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On today’s episode we sat down with Scott W. Prior, a full-time artist based in Oceanside, California, celebrated for his evocative paintings that capture everyday scenes. Scott discusses his journey as a full-time artist, reflecting on his transition from illustration to fine art and the influences that shaped his work. He emphasizes the importance of capturing everyday moments and the joy he finds in both painting and new creative pursuits like ceramics. Scott recounts the challenges and perseverance required to build his career, highlighting support from his wife and important moments of validation. He discusses the significance of discipline, networking, and joining artist communities for personal and professional growth. Scott encourages artists to pursue their passion for the love of art rather than for financial gain, warning against chasing commercial trends. Finally, Scott tells us about his upcoming events, including a return to the Paint Maui show in February 2026.
Scott’s FASO site:
scottwprior.com/
Scott’s Social Media:
instagram.com/scottwprior
facebook.com/scottwpriorartist
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Transcript:
Scott W. Prior: 0:00
Networking is definitely part of it. Now we have social media, but you’re still hiding behind the screen. I would suggest getting involved with like local arts communities and stuff like that. But that can’t You can’t rely on that only. You need to put the work in too. With networking, you can learn from other artists as
Laura Arango Baier: 0:24
well. Welcome to the BoldBrush show, where we believe the Fortune favors of old 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. On today’s episode, we sat down with Scott W prior, a full time artist based in Oceanside California, celebrated for his evocative paintings that capture everyday scenes. Scott discusses his journey as a full time artist, reflecting on his transition from illustration to fine art and the influences that shaped his work. He emphasizes the importance of capturing everyday moments and the joy he finds in both painting and his new creative pursuit, ceramics. Scott recounts the challenges and perseverance required to build his career, highlighting support from his wife and important moments of validation. He discusses the significance of discipline, networking and joining artist communities for personal and professional growth. Scott encourages artists to pursue their passion for the love of art, rather than for financial gain, warning against chasing commercial trends. Finally, Scott tells us about his upcoming events, including a return to the paint Maui show in February 2026 welcome Scott to the bulbrush show. How are you today?
Scott W. Prior: 1:47
I’m well. Thank you. Thanks for having me. Yeah, thank you
Laura Arango Baier: 1:50
for being here. I’m really excited to talk to you, because the moment I saw your work, I was like, I gotta pick this guy’s brain, because it is the type of work that really arrests your attention. It really pulls you in, and especially, and this is something, of course, I’m going to refer back to when we were talking about your work, but to mention it to our listeners, so that they can go check out your work as A, B, I love your use of depth, and how you have this gorgeous way of pulling us in, foreground, middle ground, background, and you, you really captivated and pulled into the scene. And I really love that.
Scott W. Prior: 2:27
Well, thank you.
Laura Arango Baier: 2:28
Yeah, of course, you’re very welcome. So happy to be able to pick your brain about your experience and your background. So do you mind, actually, for our listeners who don’t know who you are, do you mind telling us a bit about who you are and what you do?
Scott W. Prior: 2:43
I am Scott W prior. I’m a full time artist, and I live in Oceanside California, and I paint paintings and make stuff. Painter of stuff, yes, well, painter of stuff, yeah, that was more of a joke when I started that, and it stuck, because there was the Thomas Kincaid thing going on back in the day, and he was the painter of light, as you know, I’m the painter of stuff. And then John stern compared me to the ash can people. And I was like, Okay, I will take that John Stern, the Irvine museum director. I think He’s now retired, so,
Laura Arango Baier: 3:30
yeah, but I think that’s, that’s a really great comparison, because, I mean, I know that the ash can painters are very much dedicated to capturing the everyday things, yeah, the things that most people would just take for granted, I guess, you know, like, There’s something so nice about, you know, being in the middle of New York City and just like stopping at a street corner and just looking up, you know, at the sunlight, which is definitely the feeling that your paintings have, and you really capture that.
Scott W. Prior: 3:59
Thank you. That’s what it’s about, you know, capturing everyday stuff, you know, everyday things in life. And it’s all about composition and light. So I can, like, I’m wandering around, like, he even here, like, Oh, that’s a nice composition looking. I’m always looking at stuff, so, yeah, just kind of how, just how it worked out with me. You know, maybe it’s the illustration background, I don’t know.
Laura Arango Baier: 4:28
Yeah, and I actually wanted to ask you a bit more about that, because you had a bit of an interesting start on your artistic path. Do you mind telling us when you begin the path of the artist?
Scott W. Prior: 4:39
Well, I’ve, I’ve always drawn and painted, and due to injuries, growing up as a kid, my mom would be like, Oh, you broke your foot playing handball. Here’s a sketchbook, and you know how to draw characters, or whatever it was. So that’s when it pretty much. Started back then, you know, and then 10 years later, six majors later, I graduated art school, excuse me, so that’s how it, you know, I went to school for illustration, basically at the Academy of Art, and became a fine artist by accident, but I wanted to go that route anyway. So that makes sense, because illustration wasn’t really happening for me, and then the 90s clip art killed the illustration market for a lot of us, especially if you’re starting out,
Laura Arango Baier: 5:41
right? Yeah, it was a huge shift.
Scott W. Prior: 5:45
So I went left, and I went into art. I went into fine art. So, and I haven’t looked back, you know, like, Yeah, I mean, one of the questions you had was like, wow, I got started that. We’re still on that, I guess anyways. So I went to school for illustration. There was no real jobs when I got out of school, so I waited tables and worked in coffee shops. Hustled. We ended up moving to LA from San Francisco, and I just fell into the California art club, and that’s kind of how that all started. All because I was teaching pastels at the Palos Verdes Art Center, and one of my students was like, have you seen the show at this gallery? And I’m like, nope. Who? I don’t know anybody you know. I really didn’t know anybody. I was trying to still get into animation or advertising or whatever. So at the time, I was teaching, but I was also out running around, LA, showing my book, trying to get into whatever I could, you know, I I interviewed with Class D tripo For Rugrats. I did some production illustration for Cyan Edgar ad, advertisement in Beverly Hills. And hard day ever. Got paid for that, because it was all in. It was like an internship whenever they use one of my drawings, though, I got paid for the day, which was nice. Only happened twice, and then we had a kid, and I had to stay home for a little bit. Excuse me.
