Interview with Carrie Goller
February 7, 2010
Recently I met artist Carrie Goller at her Port Ludlow home and studio. Talkative and enthusiastic, the energy she puts into her artwork is obvious. Just six years ago she was working as a paralegal but now is in the process of opening an arts center, has a large body of work and is shown by many local galleries. When asked what attracted her to Carrie’s work, Earthenworks Gallery owner, Cynthia Hoskins said, ” I was strongly attracted to Carrie’s pear paintings because I like oils and because of her handling of light. She is also very talented with encaustics, which I think are now coming into their own, so I was happy to find someone accomplished in both mediums.” Carrie answers a few questions below.
What do you think has been the main factor driving your accomplishments of
the past few years?
The need to create is a constant; I have a path toward goals now, which I recognize. If I go too long without indulging in some sort of creative process, I begin to lose my charm. I am driven. I suppose I have been trying to make up for lost time, since I spent so many years in other pursuits (as a paralegal) before finally indulging my creative side after a bout with cancer. I was told since childhood that I should be an artist, but I was also told that artist’s starve. It took an illness for me to pursue what I love.
Although I have been through some creative doldrums, I am usually so excited to be able to be an artist and have so many ideas, it’s frustrating at times to harness the time to produce them. However; without the amazing (and often daily) support I get from family/friends and collectors/galleries, I would not be as motivated to produce and accomplish. I definitely need some “cheer leading,” as many artists do. My husband is especially supportive. My husband kept telling me that we should convert our Poulsbo farm house into a gallery. We are very excited about the new venture, Rockwater Art Center, which will also offer intensive art workshops.
How has your experience with a life threatening illness changed your outlook on life?
First of all, I found that a lot of things just don’t matter – material things, for instance, are not as important as they used to be. What does matter — family, friends and ways to enjoy life. My outlook has changed to carpe diem! Every day counts. I am a lot choosier about how I spend my time and with whom. I’m interested in love, a life well lived and enjoying the work I do. I hope to have something tangible to leave behind when I do fly away. I feel bold in hoping that I may leave a body of work that might be appreciated by someone.
You’ve said you started doing artwork when you became sick as a way to relax. How do you think creativity helps people cope with and heal from illness? Do you feel there are enough programs to support this process?
When life gets out of hand and my brain fills up with too much useless information, I use creativity as an escape of sorts from stress. In my studio I can “go away” on a mini-vacation. Then, when I am jarred to reality, I often have no memory of the creative process. I’m not high, I’m not low — I’m calm and intuitive and all is right with my world. That is when my best work can happen. The business of art can be stressful as well (prepping for three exhibits in one month, for example and keeping eight art galleries happy with new work consistently can take it’s toll).
There are so many organizations and programs available, I am not sure how many there are or which are more important, because I have truthfully been on my own path. I try to give back in my own way, spending time with emerging artists (especially children), teaching some at schools, and donating to many organizations. I find it hard to say no. Why should I? I have been given so much and there are so many worthy organizations.
(Although I did not find as much information as I expected to, here are a few websites with information on art and healing; Art as a Healing Force, RxArt, Healing Art Source, Arts in Healthcare and Art for Healing.)
I’ve noticed that you work in a variety of mediums, do you have a favorite or do you feel that would cramp your style at this point?
Well, I need variety. Sometimes I have a favorite of the moment; last summer figurative sculpture got me through a very rough time. The year before, I painted delicate oils of eggs in nests to cope with a loss. It is not uncommon for me to have several pieces in process in various mediums.
I have four going right now: A 48×24 oil in my still life series, two 8×10 canvases of a new small oil series (vintage figurative), and a 24×24 sculpted encaustic/mixed media tree from the “Leaving” series. There are so many others I would like to pursue or revisit. I love the encaustic process; it is very technical and sensual. The smell of the wax melting can be intoxicating (as long as one does not burn it!). I love the instant gratification of color with encaustic. Oil is more serious for me, it’s a huge investment of energy to do a large oil because there are issues to resolve; the build-up of color can be tedious; it takes what it takes to get a glow and I never know when it will arrive. I often do not know even when it is on my doorstep, it just arrives suddenly, if I’m patient and lucky. I do smaller pieces in both mediums and sculpture for some comic relief from the larger projects. It’s important to leave time for creative play and exploration.
What has been helpful to you in getting your work shown and what advice would you give to aspiring artists?
Hmmm. Advice. Well, I can speak from my own experience: I am grateful and I do get rather excited about being an artist; I try to convey that excitement to others, which I believe has helped me to gain a following. I devote quite a bit of time to marketing and promotion regularly and always carry materials (I have cards that show different works on each one and a small 6×8 50-page soft cover portfolio book which I created and ordered online using an internet publisher). I encourage artists to not overlook unusual venues; I have had some great sales in coffee shops and bakeries. Hubs where people gather can be promising venues.
Do homework before approaching a gallery. In the face of rejection, try to find out why and be open; willing to learn and grow. I was careful to seek mentors whom I could (and still do) trust and ask for honest advice and critique (remembering that I do not have to agree). New relationships I have gathered along the way are valuable to me. I still keep in touch with the gentleman who gave me my first big downtown Seattle show, even though that gallery is now closed. I value his friendship and advice and am grateful for the break he gave me. I do believe — If you love what you do; success will follow.
Thanks, Carrie, for your thoughtful answers! Visit Carrie’s site here.
Filed under: Art Interviews
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