddenly finding my niche and becoming a total specialist. And even within landscape painting, like I just zero in on, you know, on trees, which I’m like, I can’t just do that forever, can I like? But maybe I can’t, because there’s just, I mean, it’s never ending. There’s always something to learn. There’s, you know, I could go on.
Laura Arango Baier: 8:36
No, I totally get that. Because there’s, it’s so fascinating. I heard a really great actually, my boyfriend’s mom, she said this really great thing once, where, when you look at a forest, you see this, like beautiful group, and then when you look at each individual tree, you see each tree’s individual beauty as well, like that, like they’re all like different almost like different people, right, with different faces? Yeah. So, so, heck yeah, specialize in it. Because, I mean, every tree is an individual. We are
Julie Davis: 9:08
all individuals. They’re the figures of the landscape. They are expressive, and their characteristics are just so unique and and so once you, you know, tap into that side of it, I think it’s so easy to find the expression in them and to use them as, you know, I said, Sometimes I feel like I’m doing portraits, you know, I and I would love to learn portraiture. I think it’s fascinating. But for now, I’m focused on the portraits of the trees in the world, but yeah, they provide never ending. You know, they’re they renew, they change colors. There’s just tons of variety every time I’m in a new location, in a different part of the country or the world. And you know, if you land in an airplane, particularly because you’re not driving, you’re just sort of suddenly thrown into a new landscape. And it’s just fascinating to me. The first thing I noticed is my eye goes straight to the trees and in them, like, oh, wow, look. Those are so different from the ones you know in this place. They’re just, it’s fascinating to me. It’s, it’s a fun it’s a fun little mind trick I’ve given myself when I travel now. It’s just, it happens and I notice them, which was a blast.
Laura Arango Baier: 10:23
Yes, yes. I’m also a major tree lover, so I can totally relate to that. I mean, there’s nothing better than walking through a park and just looking up at the trees and the person walking next to you is like, what are you doing? Don’t you see it? Just see that curve on that branch and like the sun falling on it, isn’t it amazing? And they look at you like, are you okay? Too much coffee, exactly. Yeah, yeah. But I wanted to ask you too, because it’s very interesting. Of course, this trajectory, and, you know, going from, you know, learning with, with an art teacher, but then, how did you land on plein air? And then, when was that moment in plein air? When you were you really said, Oh my gosh, trees like, How did you land on trees?
Julie Davis: 11:11
Well, plein air is because the Laurel, whom I mentioned earlier, she taught two classes, still life and plein air painting at the school here. And so I jumped into both of them, and she taught one for six weeks, and then the next for six weeks, and then, and I ended up taking, you know, two years, three years worth of classes from her. So my introduction to landscape painting and to any painting was still life in in plein air. I didn’t really have an option of, you know, doing the landscape indoors. So, but instantly, when I did that, I knew that this was a blast. It was a huge challenge, and it was kind of a nightmare, and it was a lot of chaos, but it was also like, I can do this. I can I can draw, you know, I can be creative outside, you kidding me, you know, I mean, it’s just the best thing I could have ever created. So that was a no no brainer to me. And, and still is, and, and then trees are sort of my focus on those became came around when I was really new in her class, and every time, you know, we’d go outside, I would just be like, oh, like, what do I do? How do I compose anything? I am terrible at this. I’m terrible at painting trees. Like, you can’t be a landscape artist if you don’t paint trees. Well, right? Like in my brain, okay? This is it became. It began as a challenge to myself to improve, basically. And I said next, for the next year, for every single time I go out painting, I’m, I’m not going to try to compose anything. I’m not going to mess with, you know, racking my brain on that I’m going to just find a tree or a bush, but, like, the trees here are kind of short so, but I’m going to find a tree and I’m going to paint it, and that’s what I’m going to find. And so it took out, like, you know, it’s like changing your wardrobe to just white shirts and jeans or something. It was like, oh, okay, this is so much easier. And you know, I was terrible at it for a while, but at the time I was I was blogging, and so I was in the daily painting thing was big deal. So I was really pushing myself to do studies and just small little sketches outdoors and always on trees. And so then I started getting some momentum, you know, on the blog, and people seeing that and watching that, and watching my process and my evolution. And, you know, as with anything, when you study and you practice, you get better, and you have aha moments, and you put those in your in your your pack, and you’re like, Okay, I’m beginning to, you know, you get some traction. And so, you know, along that, that path I got, I got better, and I developed different ways of, you know, different brushwork, or just all kinds of stuff. I have very specific memories of, you know, paintings that I did that was like, oh, that’s how you can do that, you know. And that’s the benefit of doing a ton of small sketches or studies, instead of trying to do a completed painting outdoors, every time is that you’re you, you get the miles in and the whole process, you know, you condense it to much shorter process by by doing that many and the small ones, the big ones, you know, takes a lot longer to complete. You don’t, you don’t get the process of beginning the painting. And you know, all that goes into that and and the drawing and. Yeah, just all of it. It’s compressed,
Laura Arango Baier: 15:04
yes, yeah. It’s like, like a crash course.
