Lamia Larkin: Please tell us more about yourself, your background, education and what you do as an artist.
Katy Betz: I am an artist devoted to creating space for imagination. My aim is to make pictures that invite people to come out and play, to dream, and imagine. I create artwork for children’s books, gallery exhibitions, murals, and private commissions. I’m currently pursuing my Graduate degree in Illustration at Cal State Fullerton, and I also teach there part-time.
I am a native and current resident of Riverside, CA. In fourth grade my family moved to a small ranch in the citrus groves. I was a little tomboy growing up – building forts, climbing trees, making stuff from the junk I found in my Dad’s shop. My older sister and I participated in rodeos and the Farmer’s Fair, doing barrel racing and showing sheep. I had a horse named Inkspot, she was a black & white paint pony, and we’d go on long trail rides with the neighborhood kids through the orange groves and just be in nature most of the time. Our family would go to the beach a lot too, and from an early age I developed a love for surfing and the ocean.
In high school I was all about sports. Art was something I was good at, but I didn’t take it seriously till later on. Though my passion for art was evident, and my family recognized it, and so I mildly pursued it by entering a few competitions and taking courses at the art museum. Going into community college, I took art classes every semester just to keep my sanity (statistics and college algebra were a major chore). My portfolio started to develop, and thoughts of pursuing art as a career began to kick in.
One day on campus, I saw a poster for a Semester Study Abroad program to Italy.
It sounded awesome, so I worked at Aaron Brother’s for a year and finally saved enough to go. Living in Florence was a pivotal experience in my life. It completely annihilated old paradigms that I held about art (it’s not a “real” job, you’ll be a starving artist, etc). I came home a different person, like my entire being had been awakened to the amazing opportunity of becoming a part of this great artistic heritage. Art has been my most serious endeavor ever since that semester back in 2002.
After completing my AA at Riverside Community College, I transferred to Laguna College of Art & Design and majored in Illustration. Undergrad at Laguna was one of the best times of my life! I made quality lifetime friends, got to surf before class and play beach volleyball afterwards, but most importantly was presented with extraordinary opportunities to blossom as an artist. My art education has also been supplemented by several study abroad trips to Europe, which have influenced my aesthetics and solidified my purpose as an artist.
LL: Do you consider yourself an artist? If so what do you think classifies you as an artist?
KB: Yes, I consider myself an artist. Being an artist is a lifestyle. It’s a way of looking at the world and communicating your discoveries visually to others. Learning to draw and paint develops observation skills that cause you to become aware of your environment. I’ll never forget the time my college roommates and I went on a roadtrip. We had been in the car for 5 hours, and I was staring out the window when suddenly my roommate said, “look at how blue those mountains are!” I had been staring at those same mountains, but failed to notice the vibrant icy-blue shadows of the snow. It really made me think, after she pointed that out, what else I might be missing. Ever since then I make a conscious effort to look for the beauty in life. I realize now that being an artist isn’t just making and selling pictures, it’s observations interpreted. In fact, art as a lifestyle is the central concept to my business mantra, “creating space for imagination.” In my current work, I’m combining my observations with my imagination to present an insightful and whimsical way of looking at the world. I hope to inspire other people to engage their own imagination on a daily basis, and look for the peculiarities that make life enjoyable, humorous, and perplexing.
LL: What is the difference (according to you) between Fine Art and Illustration? Is there any difference (to you) at all?
KB: The only difference is who’s in charge and when I get paid. I self-direct my gallery work, but an art director will guide my illustration work. However, my illustration work has been sold in galleries, and my gallery work has been published as illustrations. The bottom line is is that the work is created by me. If I agree to do an illustration job, I get paid before or during the creation of the artwork. In a gallery situation, I create the work and then hope it sells. It’s nice being able to use the artwork interchangeably.
LL: Where do you get your daily inspiration from?
KB: Faith, nature, childhood, and travel are my main sources of inspiration. My faith in Jesus is what gets me through every day of life in general and inspires much of my work. I am very outdoorsy and love being in nature. I often have a longing to be in a forest or to be in the ocean. It’s not enough to just look at nature, I need to be immersed in it. I go for a walk outside everyday (if possible) to get my dose of fresh air. I also reminisce on my childhood for inspiration – all things make-believe like playing games, inventing creatures and fairytales, pretending to be a pirate in my tree house. It’s important for me to stay close to how I felt as a child, when my imagination was fully engaged all the time. Lastly, travel has been a font of inspiration for me. I subscribe to the travel magazine Afar, and am always putting money aside for my next trip. Dreaming about going somewhere keeps me motivated. I’ve got my eyes on India, Egypt, or Ireland next.