Laura Arango Baier: 7:26
Yeah, yeah, that sounds really heavy and hustling. You know, you also mentioned, I think last time that you did like you were bouncer also at some point,
Scott W. Prior: 7:35
oh yes, yeah, that’s so for going to go back to when I was going to San Diego State as a business major for my dad, good times to be a full time student and to well, okay, in order to keep the insurance with my Parents, you had to be a full time student. And I think I mentioned to you when we talked the other day, I tried Shakespeare, a Shakespeare class, that that didn’t work for me. I couldn’t keep up, so I took a I dropped that and got into a ceramics class, which is where everything switched. And, you know, the instructor was a guest instructor from Colorado, and he’s like, let me see your sketchbook. And I’m like, Okay, here we go, because we had to draw our ideas out. And he’s like, wow, you can draw I’m like, well, thanks. He’s like, why aren’t you an art major? Like, because I want to get out of college, and then the school let me go because I was having too much fun. My Grades suck, and I could have begged and stayed, but I went home, moved back home to my parents, and took a semester off, and I was working two jobs, one was in a deli, and one was, I was bouncer as well. Saw lots of fun bands, met my wife there at the club, and we’ve been together ever since, you know, 32 years now, I think crazy. So then we moved to San Francisco and I went to art school. So it was like, That’s how things worked out for me. And I went in, went to the Academy of Art for as an illustration major. And like we’re talking about earlier, the illustration industry basically flat lined, and I couldn’t find work, so I was just waiting tables, doing what I could do, hustling, met people, started teaching a little bit, and then came into the California art club by accident. And then I applied, because there was they suggested I apply to be a member, and I got in on my first try, which pissed people off, because they I’ve been trying 516, 10 years, and I’m like, Oh my gosh, so I can’t tell that story. You know, I couldn’t tell for a while. Now I do. I don’t care anymore. So Excuse me. Sorry. And so now I’m a signature member with the California art club, and I show with them regularly in the gold medal show and stuff like that. And that led to doing plein air competitions and shows, because that’s just one of the things you I just, I like, I like painting outside. It’s not all I do, of course. But then, yeah, here we are still doing it and the hustle I basically my wife, was like, you sell enough paintings now that you don’t need to work waiting tables or the coffee shops anymore, and you’re miserable. You hate it. Like, yes, I do. I’m over it. She’s like, keep painting and keep selling paintings, and we’re good, you know. So that’s been, you know, the role is being an artist, Mr. Mom as well. Kids are gone, so now I’m back to got the house to myself, and I do what I want to do. I don’t have to get up at 6am anymore. It’s great, you know, kids and things like that.
Laura Arango Baier: 11:19
So, yeah, it’s, it’s really cool to, you know, to have seen or to hear about your trajectory, you know, going from, like, hustling and not quite, you know, knowing exactly what direction, and then suddenly, you know, you get pushed, put in this direction, right, which you had mentioned, you know, the ceramics class, which I will touch on again. But I love that, you know, you decided, like, oh, you know what? This, this is kind of cool. And I like this. And then it’s, I heard a quote recently which I really like, which is, like, nothing really prepares you for how fast things can move when you make a decision, right? Like, one, once that decision is made. And of course, for you, it was okay. I’m going to be an art major, and I’m going to study this. And then that really from the sounds of it, led you down this, this very specific path, right into California art club, and then plein air, and then now, here we are on the podcast, which is really cool.
Scott W. Prior: 12:16
You know, I just went through a door. The door opened and I went through it. Through it and, you know, I just keep, that’s the thing. I just keep charging going forward. One door closes, go to the next door. Just gotta get a toe in there, get it’s a constant grind and hustle. The doing this art stuff is it’s not for everybody. Absolutely. Yeah, we’re one and we’re just one person. Excuse me, sorry, froggy,
Laura Arango Baier: 12:49
so yeah, yeah. It’s hard to do all the things as an artist, but I find that the people who stick with it are the people who have the, you know, the, I guess, the mindset and the demeanor to continue, even though they know it’s like, well, it’s not that easy. But hey, you know, I, I love it, and I wouldn’t trade it for the world, right? I mean, I’m also the type of person who doesn’t have the temperament to go to an office or go to work at a restaurant, right? Which means like, hell no, I’m gonna make this work no matter what, because that other option sounds like hell,
Unknown: 13:25
yeah, exactly,
Laura Arango Baier: 13:27
yes, yeah. And I wanted to ask you too, because of your illustration background, I find that a lot of the painters that I’ve interviewed who have, in my opinion, really beautiful compositions, are ones who have studied illustration. So I wanted to touch on that with you. Do you? Do you find that there’s some stuff that you took from illustration, you really pulled it into your fine artwork?