Julie Davis: 15:08
It’s a crash course. So I had a crash course in, you know, in painting trees, and then it just became a bit of a love affair. You know, after I’d done it for a while, I just developed a complete enthusiasm. And, you know, sense of awe every time I did them, and, and, I mean, it’s just, it’s just continued, honestly, it’s just been a snowball. It’s not like it was, it was like I said, Oh, this is what I’m going to do. It just, it just evolved over, you know, as a slow burn. But it, that’s, that’s, that’s the genesis of it,
Laura Arango Baier: 15:43
yeah, I was just so curious. Because I find that, you know, a lot of the, like some artists, they might go into, you know, a topic, because they’re like, oh, yeah, this is what I’m interested in. And then there’s the other path, which is, I landed in this. And I really love it, right? It’s, it’s very, you know? So it’s like, some people who are like, when their kids are like, I know this is what I’m going to do when I grow up. And then there’s the other kid was like,
Julie Davis: 16:10
I don’t know, I’m going to do this. The other things before you find it and it hits you in your face, you’re like, oh, literally, because I want to raffle, I ended up talking to this woman. So, you know, I mean, life is weird.
Laura Arango Baier: 16:23
It is, it is. Life is a very fun, strange, oftentimes magical thing when things like that happen. I mean, you can, and they say, they do say, hindsight is 2020, and it’s so fun to look back at like that turning point and just be like, Wow, what a domino effect. And then the one thing that you were talking about just now that I really liked about, you know, doing all of these little crash course, sort of like paintings, where you really going for it, is that that is so reminiscent of that sort of research aspect that you have, right? This, naturally, it’s visual research, of course, very true, yeah, but it’s like that, like I said, that curious, inquisitive eye, that, just like, it needs more. It’s like, but then, how does this work? And then it’s so funny how that works with painting, too, where you’ll come across a thing, you paint it, and then it makes you have more questions, yes, and then you think, oh, once I get the answers, it’ll be fine, but then you end up with more questions. It’s never ending.
Julie Davis: 17:22
Yes, yes. When you, when you learn that you don’t know the answer, you know, it just opens up a lot more questions. It’s, it’s great. And that’s the fun thing about painting is, is that you can, you can go on forever in so many different directions, and it’ll, it’ll be a lifetime of research and study and learning and doing, and it’s never going to get old.
Laura Arango Baier: 17:51
Yes, yeah. And so I say a lot of artists, they say I will die with a paintbrush in my hand for that reason, yeah, because there’s, there’s always more, and it feels like there isn’t enough time, you know, as an artist, to really get all of it. Yeah, but yeah. And then I also wanted to know, when was the moment where you became a full time artist? Like, was there a moment where you, like, maybe stopped doing your freelance writing, or the moment, we’re like, Okay, I’m not, you know, I’m no longer taking art classes, and I’m in a good spot, so now I’m just going to dive into this. Like, how was that like for you to become it? It evolved,
Julie Davis: 18:33
like everything else, you know, as I mentioned, my daughters, our daughters were in middle school ish, when I we had three daughters, and they were probably, I don’t really know, seven, nine and 11 when I started painting. And so that, you know, there were my priority always. And so I would get up at five in the morning and paint in the kitchen. When I was first learning I had sort of all my stuff in this little cabinet, and I would pull it out and do so six by six. And it’s still life, usually, because I could do that right there and just learn how to use the brush and the paint and the stuff and get that, get a handle on it. So I did that for a couple of years, just everything right out of, like, between the table and this cabinet in the kitchen was my space, and so, because they were so busy through high school and all that, it just, it was sort of, I did what I could. I painted when I could. I started to think about entering shows and organ getting, you know, be involved in in memberships and organizations. But I couldn’t really go to anything, because I couldn’t, I couldn’t do that, travel with them, or leave them. There was just too much going on. So I kind of watched some people who started off around when I did, um. Get going because they were doing it full time, and I was not, and I was like, it was frustrating, but at the same time, I knew my priorities and I didn’t doubt them. And so once our youngest went to high school or college, actually, so around 2018 I was able, I had a lot more freedom in being able to travel and that kind of thing, and go to shows and also paint all day long without stopping at three o’clock or, you know, having to make a big dinner or anything like that. It really that’s probably when I was able to dive into everything full time. And then once, now, two of them are married. One more is getting married soon, and it’s, you know, I’m full go, so I try to go to as many of the shows that I get into when I can, and, you know, teaching and just trying to paint as much as I can and get work to galleries and enjoy painting outside.