LL: Any artists in particular that inspire your work, or that you look up to?
KB: Yes. On a trip to The Netherlands, I fell in love with Dutch painting. I love the skyscapes of Jacob van Ruisdael, the emotion in Rembrandt, and the imagination of Pieter Breugel and Hieronymus Bosch.
Contemporary inspirations include Mark Ryden, Jamie Zollars, Jeff Soto, Greg Manchess, and Vladimir Kush. I’ve had the privilege of meeting these artists, and it’s made a huge impact seeing how they operate, where they get their ideas, and their artistic philosophies. Mark Ryden paints like a modern Dutch master and has successfully created his own world of imagination. Jamie Zollars inspires me with her work ethic and range of creative activity. I would like to model my career after hers – she’s done everything I want to do! Jeff Soto hails from my hometown of Riverside and has become a successful international artist while maintaining a humble spirit. I really admire artists who are able to keep their success in perspective. Greg Manchess’s brushwork and illustration career is stellar.
Vladimir Kush battled years of rejection but finally made a name for himself as
a metaphorical realist. I love his novel concepts and color palette.
LL: Who are your target audience?
KB: Anyone who longs to hope and dream. I want my artwork to invite people to come outside and play. Movies, TV, and video games are awesome but they do all the work for us. I’m a stickler for books and paintings because they offer bits and pieces without telling the whole story. They make you actively participate and imagine.
Also, if you like whimsy, fantasy, adventure, romance, puns, and swirly bizarre things, it’s likely that you are on my radar.
LL: According to your site it says you’ve traveled quite a bit, has visiting all these different countries influenced your artwork?
KB: Yes, tremendously!! A newly developed passion for travel has brought an enormous amount inspiration to my work. Every summer for the past five years I’ve traveled throughout Europe and North Africa. These different places make spectacular new playgrounds for my imagination. Exposure to other cultures has been effective in opening my mind to new styles of art, unique ways of thinking, and distinctive subject matter. Gothic, Roman, and Islamic architecture can be found within my designs, along with references to mythology and religion. For example, my painting Holy Cow depicts several statues of saints lining the entrance to a Gothic cathedral in Holland. I painted the saints as cows, a symbol of cultural pride. Each “holy cow” holds different objects that reference Dutch religion, history, gastronomy, political and social viewpoints. I find that the more firsthand experiences I have, the easier it is for me to create authentic imaginative artwork.
LL: How long does it take to create one of your pieces?
KB: Usually, the brainstorming part takes the longest. I have to sketch and dig deep for quality ideas. Rarely do ideas appear fully formed. When I come back from an international trip, it takes me months to reflect and sort through all the new information. It’s overwhelming, but thrilling simultaneously.
Once I sketch out a solid idea, I move into the design process. This takes a few days or a week. I gather research, try out several compositions, do color studies, and prepare the final drawing. The actual painting doesn’t take very long once all the design problems are solved. I’ve done an 8×10 oil painting in 3 days, and part of that was waiting for the paint to dry! One of my largest paintings (3’x6’) took a month and a half. The mural I designed and painted for the Nix Nature Center took a year, and I had a team helping me with that one.
LL: How would you describe your art to people?
KB: I’ve come to describe my art by listening to other people try to describe it. People have told me it’s “whimsical (or as I like to call it, whimsicool), hopeful, lofty. lighthearted, ‘punny’, cynical, idealistic, idiosyncratic, playful, containing the essence of Wisdom, and having no hierarchy in terms of bizarreness vs. content.”
I agree.
LL: How different is the Orange County Art Scene compared to the rest of the world?
KB: Orange county seems to embody a sort of preppy grunge being situated next to LA and wealthy beach towns. It’s definitely a Petri dish for emerging artists, yet it has many established artists as well. I see a lot of opportunities in Orange County – it’s a great launching pad.
LL: Has the OC/ California lifestyle influenced your artwork?
KB: Yes, it’s nearly impossible to escape from it when you grow up here. I am drawn to pop surrealism, lowbrow, and graffiti art, even though I wasn’t directly involved with any of those movements. People often peg my work as being pop surrealistic, although I rarely reference any popular culture.
