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But being an artist has been a large part of me throughout my whole life. The challenge is always not to be influenced by what people want you to do, either personally or professionally, but to be true to yourself. It took a while, but I finally got to the point where I realized that the world needs people who think outside the box.
What was your first meaningful encounter with art?
There were actually two. We had these beautiful WPA murals in the auditorium of my high school, which I really liked. And in the Catholic church we went to, there were these gorgeous murals and stained-glass windows. Those things made me realize that people had made those murals and windows, and they had been paid to do it. So there was a chance I could make a living as an artist.
When I was in high school, the art club used to go to St. Paul to the Minnesota Museum of American Art, which gave me a chance to see work by a lot of really great artists. That helped me realize that a lot of other people had done what I wanted to do.
What role has teaching played in your life?
For me, teaching has been a second love, right along with the artwork.
After I graduated from college, I taught jewelry-making in an inner-city school in St. Paul for three years. Then I moved to another teaching job at a suburban school for a year.
What those two experiences taught me is that I prefer working in inner-city schools. I also like teaching in colleges, which I've done at various times in my life, both while I was in graduate school and in the years since.
What do you consider essential to your life?
There are three things. Contributing to my family -- I have always felt a deep sense of responsibility to do my part for our family. Giving back to the community, which is what I feel I'm doing when I teach. And maintaining my integrity as an artist.
Can you explain what maintaining your integrity requires?
There are artists who are constantly trying to figure out what the marketplace wants, then they do that type of work. And people buy it, which leads to more art like it being made. But what we end up with is the lowest common denominator. To me, chasing the market is compromising your integrity. Since I'm not doing that, not doing cutting-edge work, my stuff isn't going to go out of style.
Speaking of style, how would you describe yours?
Artistically, I like to think my style has evolved, not in a linear matter but in a circular pattern. In other words, I'm reaching back and bringing in things from the past, then reaching forward and trying to make them new. And while I'm doing that, I'm working with two basic subjects -- the figure and color.
How does Indianapolis rate as a city for artists?
Artists tend to think there are always greener pastures. But this city has plenty of good, affordable studio spaces. It has the Arts Council, IDADA, the Stutz, the Harrison Center, the Art Center, the Murphy building -- organizations and places that are doing their part to support local artists.
That doesn't mean there isn't more that could be done. Artists are human beings -- living anywhere is a combination of how comfortable that place is and whether it can meet their basic needs. This city does well in those areas. But it could be doing more to support the artists who are here. I know a couple of local people who are known internationally and who have their work in the collections of places like the Smithsonian, but they're struggling to get by here.
What kind of impact does the Arts Council's public art program have on local artists?
It can be a double-edged sword. Around here, it has long been held that real art comes from the outside, a point of view that's reinforced when we bring in artists from other places for these large public art exhibitions. But on the other hand, these exhibitions raise awareness of the value of art. It never hurts to have more art around.
What inspires you as an artist?
Making a commitment to do an exhibition. It's easy to slip into complacency, but when you know people will be coming to see new work, you stay busy. If I don't have a show coming up, I look for something that will force me to focus my energies. Teaching helps. I teach a class for adults in my studio, and so I have to set an example.
Aside from making and teaching art, what do you enjoy?
For the past 30 years, my husband and I have been going on bicycle tours. At least once a year, we've gone on one- or two-week trips.
What's the most important professional or personal lesson you've learned?
You can have everything. You just can't have it all at the same time.
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