Laura Arango Baier: 21:02
So that’s awesome, though, because I think one of the interesting things that you just highlighted there is time management also, like, I can’t imagine, you know, having three kids and then also having to make time for myself somehow to paint at five in the morning. That’s how much I liked
Julie Davis: 21:23
it, though. Yeah. I mean, that just tells you, you know, it was, it was such a fire lit under me that I, yeah, I mean, and it’s not like, I like to get up at five in the morning. Sometimes it just happens automatically now, but, like, but it was really, I mean, it was huge, because it was an hour and a half where I could just have peace and quiet and do what I needed to do, and feel like I got something done and learned something that morning, you know. And maybe I got to do it a little bit, you know, when they’re at school throughout the day too, but, but I could always count on that early time. Glad I don’t Yeah, now,
Laura Arango Baier: 22:07
oh yeah. I mean, it’s nice to have a more free schedule, or a schedule where it’s more, you know, you don’t have to worry. Yeah, yeah, but that’s more Yeah. And then I wanted to ask you also, because, since you did freelance writing as well, do you find that you maybe also got some of that time management ability things to doing freelance or doing, you know, projects like that well.
Julie Davis: 22:41
And I mean, you know, school and law school does that to you, but free freelance was my first foray into sort of running my own business, if you will. You know, I mean, and I was having to manage my time, because then I had at least one child, and back then, we couldn’t do anything over zoom, so I was having to go to interviews, and, you know, do all this. And so it became quickly, not very feasible financially. It was kind of silly, but it was a lot of fun. And I learned a lot about a lot of different subjects, and I learned a lot about just running my own business and interacting with, you know, others, you know, in a creative way. So it was, it was a fun and writing has always been interesting to me. So it was a fun period of time.
Laura Arango Baier: 23:34
Yeah, and I love that you mentioned that you know about it being your first foray into, like, having your own business, because that very much is the life of an artist as well, well, at least an artist who wants to live for their work, right? Because not, maybe not everyone out there, maybe they paint because they enjoy it, and they don’t have to make money from it, and that’s great. But for the rest of us who want to make it into a career, right? What would you say was, like, one of those business aspects from freelance that you see very much in, like, being an artist now that you’re like, oh yeah, this is exactly what I was doing before, or this is one of the important things business wise, that I think freelance really taught me to put into art.
Julie Davis: 24:20
I think it was just having my I mean, I don’t know if it’s chicken or the egg, because having so being a self starter, being able to organize and say, Okay, this is my project management. You know, I think that’s probably the biggest takeaway, but, but that some of that was already there in me, or developed in other places too, but it all, it all, you know, blends together to create this fabric of who you are and and what you’re good at, or what you what you hate. You know, you learn a lot along the way, when you do a lot of different things, and some of it no matter. What it is, we’ll find a way into into who you are. And so the writing part of it was telling stories too. I think there’s that in art and painting and landscape art, you know? I mean, you’re telling a story every time the land has a story to tell. And so it’s sort of like figuring out what that is in that little vignette and pulling it out and making it express itself.