LL: You teach 2-D Design, Beginning Painting, and Traditional Illustration at California State University, Fullerton. Is that something you have always wanted to do?
KB: No, actually! I never thought of teaching until grad school, primarily because I was terrified of public speaking. My sister used to teach public speaking (of all things!) at another college, and she convinced me to just try it, and so I did – and I love it!!
LL: How has teaching helped you to grow into a stronger artist? Or has it?
KB: Teaching has helped me grow tremendously. For one thing, I’m no longer afraid to speak in front of a classroom. It has transformed me into an outgoing and energetic person, which makes networking easier. Having to create a syllabus and assignments requires me to think logically through the art process and articulate ideas I’ve come to internalize. It has forced me to know my craft, inside and out. My students inspire me to push my own boundaries and keep exploring. I love watching them discover their own unique way of working. I find my passion for art grows even deeper when I’m able to help others find and develop their passion. It’s wonderfully cyclical.
LL: Do you feel art education is important? Or can art never be truly taught?
KB: Yes, I believe a formal education is important, but not necessary for success. Learning from successful people who have come before you is an opportunity that should be taken advantage of, whether in the classroom or on the street. I think any information taken in should be filtered through. Not everything is worth keeping, especially if it doesn’t align with who you are. That’s why I believe it’s crucial to know yourself as an artist. Knowledge combined with personal vision is a powerful tool.
I think that technical skills such as drawing and painting can definitely be taught, although some people have a knack for it more than others. Every person possesses an imagination and can think creatively. It’s the one thing that separates us from every other creature. It seems people buy into the belief that they’re not creative, but I believe creative thinking can be exercised and developed.
LL: Do you see your artwork changing styles or subjects in the future?
KB: I don’t foresee any drastic stylistic changes happening in the near future. My style is me, and unless something drastic happens to me, I doubt my style will change much. I would like to explore ways to make my drawings and paintings more suitable for graphic work, but that avenue won’t replace my oil-painting style altogether.
As for subject matter, yes, I paint what inspires me. I never thought I’d be painting a stork wearing a hijab until I went to Morocco (see my painting Veiled Omen).
LL: What does a typical day of work look like for you?
KB: Ideally, when I work from my studio, this is how I structure my day: Wake up at 7am, eat breakfast, check email and social networking sites. I’m on the first major task of the day from 8-12 (sketching, painting, research, whatever). Lunch at noon, then back to the studio from 1-3pm, then take a nap from 3- 4 (napping is crucial to my creative productivity!) Around the hours of 4 and 5 I either go to the gym or walk my dog, then have dinner around 6 or 7pm. From 8 to 10 go back to the studio to wrap things up, blog, and prepare for tomorrow. End the day with a shower, yoga routine, and quiet time before shutting the lights out at 11 or 12 hard.
I need my day planner to function, otherwise I wouldn’t be able to do creative work trying to remember my to-do list. I believe in working hard and playing hard.
LL: What tools of the trade do you prefer using?
KB: I LOVE oils. I work on wood, canvas or illustration board depending on the project. Other favorite mediums are gouache and charcoal. I use Photoshop and Illustrator for all my design and retouch work. Sometimes I use Photoshop to do color studies, but I prefer the tactile qualities of actual media.
LL: What is the biggest piece of advice you would give to an artist that’s just starting out?
KB: Take time to get to know yourself, and beware of asking too many people for their opinions. Doing that will throw you off. Listen closely to your heart instead.
LL: Any art shows coming up that we should know about?
KB: My next big solo show is my Graduate Thesis show in Spring 2011. I haven’t signed up for a date yet, so I can’t give specifics unfortunately. Check my website this August, I’ll have a date set by then.
LL: Finally, where can we see your work?
KB: I exhibit in the group shows at Sarah Bain Gallery in Anaheim, and I also exhibit at Division 9 Gallery in Riverside.
I designed a mural for the Nix Nature Center in Laguna Beach. It’s right off of hwy133/Laguna Canyon Road, on permanent display inside their new park building. Go for a hike while you’re there, it’s beautiful!
The best way to see my work and stay connected is to visit my online sites.
Official Website: www.katybetz.com
Facebook: Katy Betz Studio
Twitter: Whimsicool
Etsy: www.etsy.com/shop/KatyBetzStudio