Scott W. Prior: 13:50
Oh, totally Yeah. No one. They both. They overlap the illustration. You know, when I was going to Orange Coast College, taking junior college, but my mom and dad’s house, and I was taking drawing classes and stuff, and I was sat down by one of my favorite instructors there, who Dory Dunlap rip. She was like, You should study illustration. Gave me the hub of the wheel talk and how illustration goes into fine art and the graphics and animation, and, you know, all the stuff. And I’m like, Okay, that would be smart, you know, and, and I learned there’s a lot about, you know, telling a story with your images, and a lot about that is composition. Part of that is composition, and that just naturally came to me being able to, you know, people are like, 1/3 two thirds, or this or that, or I’m like, I don’t know what you’re talking about. I’m just drawing it out so that my I’m happy with it. You know, they’re like, well, you’re doing it automatically. I’m like, Well, cool, whatever you want to. Is whatever you say are awesome, you know. So illustration has definitely helped. Given me that art of my painting, with my painting, it’s helped with that, it’s just part of it. It’s just part of the package, you know. And I learned from a lot of people I didn’t like you have a lot of others, a lot of people that are out doing plein air, and they just take workshop after workshop with one guy or girl or, you know, whatever, and they study with the same person all the time. You’re not I had the opportunity to study with tons of insanely great illustrators, and I dabbled in the fine art department too. So I was going over to the fine art department painting with these amazing Fine Art painters. So what? And then the best thing that I had made, move I made that while I was at school, is I got offered a job to do college work study. So I worked for the illustration department, and I had to set up classes, you know, and so then I was, I’d set up a class, and I’d have my my stuff outside the classroom or right by the door. So sometimes I would sit in with the instructor if I didn’t have anything to do in the office. So I got extra time with all these the school doesn’t know this is illegal maneuvers. People. The school doesn’t know that I did this. They know now, but I was sitting in on a lot of classes as well. So I had an opportunity to study with tons of people and learn and pick their brains, and then the archive, you know, searching through the stuff. So then I was working for the illustration department that director left, I went over to the fine art department and work with Craig Nelson. And so my last year was doing work study with the fine art department, but I was still an illustration major, so it was overlapping, you know, trying to keep it going and learn as much as I could while I was there. You know, it helped you got to you got to put yourself out there. So you have to take those chances. One of the things that helped me out was the director of the illustration department. When I started working there, she started like watching me, and she had a sit down like with me telling me what I was needing to work on. I’m like, Okay, thank you. And she’s also, I need to have a sit down with your wife. Okay, so we had another meeting, and she basically was like, Scott screwing around too much. He needs to work his ass off if he wants to be competitive. And my wife’s like, yeah, that’s what we’re here for. She’s like, so you’re going to hardly see him, because he’ll be working his butt off all the time. And I was like, okay, everybody’s in on this now. So I just was all in on it, you know. And here we are today. Excuse me, yeah, so that’s Wow, yeah, I mean that that I didn’t, I didn’t tell you that the other day. No,
Laura Arango Baier: 18:38
but I love that because, you know, it’s cool to bring it up now, because, of course, it’s, it adds to the really interesting bits of your story, you know, in the, I guess, in the aspects of, like, building that discipline as well, right? And I think that’s one thing that illustration really does, too. And I’ve, you know, discussed this with other illustration people who have, you know, gone over into fine art, is that illustration because of the speed that you have to work at and because of the time constraints, and, you know, having to deal with or preparing to deal with clients, if that’s what something someone ends up doing, it is really awesome to have had, you know, someone looking out for you and being like, Okay, you need to get it together, because this discipline is going to help you, right? It is. Some people think it’s torture.
Scott W. Prior: 19:32
It is torture. I mean, it is torture because, I mean, if you’re going to a school like the academy, or you’re in New York, or like it’s, I mean, that’s, you know, you’re in it, you’re in it, and don’t waste your time. Why? Or don’t, don’t do it. So many people that I was just talking with my wife about this, where a lot of artists that I went to school with at the Academy, a lot of them aren’t doing. Anything. But they’re, they’re not artists now, they’re, you know, working in whatever management I don’t know. You know, there’s nothing wrong with that. It’s just like, I was like, I’m all in and, you know, and it’s funny, because I would still be doing this, even if I didn’t have the success I’ve had, because it keeps me sane. It helps me cope with the world we’re in, especially right now, for fuck, it’s crazy, so we’re not going to go there, but it definitely helps with keeping me alive, you know, and moving wanting to do stuff and moving forward and, yeah, so have a blessed life. I can’t complain. I get to travel. I live in Oceanside California, you know,
Laura Arango Baier: 21:02
it’s pretty awesome. So, yeah, yeah, and it’s something, like you said, it’s something to be grateful for. You know, not everyone gets to have. It’s really interesting, because obviously, the life of an artist is, is it can be hard because there’s a lot of responsibility attached to it, right? Everything falls on your own shoulders. There’s no one that you have to, like, basically tell like, oh, you should do this. You should do that. It’s all you, right? Yeah, we’re a one day man, exactly. But at the same time, you know, it’s what they say, with a lot of freedom comes a lot of responsibility, right? But if you can take care of that responsibility, hey, you have all this freedom, right? You don’t have to wake up at six in the morning. You can choose whatever you want to paint. You know, once you get to that level of your career, or, like, you have a gallery, and they’re like, Okay, we’re we need, like, five paintings or 10 paintings, and then suddenly it’s like, great, you know, I can do the thing and it’s what I want to do anyway. Of course, sometimes the time constraints can be really tough on a lot of artists that I’ve interviewed, they’ve mentioned that, you know, sometimes they end up stressing out, but then at the end, it’s like, wow, I got all these painting stuff, right? So it’s good to have that, that freedom, if you have the temperament and the mindset to be able to withstand that level of responsibility, right? Which, of course, you have, and I think that’s really admirable, awesome, which I actually wanted to ask you, now that you have all this freedom, do you have any side hobbies that you’ve begun
Scott W. Prior: 22:32
side hobbies? Yes, ceramics. So back at San Diego, state, I took a hand building class, sculpting, and, you know, making whatever thing I made, a skull, the Scully. Yeah. Anyways, so now I’m, I am doing ceramics, and I’m learning how to throw which is really fun. I don’t, I don’t know anything about it. It’s great. I know nothing. I’m a total beginner at all of it, and it actually helps clear my head out. So I haven’t been really painting that much since, like, I did the I did some plein air shows. Last one I did was, like, in July, back in East End, and I came home just burned out from, like, I didn’t want to do anything, you know, but ceramics was like, okay, but we’re, I was already starting to learn that. So I’m like, let’s go do that. Let’s go, like, learn. And now I’m like, Okay, I’m ready to paint now, you know, I I’ve been painting a little bit here and there. I just finished a commission, which was nice. So, yeah, just one foot in front of the other. Now I’m all charged up on ready to paint and but at the same time, I’m like, I need to go to the ceramic studio and just watch a wheel go round and round and round and round. It’s like, it’s awesome, and I know nothing. It’s so great. It’s so awesome.
Laura Arango Baier: 24:04
So yes, it’s so important to, you know, take that right, like you, like you said you were burnt out, and then you try something new that kind of refills that cup again, right? Something that feels like low risk. It’s like, I’m a total beginner, and it’s totally fine. This is all just for fun, because then, you know, I feel like that really pulls that fun back into painting again, where, like, now you’re like, fresh eyes. Oh, wow, I’m ready, you know. And I think that’s so important, yeah,
Scott W. Prior: 24:34
helps break it up, you know. And it definitely gives it new light. You know, like to what I want to do. I’ve had paintings and ideas which I haven’t jumped on those yet, but I’m actually going to just made some Canvas panels to get ready and start so more painting coming soon.