Laura Arango Baier: 25:31
If you’ve been enjoying the podcast and also want to be able to ask our guest live questions, then you might want to join our monthly BoldBrush live webinars, where our guest artists discuss marketing tips, share inspiring stories and answer your burning questions in real time, whether you’re a seasoned painter or just starting your creative journey, this is your chance to connect, learn and spark new ideas, and whether you’re stuck on a canvas or building your creative business, this is where breakthroughs happen. Don’t miss out. Ignite your passion and transform your art practice by joining us. Our next BoldBrush Live Webinar is coming up on the sixth of November, with our special guest, Steve Atkinson. You can find the signup link in the show notes. At BoldBrush, we inspire artists to inspire the world, because creating art creates magic, and the world is currently in desperate need of magic, BoldBrush provides artists with free art marketing, creativity and business ideas and information. This show is an example. We also offer written resources, articles and a free monthly art contest open to all visual artists. We believe that fortune favors the bold brush, and if you believe that too, sign up completely free at BoldBrush show.com that’s BOLDBRUSH show.com. The BoldBrush Show is sponsored by FASO. Now more than ever, it’s crucial to have a website when you’re an artist, especially if you want to be a professional in your career. Thankfully, with our special link, FASO.com/podcast, you can make that come true and also get over 50% off your first year on your artist website. Yes, that’s basically the price of 12 lattes in one year, which I think is a really great deal, considering that you get sleek and beautiful website templates that are also mobile friendly, e commerce, print on demand in certain countries, as well as access to our marketing center that has our brand new art marketing calendar. And the art marketing calendar is something that you won’t get with our competitor. The art marketing calendar gives you day by day, step by step, guides on what you should be doing today right now, in order to get your artwork out there and seen by the right eyes so that you can make more sales this year. So if you want to change your life and actually meet your sales goal this year. Then start now by going to our special link, FASO.com/Podcast, that’s FASO.com/podcast, yeah, definitely. I think for sure, telling a story, I think, is one of those things that maybe it’s almost like, today it’s become a little bit like muddled, because we, I feel like a lot of marketing tells us you need to have a story, you need to have a story. And I think that that’s one way of going about it, but another way is to almost like, let that story create itself as well along the way, instead of forcing it, yeah? Because that feels so much more genuine in the work.
Julie Davis: 28:25
Yeah? Forcing it doesn’t work that well. I don’t. I mean, I’ve never been able to come up with a plan for, you know, it’s always like I’m responding to, I’m responding to the landscape. I’m responding to what I have painted to create a story. I’m not. I never set out to maybe it’s a mistake to do a series like I am bad at that, like it’s that’s a good thing, I think. But I can’t, I can’t seem to get myself to to do that. You know, I had Amy Erickson told me recently, Julie, everything you do is a series, like, it’s like, okay, yeah, well, it’s all trees, probably, but, but I don’t know that there’s, like, you know, a real story there. It’s just each particular painting I’m hoping to tell somewhat, some of a story, some version.
Laura Arango Baier: 29:21
Oh yeah, for sure, I definitely see that in your work, and that’s one of the things that I appreciate about artists like you, which is that there’s, like I said, this very obvious, authentic and genuine love for the subject. And I think that is the way that it should be, right. I think in terms of business, just, I feel like business is like the like, the success in terms of business is almost like the symptom of that love for a subject, like, yeah, like, if a piece sells, it’s like this person who bought it loved it as much as I loved making it, you know, right?
Julie Davis: 29:59
Yeah. Yeah, yeah, it’s, it’s a lovely thing to get that, that sale, but it’s, like, an, it’s, you know, I sell through galleries generally. So that’s my like, you hear about it, and it’s, like, awesome. That’s old, but i The joy is in the creation and and in the relationships, with the with the galleries and the people and the shows, and in all that kind of stuff, it’s, it’s, the sale is a huge source of joy too. But it’s, it’s, it’s just a cog in the wheel, you know, in the wheel, it’s not, it’s not the end result or the end goal. It’s, it’s, it’s a happy thing, but it’s definitely not, not the thing I’m looking for when I’m painting, what I’m painting, I am filling my own cup when I’m outside painting and and inside. But when I’m, you know, my goal is to get out there and have fun and understand what I’m what I’m painting and and pull something out of it that expresses something to me and hopefully to someone else,
Laura Arango Baier: 31:10
absolutely, exactly. And I think that should be the biggest message as well for our listeners, to focus on that right to be like Julie, just like do it because you love it, and if it sells, that’s awesome. You
Julie Davis: 31:24
find the thing that you love and and it’s all going to work out, like it’s going to flow from there, for sure. I mean, I would never have ever thought or planned, you know, that that I would be painting or teaching workshops about, you know, painting these figures, but, man, I’m, I’m lucky, you know, it’s, it’s, it’s a perfect path for me, and I enjoy every minute of it,
Laura Arango Baier: 31:53
yeah, yeah, even though I know how, how crazy and complicated it can Be to like, you know, be painter, teacher, salesperson, marketer, writer, framer. Framer, oh, goodness, yeah, there’s so much that goes
Julie Davis: 32:09
into Yeah. Text person, that’s really not my skill.
Laura Arango Baier: 32:14
Yeah, that’s where it’s nice to hire someone to do that. Yes, yeah, yeah, yeah, but I did want to ask you to because that, because it ties into what we were just talking about, you know, making this beautiful work. What would you say? Because, I mean, you got involved with, you know, a lot of organizations and and then I wanted to know, you know, how was that trajectory like for you as well, you know, when you started getting involved with these shows or applying for shows. How would you say that that helped your career as an artist?
Julie Davis: 32:46
I think, I think organizations can be so valuable. I kind of, probably, about 10 years ago, started to, I think I joined American impressionist society, oil painters of America, American women artists and and in that’s an addition to, like my local plein air Austin, and like eventually Teton plein air painters. Just those are wonderful little contacts, especially when I was starting out. Like to just get out and paint and have somebody to go with, so that those are hugely valuable for that and and then the national organizations are just first something to just aspire to right such a collection of artists that are doing this professionally, that are top notch and opportunities to expose yourself to them through their national shows and going to them or just looking online, and you know, just knowing their names and knowing who to look for on Pinterest or Instagram or whatever it is YouTube. So they’re valuable that way. And then when I started entering the shows, and, you know, you get all the rejections for very long time, but, you know, I remember getting my very first acceptance to a show, and I just thought, oh my god, that is like, I can’t believe I’ve gotten in. That’s That’s so exciting and and I think the first show I went to was in Scottsdale, my husband, I took the weekend and went, and I didn’t know anybody, you know, and I didn’t really meet anybody that trip, because we just were sort of like, oh gosh, we’re just gonna run in and see the show and and, but since then, you know, as I’ve gotten into more shows and had more time to be able to travel and go to them. I have met so many wonderful people. I have made friends around the country that I will always be friends with. I think that we, you know, correspond through Instagram or now we text or whatever. I. The friendships are. I mean, that’s the biggest thing, the exposure to fantastic art and getting to go to these shows and just like, walk through the OPA show and or walk through the AIS show or, you know, I mean, you just, you look at the art and you’re like, I want to, I want to buy that. Like, I want to buy that. I want to buy that I can’t, but, like, I would love to, it’s just like a candy store, you know. And then you get to talk to the person who painted it and learn their story and and you get to serve and do things like jury, you know, for a show or an online show or something, or get to volunteer for them. You You really, it’s, it’s kind of, it’s fantastic for for those kinds of things. And then, and within that, you learn where you stand. You know as you get you see your art and you compare it to others, and at least, you know not to beat yourself down, but to pull yourself up and to say, you know, I’m, hey, I’m hanging with this group of of artists, and this is, this is I’m doing something well, I’m doing something right. And sometimes I don’t get into, you know, X show or whatever, and I’m like, Okay, I kind of deserve that, you know, you it’s a good way to keep the barometer, you know, and to see, sort of see, see where you stand. But most importantly for me, it’s been a network of like minded, connected individuals. And I would not be the same artist right now if I hadn’t done them, if I hadn’t really leaned into them and had the goal of, okay, I’m gonna I’m an associate member now, but I want to be a signature member of these organizations, you know, say, in 10 years or whatever, and and it came faster than that. And I, I’m super proud of myself for that, but still, still work like heck to even get into them, because they’re not easy shows to get into, but they’re a lot of fun, and they’re they’re a ton of fun if you really lean in and get involved,
Laura Arango Baier: 37:06
yes, yes. And I love that you mentioned the connections and the networking and and the friendships. And, you know, I do love that idea of these shows, and seeing all this beautiful work is also helpful to improving, right? Because, yeah, the artist is such a lonely person, in a way, because we’re alone in our studio. We’re very self motivated, very much in isolation, because that’s what you need to paint. But it’s so funny, because I’ve come to realize more and more you know, talking to artists like you that a huge part of being a successful artist is networking, you know, going to these
Julie Davis: 37:47
shows, people, putting your face out there, making developing relationships. I mean, artists are the friendliest people. I mean, at least the landscape artist, you know, like it’s, it’s a group of people love to be outside, and we love to you know, I mean, most of us are just like, Let’s go do it. But we’re also introverts generally, maybe not all, certainly not all, but it’s definitely fun to be able to connect with people and see that in them. And yeah, it’s an easy way to find some people that you can relate to and and then you see them again, you know, at another show or the next year. And maybe you don’t see them for four years, but then you see them again, and then you pick up right back where you left off. And I think it’s just invaluable,
Laura Arango Baier: 38:35
absolutely, yes. And then, you know, career wise, I think also I have heard of a lot of artists too, who they start working with these organizations or painting societies, and then suddenly, you know, maybe a gallery approaches them, or it becomes easier to approach galleries. Would you find that? That was also true for you 100%
Julie Davis: 38:54
I just did the AIS show in Casson and at Hamilton, Montana, and now I’m showing at cassons Fine Art, where they hosted the show. So if I hadn’t gone to that show, maybe that would have happened, but the fact that I was in the show, and then my painting sold, and and I was there and interacting with, you know, with The Gallerist and and everyone else and it, but it’s definitely just, it’s interfacing with people. There’s nothing you know, you can do everything marketing wise online, I suppose, but relationships and interfacing with people as individuals matters Absolutely.