Laura Arango Baier: 24:59
You. And that’s very exciting. I’m on a similar boat where, like, it it’s so fascinating how, you know, you talk to other artists, and they’re like, you realize, you don’t really realize until you ask them, like, yeah, I have, you know, hobbies outside of painting, right? I mean, painting isn’t really a hobby, kind of like, it’s like, this weird in between thing where it’s like a career, but it’s fulfilling, right? But then there comes a point, like, you know how you just said, like, Oh no, I definitely need something to, you know, kind of refresh my brain a little bit. And it’s yeah. I find that a lot of the artists that I’ve talked to, they might say like, yeah, do I do break dancing or I do this other thing? Because it like, helps me that’s awesome, yeah, yeah, that was a guest I had a while a while back. Yeah, it’s like, a type of, like, dancing, yeah, and yeah, I’m familiar.
Scott W. Prior: 25:54
I was a kid. I tried some break dancing.
Laura Arango Baier: 25:56
I have not tried it, but, um, but, yeah, it’s important to inject that sort of like childlike wonder and joy back into your work via sometimes other, you know, hobbies,
Scott W. Prior: 26:09
yeah, whatever, whatever it is like if it’s being a mechanic working in cars or, you know, there’s, you can find that inspiration everywhere. You know? My daughter is a ceramics major at long beach state, so she’s like, You should try throwing go take a class, you know? So I did, and then now I’m a member at the studio and slowly learning stuff and having a good time doing it. Yeah, that’s a good it’s also that whole third place to go. I got another space I can go and hang out. That’s not a bar or not a tattoo shop to get more tattoos. It’s something that’s constructive, and it’s cheaper than therapy. Been been through plenty of, plenty of that. This is watching the wheel go round and round. Is that like moment of, okay, the world’s not that bad. Just have some fun,
Laura Arango Baier: 27:16
for sure. Yeah, and you just brought something up that I think about a lot, which is, you know, pulls back into the moment, instead of having, like, I don’t know if this happens to you when you paint, but like, you might have, like, especially if you’re stressed, like you’re painting, but then, like, you’re not really there, you’re thinking about the 20 other things that are going on, and it’s like, oh, this is how I know I need to take
Scott W. Prior: 27:36
a break. No, I have that problem all the time, yep. But then,
Laura Arango Baier: 27:40
you know, with with throwing or doing it a side hobby, it really pulls you back into the present moment of like, wow, I’m making this thing, and I’m learning how to make this thing, and maybe this eventually can become something else, which you were also mentioning last time you spoke about maybe getting into sculpture, which I think is really,
Scott W. Prior: 28:00
that’s definitely, yeah, that’s kind of the making cups and mugs and things is fun. There’s no money in it, especially when you’re hand painting stuff, like I have been takes forever to do the under glazing. So I’m, like, I was talking to my daughter about a mom, how do you make money doing this? Like she’s, you don’t you gotta sculpt, you know, she’s, oh, that’s why I do sculpture. She’s a sculptor. And so I’m, I was like, I really, and I have ideas. And so I made a little mock up of one, like a slab guy. So it was a knee paddler, surfer, and he’s knee paddling like, Gumby, you know? It’s like, Gumby and pokey slab art, and it was super fun. And then someone bought it, you know? I was like, Oh, wow, cool. And another artist friend bought it. I was like, Oh, really. And so I told one of my guys at the studio. He’s like, how about I make those and you paint them? I’m like, No, I want to make them. Like, making them. Maybe we can talk about this later. It’s all but you have the outlet already. It’s crazy. You’re selling stuff. You haven’t been doing it that long. I’m like, I’ve been doing the art thing for a long time, though. So it’s not like, you know, yeah, I have people out there, but that’s not what it’s that’s not why I’m doing it, but the sculpting aspect of it is super interesting to me, because it’s another like thing to learn. I thought about sculpting. I thought about learning it many times, but I didn’t want to get into bronzing. Get into bronzing because it’s so expensive, I kind of I can’t afford to do it. It’s like crazy. But there’s other ways you can do it. And I’m like, Oh, well, ceramics. I can work on figurative sculpting. I can paint on it. I can, you know what? So who knows what’s next?
Laura Arango Baier: 29:54
Yes, and I think that also highlights the importance of the. The, I guess, like the the deepest essence of, you know, being an artist, which is you’re creating, not just like, because, oh, I have to make money, right? I feel like, that’s always like, kind of like, the, it’s a difficult path when you try to get both of those things, like, Oh, I’m making to sell, right? But when you’re just making, because, man, I love this, and this is so fun, and this really fills my cup. And then suddenly, you know, you’ll have a bunch of people are like, Oh my gosh, that’s something that fills my cup too. I would like it, right? So I like to say that, like selling something that you authentically, you know that you made from a very deep, authentic place in your heart. It, the symptom of that is that it sells.
Scott W. Prior: 30:43
Yeah, when I first joined the studio, you know, so somebody there was very good at throwing making stuff, and they’re like, Wow, you sell your paintings for a lot of money. And I’m like, they’re like, is that your plan to do with ceramics? I’m like, Ah, no, it’s just for fun, you know. And if it turns into that cool, you know? But it’s really just for fun. It’s just about getting out of my head, you know. Like when I’m in there, painting in the studio, painting I’m in it, you know. And there’s times I’m like, I’m like, you’re talking about, like, I’m not, I’m not into it, but I’m still doing it. You know, I’m really great at the beginning part, that last third though, my Oh, my God, so painful. But then I get done and I’m like, Oh, that’s a good one, you know?