Laura Arango Baier: 39:36
Yeah, yes, yeah, people. And it’s, it’s interesting, because, I mean, you can, like you said, you can look at a beautiful painting, and, you know, maybe that’ll give rise to an opportunity. But so much of the work is also, or so much of the the appreciation for an artist’s work is also an appreciation for the artist, right? Yeah, yeah. Like,
Julie Davis: 39:58
there’s, yeah. I mean. I have way too many small paintings of my own, but I also have way too many small paintings of other artists who I know personally now, because I’ve met them through these things. And so, you know, along the way, they’ll sell study online, or I’ll buy one, you know, occasionally and so, or you trade because you know the person and you know and it just adds a whole other dimension, you know so and when a gallery knows you, gets to know you. I mean, that’s true if you’re not in a show at their gallery, if you just are in their town, and you go in a lot and you you develop a relationship with them, they they they get your story, and they know who you are as a person and and if they love your work too, then you’re an easy sell. You know, I mean, you’re, they’re able to understand you and share that with with collectors. And I think it’s, it’s all beneficial,
Laura Arango Baier: 40:56
yes, yeah. And again, that highlights the importance of, you know, getting out of your studio, and I know they’re like you said, many of us artists are introverts, and it’s easy to be, I guess, when you’re an introvert, to be discouraged when it comes to like talking to other people, because it feels kind of awkward and kind of weird and like You don’t like you get a little scared, but it is so easy to talk to other artists.
Julie Davis: 41:25
Yeah, these shows is all other artists. So,
Laura Arango Baier: 41:28
like, exactly,
Julie Davis: 41:30
yes, totally easy. It’s fun.
Laura Arango Baier: 41:32
Yes, it’s like talking to other people speak your language, and, yeah, oftentimes they’re on the same wavelength as you especially, like, you know, if you’re landscaping, you’re talking to another, another landscape? Yeah, for sure. Speak
Julie Davis: 41:43
out over the same, you know, tube of paint, color, whatever. Yes, exactly. Easy to talk that, yeah, yeah. And I
Laura Arango Baier: 41:51
think that also highlights, you know, if you’re a landscape painter, then you know that trying out plein air and talking to other plein air artists is really helpful. If you’re like a portrait painter, you know, talking to other portrait painters, we’re going to complain about the same exact, you know, things when it comes to, I don’t know, like, oh, I struggle with this part of the face or on me. And there’s nothing that annoys me more than having to deal with this when I’m, you know, trying to work and there’s, like, lighting changes, you know, anything that comes
Julie Davis: 42:15
up, sure. I mean, you learn things that you can use too, yes.
Laura Arango Baier: 42:20
So I think that’s one of the best things, is talking to someone else and just being like, please, what paint did you use for this color over here? I need to know. And oftentimes that opens up a whole other, you know, realm of possibilities. Like I was talking to an artist a while back who I was complaining randomly, like, I can’t find, like, a black that replaces ivory black, because I hate that ivory Black is such a slow drier and this and that and call, have you tried chromatic black? Like, excuse. It’s like, yeah, it’s a transparent black. I’m like, No, so yeah, now I have the same stuff. It’s yeah, yes. It’s good, yeah, yeah, yeah. And just also in terms of, you know, connecting with people who connected with other people you never know. You might have a much shorter degree of separation with maybe, like a painter you really admire, and then suddenly you have a way to be able to communicate with them. So it’s Yeah, so underrated to put yourself out there and talk to
Julie Davis: 43:26
people. Yeah. And it’s not only artists that go to these shows, you know, they’re, they’re OPA has a collector’s circle, you know. So they’re national shows. They bring in, you know, a group of collectors who really love art and will end up buying art. But they’re also very interesting, fun people to be around, too, and they love to talk about art so and then there’s people who write about art that are there, and, I mean, it’s just a whole network of interesting people who are absolutely zeroed in on what you love to do.