Laura Arango Baier: 31:38
Like, yeah, I totally relate to that. It’s starting a pain. Is so much fun. And then once you get you get to the middle, kind of like, I feel like that excitement kind of like, levels out a little bit, and then maybe towards the end, it’s like, oh no, yeah, I gotta finish this now. And that’s happened to me too in the past. That’s
Scott W. Prior: 31:58
why I saved the fun part for last. I see people that
Laura Arango Baier: 32:01
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Scott W. Prior: 34:22
Or, like, they go straight to the main part and they paint the figure in the middle. And they’re like, Okay, then they paint everything else. I’m like, No, you got I gotta save that part. So I’m excited at the end of the painting. That makes sense. It makes perfect sense. Yeah, yeah. It’s like, even when the videos I’ve had out, I was like, save the best part to last guys, like, don’t just jump at painting the trolley car. Go set up the stage around it. Then you have that. That’s the fun part, because it’s could. Be just like, five strokes, and you’re done, you know? And then you’re like, ah, it looks great, but I gotta do all the rest of the shit around it, so
Laura Arango Baier: 35:15
I’m gonna have to try that out, because I also struggle with that like, Oh, I do the fun part, and then I’m like, Oh no, I gotta do all the stuff I’m less excited about. It doesn’t mean that I don’t want to
Scott W. Prior: 35:29
do it. It’s more like that comes from the illustration background, I think. So, you know? I yeah, I got the focal point. I know exactly where I’m going with it. I’m just saving it, you know, so what I will get when I get to that part, I’m excited about it, you know, if you put it, if you do in the beginning, and then you got to dredge through the rest of the painting, you know, something to think about, guys.
Laura Arango Baier: 36:02
Oh, I love that. I’m literally writing that down because I think, yeah, that’s, that’s nice. I haven’t heard before, and I think that’s really, that’s great. Yeah, I’m gonna have to try that out. Because, again, like, I feel like there are some parts of paintings that, like, I don’t know if this happened, of course, this has happened to you. But like, where, like, you get to it and you’re doing it, and it just feels disenchanting. So oftentimes those are the parts where I’ll put like a podcast, or I’ll put like something interesting to listen to, or like complete that bit, because otherwise, like, it’s going to be so hard to finish it. But yeah, I love that. That’s really great advice. And then I wanted to ask you, because you kind of mentioned it a little bit earlier when your wife said, Okay, now you can, you can quit your, like, boring day jobs. What was it like for you when you made that jump into being a full time artist?
Scott W. Prior: 36:54
What was it like?
Laura Arango Baier: 36:58
Yeah, like, what’d you feel was it like? Was it like?
Scott W. Prior: 37:01
Well, I felt, I actually felt excited about it, because it just like, lifted the burden of having to, you know, like, go deal with people, but now I can go deal with the people I want to deal with, you know, and so I well, it gave me more freedom. You know, I still had stuff to do at the house with the kids and things like that. It’s not Yeah, but, like, it lifted that. It gave me the freedom to be like, Okay, you are an artist, full time artist, ready go? Yeah, so the hustle had to happen, you know, I was doing more plein air shows, doing this, doing that, you know, and, and because that was an outlet for me, so I was able to get into some of those shows and, and then start selling, you know, one, the first one that I ever, second one I did. Second one I did was the Carmel art one, and I was like, I didn’t get in. So I was like, How did I not get in? I know all these people that are in it, you know, my friend of mine was like, this, see if they’ll have they have a waiting list, because people will drop out. So I was like, oh, cool, good idea. Call them up. That’s what we did back then you made phone calls. And I said, Hey, do you guys have and they call me back. You’re number one. So then somebody canceled, and then I was asked to come, so I went and did the show last minute, and I won an award, sold my painting for triple the asking price in the live auction. It was crazy. My dad was there. He saw all of it, and he was like, I guess you can’t make a living doing this. It’s like, yes, yes, dad and he was crying. I’m like, Are you crying? I’m happy for you. Like, oh my gosh. Seriously, the whole family was there. The whole family came up for it was pretty funny. We couldn’t get a hotel because the hotels were all booked, so we camped at Big Sur, and I literally my mom and dad stayed at a cabin there. So I would get up and drive into Carmel, leaving my wife and daughter at Big Sur, then my mom and dad would come in and pick them up, and they go out and have fun. So I was out painting, be around having fun. It’s pretty funny,
Laura Arango Baier: 39:48
because, I mean, you did mention before that it was actually your dad who encouraged you to try all these other majors, because he thought that being an artist there was like no way to make money on it. So, you know, having. Validation for me. Dad is awesome. It was pretty
Scott W. Prior: 40:03
funny. Yeah, it was pretty funny. I was I was laughing. I was like, hold you. This can’t happen. It works people. People do it. That’s not what the lifestyle you wanted for me. But I definitely like it. I love it. So leave me alone. Yeah.
Laura Arango Baier: 40:23
That’s awesome. And I think it also brings something else into mind that is, I think is really important. And I think I’ve mentioned it a couple times in past, in very recent past, episodes about how, like, yes, being an artist is this kind of like a very solo thing, right? You’re in your studio. You paint your work. No one else can paint it for you, obviously. So it’s all you. But then surprisingly, or maybe unsurprisingly, so much of it, it’s actually so reliant on networking and talking to people, how important would you say that networking has been for your career, and what would you recommend for someone to do today in terms of networking? Good question,
Scott W. Prior: 41:11
networking is definitely part of it. Now we have social media, but you’re still hiding behind the screen. You need to have face time with people, so like getting involved with the California art club, and then, like Laguna plainer painters and other groups just to network with and paint with other artists, you know, so depends on where you Live, you know, you got to get into, I would suggest getting involved with, like local arts communities and stuff like that. But that can’t, you can’t rely on that only. You need to put the work in too. You know, you got a FASO. I’m, I’m, I’m always trying to one up myself from the last painting I did. And so I think with networking, you can learn from other artists as well. So by joining me, if you go to an art center like in your in your area, say you’re in, I don’t know, North Carolina or whatever, when you find an art center, and if you don’t like the art in that Art Center, don’t join it. Go find another spot, because you know, if you’re not going to push yourself, you’re gonna be stagnant, then you’re gonna be mad at yourself, you know, or at your work, you know, speaking from experience, getting mad at my work, it’s pretty funny.