Laura Arango Baier: 43:57
So that’s very encouraging. Oh, man. But then I also wanted to ask you, do you have any final advice for someone who might want to become a full time artist?
Julie Davis: 44:14
There’s so many things, I guess my biggest takeaway is to be a student. Always be a student, you know, because, like you said, you think you if you think you’ve arrived at one level or this question, you know, answer is going to answer this question. It actually opens up a whole other can of questions. Dive into them, follow that whatever that curiosity is that you know is eating at you right now, whether it’s, you know, studying trees or skies or whatever it is, just be a student, it’s there’s 1000 ways to practice. I think Hemingway said it’s. You know, you don’t have to just read a book. There’s so much to do, so many things to do, you don’t just go to workshops. Don’t go to too many workshops. Never go to I think one a year is probably plenty. And there’s so much information that comes at you in a workshop, and you’re trying all these new things, you need time to absorb it. So be a student, but take it at a pace that makes it works for you, that allows you to ingest it, turn it over in your mind, you know, and and then practice it until you’ve incorporated whatever it is and you’ve come to some level of mastery for it. But, yeah, I think, I think, I think be a student. There’s so many ways to do that, but,
Laura Arango Baier: 45:53
but yeah, yeah, no, I’m totally in agreement. And to be an artist essentially, is to be lifelong student, right? I mean, there’s if, and I love that you also said that, like, if you stagnate, you know, if you get to the point where, like, oh, well, I answered my question, but you’re not inquiring more, that’s, that’s kind of not good. It’s not a good place to be, right? No, it’s not. It’s not. And I think
Julie Davis: 46:20
challenging yourself, get outside your box. I mean, I say that, but I just paint trees, but, but, I mean, there’s so much to learn within them, so I don’t, I feel like, yeah, that I and that, then I forget half of what I learned. So I get to relearn it. It’s fine. But, yeah, I think, I think that’s a good thing. And don’t beat yourself up if you you know, I mean, like, that’s another it’s so easy to do. And when we’re in our heads and we’re alone and and we’re stagnated on something, you know, and we’re just like, I can’t Nothing I do is good right now. But Robert Henry, I think had it has a quote that I have gone back to so many times, and it was really important when I was first starting out, and it was never, I’m going to get it a little bit wrong, but the value of beginnings of a painting cannot be overestimated. So basically, every time you start a painting, it’s valuable. And if you, if you screwed it up and it was a failure, the value is in the beginning of it, you’ve, you’ve you’ve checked another, you know, mile of Canvas off your list. But you you gain something by starting a painting every single time. So even if it doesn’t end up perfectly well and you end up wiping it down. It was another start. And that’s, and sort of in my mind, that was, that was a win. So, so don’t beat yourself up, you know, just congratulate yourself for getting a little further down the road.
Laura Arango Baier: 47:53
Yes, yes, absolutely. I think there’s like this strange sort of feeling of, and I don’t know if it’s like, kind of like a productivity thing, where people these days are so obsessed with, like, numbers, numbers, numbers, and being super productive that it’s really hard as a creative person to give yourself the space, like you said, to make a mistake, or to not make every piece a masterpiece, like, not every piece has to be perfect and amazing. Like, make a burn pile if you have to, and then that way it becomes, like a ritual. Of, like, I have
Julie Davis: 48:28
a slim deck right here that are all going to be primed over here in about a week. I mean that that just that happens and and that’s part of why I went to the four on a panel, you know, outside, for the most part, is because I don’t put the pressure on myself to complete a painting and make it sellable. It’s, it’s on a panel, so can’t really walk, you know, unless I’m selling the whole panel. And one of those four is going to stink, almost guaranteed every time. But I’m going to also take that panel of four, and it’s, you know, it’s, it’s the beginnings of something, and I’m going to take it in the studio, and I’m going to work, work on it, be thoughtful about it, and think, you know, carefully about the composition and but I’ve taken away, I’ve taken away something without putting the pressure on myself to make it perfect or finished or syllable, you know, it’s, it’s studying, it’s information gathering and learning.
Laura Arango Baier: 49:30
Yeah, and that kind of, you know, makes me think, like, imagine someone, like a researcher, is taking notes and just a random notebook they wouldn’t be worried about. Oh, no, my notes here, ugly,
Julie Davis: 49:41
a perfect white paper or whatever from the first draft, you know? Yeah, I mean, there’s a time for that, you know, when you’re when you’re in a plein air competition, or you really do want to walk away with a completed painting, but really not necessary every time you go outside. I like to be more of an explorer with that.
Laura Arango Baier: 50:06
I like that. I like the Explorer because it puts you in such a different mindset, right? I mean, yeah, like, just, I think I was actually listening to a neuroscientist talk about this, that there are these two modes of thinking and creative work. The first one is like the mode of thinking. That’s just, I’m just going to do whatever. I don’t care what people think. I’m just going to put it on this canvas or paper or whatever, you know, creative work you’re doing. And then you, after you’ve, you know, completed that aspect, you have to, you know, keep this very separate. But then you can add in the editor to come in and, like, work on it, because if you’re switching interchangeably between the two during the creative process, you’re just going to be, it’s like slapping yourself in the face, finding yourself, yeah, yeah, exactly. So it’s good to have that. Okay, I’m gonna give myself an hour, or, like, 20 minutes, or however long, to just put it all down and enjoy myself and feel it out and not think about it, and then, you know, maybe put it away and then give yourself some time come back to it right? Because it’s it’s a process. It’s an ever evolving process, 100%
Julie Davis: 51:16
and my brain needs time to sort of look at those studies on the wall and process them and pick one out and say, Okay, that one, I’m going to tackle that one or understand what I liked about it, you know.
Laura Arango Baier: 51:30
So it’s a very careful craft. But yeah, and then if someone actually no, I wanted to ask you if you have any upcoming shows, exhibitions, workshops, that you would like to tell us about.
Julie Davis: 51:42
Yeah, the next show got a piece in is the oil painters of America, the virtuosos of the OPA that’s taking place at Ballard’s fine art in Sheridan, Montana. It opens November 7, and I have a piece called tethered to the land in that love that piece, because it’s really one that I took, I think I really expressed my, my I’m getting better, that my expression of who I am as an artist. And that one felt like I went in that direction. It’s funny how long that takes. The next thing I have after that is I’m doing an OPA Lunch and Learn on November 14. So yeah, working on what I’m going to work on for that or do for that right now and then, I’ve got a show at Mockingbird gallery in Bend Oregon next November, four person show with Jennifer Moses and Mitch Baird and Tad rats. So that I’m sure will be a fun show to see. And then I’ll probably do another online workshop, one of my trees workshops in the winter or spring. We’ve got, like I said, a daughter getting married New Year’s Eve. So once I, once I get past that, I’ll be doing another workshop. So those, those are the big things coming up.
Laura Arango Baier: 53:09
Awesome, yeah. And then where can people see more of your work and maybe sign up for these workshops?
Julie Davis: 53:15
Yeah. So my website is Julie Davis studio.com, and certainly you can see my work, my information about workshops. I’ll post there. I also do Instagram fairly actively ebbs and flows, but it’s at Julie davea Studio also, and I post about workshops there. That’s probably the very first place you’ll see. I’ll announce when registration is, and that kind of thing and then, and that’ll go on there, but I’ve got a link to, you know, in my link tree to get over to my website to register for it. So, yeah, those are going to be the the two big places to find my work, other than galleries. Dave is gallery here in Austin, not my gallery, but same name been in that gallery for a long time. It’s wonderful. Turner, fine art in Jackson, hole, cassons that I mentioned in Hamilton, Montana, and then Mockingbird in Bend, Oregon.
Laura Arango Baier: 54:15
Well, thank you so much, Julie for this very lovely and enlightening and relaxing conversation about painting.
Julie Davis: 54:26
Well, you’re welcome. Thank you very much for having me on. I enjoy the podcast very much. It’s it’s a go to when I get in the car and I’m driving somewhere so well,
Laura Arango Baier: 54:35
thank you so much. That means a lot to me truly. Thank you to everyone out there for listening to the podcast. Your continued support means a lot to us. If you’ve enjoyed the episode, please leave a review for the podcast on Apple podcast Spotify, or leave us a comment on YouTube. This helps us reach others who might also benefit from the excellent advice that our guests provide. Thank you.