Laura Arango Baier: 42:56
I think that’s a right of passage for most artists, especially at the beginning, when you’re figuring stuff out. And I think the hardest part to overcome, as well, is the I don’t know what I don’t know stage, which I think that’s like, the best stage, you know, to like, really go out and, like, take workshops and stuff. But I agree, you know, taking a look at, like, even if you’re going to like an art school, for example, and like, you’re choosing like an art school, looking at the work of artists that come out of that school is the biggest indicator of, like, how your work is going to
Scott W. Prior: 43:27
turn out. That’s which is, that’s how I picked the academy. I was either going to go to art center in Pasadena or the Academy of Art. And I really would just, I picked the Academy of Art because it was in San Francisco. That got me out of Southern California, away from people that I didn’t want to be around anymore. You know, San Francisco, LA, it’s like, I want to go live where there’s culture. I want to live where there’s, you know, there’s people that are different. And help that by moving there, that helped me in more ways than I could. I mean, it still impacts what I do today, how I am. You know, it helped me find my own little niche of people and career and stuff so the but, yeah, you gotta, you gotta, you gotta pick places that will challenge you. You know, pick people that will challenge you, artists. You would because you want, you need to push. You need to mean, what’s the point of doing it? Then, if you’re not pushing yourself, if you’re just like, you know, I get it weekend painters and you know, but I’m trying to, like, I said earlier, I’m always trying to one up myself with the next piece. So. And that is a long process to keep striving for. It’s just crazy. My brain right now is like, going but you should be in the studio. You should Oh, no, no, it’s all good. It’s all good. You know, I was like, all of a sudden it switched, like, you should be working right now in the studio. I’m like, No, shut up. Sorry. Voices in my
Laura Arango Baier: 45:27
head, yeah, no. I totally get that. I totally get that. I also get the same urge, you know, talking to other artists like you, it’s like, Man, I my hand gets itchy. It’s like, grab a paintbrush, grab something like doodle, do something. Because there’s, it’s so encouraging, right? Like, you put the work in, and oftentimes, you know if you’re putting the right work, right, like, because it’s one thing to work unconsciously on your paintings, and it’s another one to really consciously put in that effort and striving like you’re saying, because it pays off. Like, every time, even if you know you don’t show the painting to someone, but just working on something, it makes those connections in your brain do the things they got to do, to grow and to push you and push you and push you.
Scott W. Prior: 46:11
Yeah, constantly, yep. So back to the Yeah. I networking, you know, meeting people, doing going to going to galleries, gallery walks, you know? I there’s so many ways to find people, but rather than just being on the phone, you know? And so I don’t know, you gotta get
Laura Arango Baier: 46:42
Yes, or even just, like, if you see someone in social media and you discover, oh my gosh, this person actually lives kind of close to me, and they’re really cool, you know, hit them up. See if they want to go grab a coffee. And, like, just brain, yeah,
Scott W. Prior: 46:56
just drop Yeah, go do a little drawing. Meet up, you know, like, hey, this mean sketch, if you’re up for it. You know, it’s like so many ways. You know, we all hide because we go to our studio totally It’s like no,
Laura Arango Baier: 47:13
do not perceive me,
Scott W. Prior: 47:16
just right here, hiding out. You know, gotta get out and go see stuff and challenge yourself. So networking is challenging when we’re hiding. Very comforting to be in my spot, me and my dog painting. You know, he’s just laying there, but it’s still funny, and it’s like, it’s a it’s a nice place to be, but you got to get out. You got to get out there.
Laura Arango Baier: 47:47
Yeah, get out of that comfort zone, for sure. And then I have a bit of, like, a funny question, because it’s something I’ve been wanting to ask some of my guests, and I’m really happy that you’re the first one I asked, because I’m I have a good feeling about your answer. How? How do you personally define success?
Scott W. Prior: 48:08
How do I define success? Yes, one painting at a time. I don’t know. It’s funny. I I did an interview with California art club a few months ago, and the chuck chuck asked me, So what? What’s next? I’ve done. I’ve done fairly well, you know, like, like, I have a great career. I have a, you know, I It’s funny, but I’m at the same time. I’m like, I don’t know what’s next. I’m like, I’ve never been on the cover of a magazine, so maybe that’s my goal. I don’t know, you know, like that, but, yeah, it’s the success is something that you make for yourself. You know, I have a blessed wife. I live in a nice house, in a nice community. My wife has a great job. We have awesome kids. That’s successful, you know, that’s like I was telling you earlier, but I would still be doing this, even if I wasn’t having the success of being in museum shows and being in galleries and doing winning awards and doing all that kind of stuff. That’s, you know, I would still be doing it. I would still be here with my dog in my studio. So it’s, you know what? Every I was complaining once online, don’t do that. And David Casson was. Like, Dude, what are you talking about? You know, how many people want to be you? I’m like, oh, like, I just, I hadn’t thought of it like that. You know, it was like, okay, just keep going. You know, like, keep going, keep thriving, to be better, to be to learn, to, you know, be inspired so that I don’t know, did that answer your question,
Laura Arango Baier: 50:35
yes, and then some which I again, I’m so happy that I had that question for you, because I think it’s, it’s one of those things that when, especially you know, when you’re like, an early in your career artist, what success means to you then is so different from what it becomes later on, right? Because, oh yeah, suddenly you’re like, Oh my gosh. Like, I’m so grateful for all of
Scott W. Prior: 51:03
this stuff. I thought, like, when I had my first one one man show, I was like, Yes, I’m done, no. I mean, so I was like, yeah, no, no, you know, like the next day and the show closed, it’s like, Okay, now what I just get back to work, you know, just keep going, like, try to outdo yourself again is just keep on keeping on, You know, keep on trucking.
Laura Arango Baier: 51:40
Exactly, yeah. It’s, yeah. I mean, it’s like, you said, like, okay, like, that show’s over, or this event is over. Okay, now it’s just you in your studio again,
Scott W. Prior: 51:51
yeah, exactly, like, I had a, I had an article in The Artist Magazine, and I featured, you know, and I was like, that was my first feature article. I was like, Wow, all right. And then, you know, the article comes out. Yay, yay, Scott, Oh, get back to work. You know, get back in the studio, or go out and paint or whatever. Don’t let your head get too big, because you’re going to be deflated pretty quickly.
Laura Arango Baier: 52:27
Totally, totally. And I think, you know, the other point that I really love from what you just said is, you know, like, those things are symptoms, kind of like, you know, selling, right? Like, Oh, you get on an article, or, Oh, you you’re the, you know, you get into a show, or you get a solo show. Those are all like symptoms of that work that is happening in the studio, and, of course, on the networking side as well. But if there’s nothing going on in the studio, those things don’t really emerge. Those don’t happen. And that’s, that’s what, you know, we would call it the starving artist mentality, right? Where it’s like, oh, well, I’m an artist, and that’s it. It’s like, no, it. You do this because you love it. You have these personal goals attached to this creative work, and those personal goals oftentimes will align with these amazing opportunities that emerge. Like, you know, it’s like, the idea of serendipity is, you know, right place, right time, right? Preparedness, right? If you’re at the right place, but you’re not prepared, sorry, it’s not really going to happen, right?
Scott W. Prior: 53:27
Yeah, yeah. And go through that door, you know, like we talked about earlier, it’s like, you know, keep trying and push, get out there. You know, you have to. I know. I know artists that they don’t. They’re recluses. They don’t. And they’re fantastic. You know, people I went to school with, they don’t do anything. They still throw them on paint and but they’re stay at their house. They’re in their studio all the time. And I’ve talked with some of them, what? How do you How are you getting all this like, because I’m getting out. I’m going to shows. I’m meeting people, I talk to people, I ask questions. I you know, I do follow up. Can I? Can I reach out to you later on? You know, there’s a, there’s a lot of you have to put your whole person out there. It’s, it’s scary, yeah, but you want to have that artist success. You have to get out there. You know, social media helps kind of take but now it’s just not the same anymore. You know, like from when I first started, people, you know, liking paintings and, oh, look what I ate last night, or whatever. You know now it’s just all politics and crap. Because, I mean, I know you can reset your algorithm and stuff, but if you click on one video, you know it’s like, I try to reset it with pottery. Go in my search, and I just make pottery. Pottery. Pottery. Yay. Let me make the mistake. Watching one video that’s politics or whatever, and it’s all downhill. So it’s not the same anymore. It’s like social media is definitely not those.
Laura Arango Baier: 55:15
Yeah, no, but that’s, you know, I also did the same thing with resetting my algorithm with my page I only like, I have my personal Instagram where, that’s where I see all the extra weird stuff, or, like, some of my hobby stuff, which is like sewing and knitting. And then in my art page, I just have all art stuff, all art related stuff, so I only interact with other artists. I only interact with paintings. Because you can also go up to, like a post, and like on the top right, you can select not interested, and then the algorithm will recommend that to you anymore, and it’s try that. Yeah, pretty great. Yeah,
Unknown: 55:49
it’ll not interesting. But
Laura Arango Baier: 55:52
yeah, that’s why I have two Instagrams, Instagram pages, one for business, one for my frolicking through the meadows of the crazy stuff. And you know, memes, yeah. Memes, yeah. But attached to this advice that you just gave us, do you have any final advice for an artist who really wants to make a living from this career?
Scott W. Prior: 56:20
Don’t do it to make a living. You’re gonna, I mean, if that’s your goal, you’re doing it for the wrong reason. You know, it’s course we want to. We have bills, you know, and stuff. But like, if you’re solely doing it, thinking that you’re gonna go make money, you’re doing it for the wrong reason. You know has to be all of you, your whole person, heart, mind, body, all of it. It’s not all of you are in it, you know, or I don’t know that’s like, I’ve heard people suggest, you know, like, I’ve talked with many artists over the years about this thing, and we all have the same thing. Like, because we’re teaching a workshop and we’re doing a plein air workshop or whatever, and like, how do you make money? You know, it’s like, don’t do it for that. Like, that’ll come. If you’re, you know, that’ll come. But if you’re in it to make money, you know, just paint the seashore all the time. I don’t know. You know, like, paint, that’s what it is. So it’s crazy, it’s just, it’s all, you know, Kitsch comes to mind, and it’s crazy, but you can’t be doing it for money. Yeah, you know, does that even answer your question, because it does. I, I you have to do it for the art. You know, that’s what it’s about. You’re in it for the art. And some people are, I don’t know, like in the plein air world, there are people that are retired lawyers, that are, you know, they went studied, and now they’re painting. And now they have videos, and they do workshops, and they do things, and they travel, and they do all this stuff, and they already have money, you know, so they can thrive at painting, because they’re not worried about money. They’re just painting, you know? And, yeah, it’s funny. They were kind of smarter about it than I was. But I, you know, I don’t know. I’ve had people tell me that I’m the artists artist, because I paint what I want to paint. I paint. I’m not out there painting the seashore. Yes, I do go out and paint the ocean because it’s fun to do, you know, and but I’m not about I’m about, like, other stuff. I want to paint other things. One time, for example, I would was that Maui was in the Maui plein air Invitational, and we had the sunset paint out. So everybody’s on the beach, painting the beach, the islands, the waves, whatever. And I just turned around because I’m like, everybody else is paying the same thing, you know? I’m like, I turned around and there was Timmy surf shack. You know, we’re with boards for rent, so I painted timmy’s Surf shack instead, and that painting sold so quick, it was hilarious. But, and then everybody else is out there doing their sunset painting. I’m like, No, turn. Around, look at, look around, you know, so, and I didn’t do it because I thought I was gonna sell. I did it because I wanted to paint it, you know, and then it sold. So, you know, and won an award. It was weird. That’s just kind of, I don’t know he’s gonna look for that other thing, you know?
Laura Arango Baier: 1:00:21
So totally, totally, yeah, it’s, it’s hard to, you know, not follow the current, even within art, right? Already, being an artist is like, Okay, I’m going kind of against the current because, you know, it’s not the typical career, and it’s kind of hard. But then, to top it off, right, even within art, it can be so hard to, especially, you know, social media, or people you know, who are in a similar sort of niche or interest group, it’s so easy to try to join in on, like, how you said, like, oh yeah, the the seashore paintings, because maybe they sell, or if you love them, that’s totally fine. But then it’s also good to listen to that little tiny voice that’s in your, you know, in your little heart, that says, But what about this other thing? Right? Yeah, yeah. It can be I important, because it’s that little voice that oftentimes will lead you to the next painting, that will, you know, inspire you or inspire someone else, or lead to another series of paintings and another trajectory of painting that is unexpected. You know,
Scott W. Prior: 1:01:39
yeah, yeah, yeah. It’s just never know. You know you gotta look around. Open your eyes. You know, it’s like, just look that’s hard. Couldn’t get all like, I gotta do this. Oh, no, you don’t, you know? Like, yeah, sure, but no, you don’t, like, I don’t know,
Laura Arango Baier: 1:02:08
yeah, yeah. It’s a lot of, and I, you know, I think I’ve mentioned this before, but it’s a lot of dialog with the self of, like, why do I care about this thing? Is it because someone told me I have to or is it because I genuinely have to write, and it’s this really continuous dialog with yourself about, you know, why do I admire this one thing? Is it because I think it’s cool, or is it because I genuinely like it? Or do I feel this strange peer pressure into liking it right? It’s, yeah,
Scott W. Prior: 1:02:42
yeah. Well, it’s like the mosh pit painting that I did standing room only that was a challenge for me because, I mean, it was covid. I had the panel, I had the paint brushes. You know, I’d already started drawing from different like shows that I’ve been to with my camera, because I asked the band, they let me come in I shoot stuff, and I had all this reference, but I hadn’t really done anything with it yet, so I wanted to challenge myself to do a multi figure piece. And I was like, how, you know, I can do an urban one, crowded street, but let’s do a mosh pit. Fuck it. Let’s do it, you know, and 300 and I think that has got that piece has like, 380 hours in it, including all the drawing and all the you know. So it all started as like a dare, because I go to Tuesday Art Night at Steve Caballero’s house. And so there I was like, you should just do a painting. And I’m like, Yeah, I’ve been wanting to do, like, big one, a big one. And then we got locked down. So I was like, Okay, time to, you know, challenge myself. Let’s see what happens. And then my daughter came walking in the studio, and I had all I had finally had all the drawing and all the, you know, under painting in and she’s like, I feel like I’m in the pit. I’m like, bingo. That’s what I want, you know, I want you to feel like you just walked into the scene with me. That’s how I try to go about all my paintings. But then that was a nice, a light bulb moment for me, because I’m like, Okay, I’m I’m doing, I’m heading in the right direction. So it was very challenging, though it was a nightmare, so many little heads, so many people,
Laura Arango Baier: 1:04:55
yes, and it’s a great painting. I also feel like it’s really you. Them, yet really puts you in there, and you can almost even feel the music and smell the smells. It’s very real.
Scott W. Prior: 1:05:10
It’s very real. I am like, it’s kind of a stop at that piece is a stop action piece. So it’s like, there was two guys that were trading off, going against the grain, you know, because that’s part of it. When you’re being go to those kind of shows, there’s always people going against the grain and and I caught the whole, the whole thing, because I was just, I stood between, between two big dudes on the edge of the pit, and I’m like, I’m just shooting. And they know, they know what I’m doing. They know I’m using them to have protection. They just stood there. They’re like, come on back, anytime, brother, you know? I’m like, all right. But then I would move around, and then they were still there, just pushing people in the pit and stuff. It’s like, I come back. And they would let me in between them shoot more shots, you know, but I caught the whole sequence of these two guys going against the grain, and they one guy caught the other guy, and they’re laughing about it too. It’s hilarious, like, if you look at the photos I took of it, but the laughter and joy that’s happening in a pit is hilarious. It’s like, it’s so funny. It’s just hilarious. I’m like, I can’t even without one,
Laura Arango Baier: 1:06:27
but that’s awesome. Yeah, yeah. And then I also wanted to ask you, since you a while ago mentioned, Maui, do you have any upcoming stuff going on on your end that you’d like to promote.
Scott W. Prior: 1:06:41
Well, I don’t have anything right now, but I do get to go back. I have to go back to Maui in February for the paint Maui show. And I’m looking forward to it. It’s fun, you know, and I get to stay in a nice house, and I have friends there, and, you know, we all hang out. It’s our it’s like, it’s a tribe, tribe vibe, you know, plein air, fine artist, tribe vibe thing. So we have fun. It’s a fun time. So that’s in February. But I don’t really have anything else going on right now, just challenging myself to get in on the easel and get painting, you know, but yeah, Maui, is it? And no nothing else, no travel.
Laura Arango Baier: 1:07:38
That’s time to fill that cup, I guess.
Scott W. Prior: 1:07:40
Yeah, yeah, I need to get out again, so that’ll do it though. 12 days on Maui. Awesome.
Laura Arango Baier: 1:07:49
Good amount of painting time, yeah, yeah. And then if someone wants to see all of your beautiful paintings, where can they see them?
Scott W. Prior: 1:07:58
Well, Scott W prior.com, would be my website. That’s all Scott W prior is all my socials. And, yeah, that’s, that’s it really galleries. And then Helena Fox gallery in Charleston, and I’m still in one in one in Santa Barbara, but I’m going to leave there so I won’t mention their name.
Laura Arango Baier: 1:08:25
No worries. No worries. I can also cut that out, by the way. No worries. Awesome. Well, thank you so much, Scott for this very wonderful and inspiring chat. I’m also very ready to just do it like I said, just keep going.
Scott W. Prior: 1:08:41
I found you on Instagram. So I think I found you know, there’s, there’s others with your same last name. That’s why I have the W in my, my, my middle initial, because there’s another Scott Pryor, who’s an artist, which is really funny, because he’s from Northampton Mass, and my dad was from Springfield Mass, and we’re not related. That’s funny, yeah, and his middle name is Wilson. Oh my gosh, yes. So he’s like, we had lunch. I was back there teaching, and so we met up because I was in Northampton, visiting royal towns, because they’re, you know, they I’m an art ambassador with them. So it’s there, meeting them, hanging out, seeing the new headquarters, and had lunch with the other Scott prior. He’s like, What do you think my middle initial is while we’re having lunch. I don’t know. Don’t tell me. It’s a fucking W. He’s like, yep, Wilson. My middle name is William, from after my dad, so, but it’s just funny. So, yeah,
Laura Arango Baier: 1:09:55
I mean, maybe don’t go to
Scott W. Prior: 1:09:56
the other guys. Go to my website. Yes.
Laura Arango Baier: 1:10:00
Oh, man. Well, thank you so much, Scott, thank you. 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
